The popular phrase at the beginning of my career was “sound by the pound.” Of course, we talked about loudspeakers, audio desks, and even a big crew to put it all together. In 20 years of working in pro audio, particularly now in my role as a Bandsmen, Audio Engineer for the United States Air Force, I’ve learned you’ve got to be flexible.

When you do events and shows all over the globe, they can have a huge range of logistical challenges. It can range from events at venues with all the modern amenities and requiring no setup to places that might be geographically difficult to get to by car or truck, sketchy power, and spaces with less than adequate audio equipment and acoustics.

In this environment, a large, heavy equipment inventory can be a crutch rather than an ace up your sleeve. The key to flexibility is the smallest rig, crossed with the most options, and can transit anywhere in any vehicle. Being able to fly commercially with everything in your signal chain before the amp rack makes your life easy and the budget cheaper.

Cases

Getting the proper cases can be a challenge – it’s necessary that they be light, slim, but still classically durable. Gear needs to fit in a modest-sized SUV, definitely under a tour bus, but I think the true test is getting everything you need on a commercial flight. The cost will be too high for a checked bag over 31 kilograms/70 pounds.

Anvil or traditional road cases are out for this. They eat most of your weight, and when you get to the airport, getting them to a luggage cart (even with a crew or band) can be very challenging.

You can push/pull rack-loaded flight cases or stack three or four on a luggage cart. These cases are light, and one or two people can quickly move the entire system. They have TSA locks, so airport security or customs can check your load efficiently and without trouble.

Sometimes my system keeps growing based on the needs of the band/client. I employ two stage racks for I/O, monitor rack, and in-ear monitors, a third rack/case for front of house (rack mixer/16-fader tabletop), and a fourth case is accessories – microphones, wireless/IEM accessories, and cables. It all comes in at 31 kilograms, $100 USD per case.

Before arriving the airport, it’s a good idea to split up who can check extra bags (one or two bags per person, depending on the extra back line and other gear that needs to be checked). Getting an inventory of cases and what is in them to the airline and/or custom folks beforehand helps with oversized baggage getting on the plane and to the destination.

iPad/iPhone/Computer

Although most modern digital consoles can be controlled from a mobile device, tablet or laptop, this may be of more or less utility to you depending on the platform you’re using and what you’re hoping to accomplish. Rather than depend on wireless connection for control, I prefer to run a Cat-5 cable with a USB-C converter to avoid any control dropouts.

Having two tablets is excellent because two layers work simultaneously on individual channels, effects, or DCAs. We all know that performers can use an iPhone/iPad app to adjust their mix, which is one of the great things about bringing your small system.

Racks Vs Console

Only some people are fans of the rack mixer or even a small console. The big mix desk for me is out. Having a small digital rack FOH means less area to take up and maximizes space. I know I will have a digital console that can do a live multitrack recording at the same time as mixing live. I know we “want faders,” so maybe a small 16 or 8-channel digital mixer or controller will help you adapt to gear minimalism. Some rack mixers offer touch screens with faders.

Having said that, if you go with a rack mixer, I would definitely practice mixing and getting the functionality down when you need to find something quick while mixing on the iPad. I usually park them right next to or on the stage with/or close to the racks. I try to go as small as I can. Sometimes 32 inputs by 16 outputs might be too small. Having a single-space rack mixer might feel like a done deal.

When I need a lot of outputs for “ears,” mixes for guest artists and/or system sends, I tend to use an onstage monitor rack with an extra 16 outs for ears for my primary band. This leaves me with more outputs for my main I/O box.

Ina & Outs

Shared I/O is a concept I reserve for events or shows requiring two audio engineers, i.e., front of house and monitor engineers working together on the same show but with two separate mixes.

In my early days in rock clubs in Chicago, I would run FOH and monitors from one analog console. If I had a vocalist who needed more attention in their monitor, I would use an XLR “Y” cable to split the mic into two channels.

Sharing I/O in my situation between two stage racks works great for IEMs because the artist hears none of the changes I make at FOH. When I’m serving one of our acoustic bands with wedges, I can get away with a single rack mixer for mains and monitors.

Mains, Monitors & Hardware

We can’t transport a line array and 18-inch subwoofers on commercial air flights. For smaller venues, I’ve brought powered loudspeakers for the left and right mains and compact subs.

When we start getting into large venues and shows that require higher SPL, main loudspeakers, subs, and monitors (if needed) have to be cross rented. When it comes to mic stands, I try to use mic claws and clip mics, and also try to get vocalists to hold their mics.

Integrating these approaches may seem like a compromise, and they only work sometimes. I’ve found the need to that tweak the gear and add a little weight to the load to make clients happy.

One time we had a rhythm section on wired IEMs and the vocalists were wireless. But the guitarist and bassist requested to be wireless. We moved to a bigger, heavier rack to accommodate the show’s needs.
Using rechargeable batteries is huge – not having to bring bricks of batteries or shop at the local market in another country helps. Remember to put them in your carry-on bags because they will get confiscated if found in checked bags.

The band (outstanding musicians who are also U.S. Airmen) and I work as a team. We pack odd-end tools for each other and call venues ahead of time to see if there’s any backline we can leave behind to be lean for the tour. The light and lean mindset becomes infectious as pedal boards become smaller, cables get shorter, and gig bags get lighter.

The Fly Rig

It’s an advantageous mindset: How small can the rig get without sacrificing sound quality? Not only is this design excellent for a fly rig, but for local shows as well.

The system lends itself to day-to-day operation, whether it’s supporting a rock/pop band, big band jazz, or a large concert band. We have the option to use small vehicles. The rig fits every situation – job sites such as a ballroom dominated by catering to Tetris your control into, getting to a gig with one other person only to realize the stairs are your only load-in/out option, and not having to butt heads with other departments over where audio control will be located.

Oh to be light and lean…