This event was one of the last events I took part in during college, it was one of our end of year assessed events and it took place in Binks yard, Nottingham. The event consisted of 5 performances by performance students from confetti and the free tickets were promoted on social media. The venue allowed us a larger space to work in than what P3 offers in addition to different equipment, notably a video wall and Digico mixing desk. During the event in addition to considering the hearing of our own audience across from the venue was a premier inn which required the overall volume to be kept under a certain threshold, to do this we measured the noise level at FOH with a dB SPL metre to make sure we were not too loud for the guests of hotel which if we were would be considered a negative social impact caused by our event. On the morning of the event, I came to the venue and began to set up with the rest of the team. This involved unloading the equipment we had brought and connecting and powering on the house equipment we were using (Sound desk & PA). The PA system had been left set up for a DJ from a previous show and required me to trace the cable runs to then patch the system as I desired. This was all done without assistance from any in-house tech as there wasn't one available while we were on site. The system consisted of a Digico SD 9 with a digital stagebox and an Optocore “Festival Box” followed by the amplifiers to power the main PA and the monitors. From the stage to the FOH position a bundle of cables ran underground this included the connectivity for lighting and sound. I initially connected the desk as indicated by the labelled cables and wasn’t getting any signal to the amplifiers. With no contact to someone who did know how to setup the festival box I decided to not use it as amongst the bundle of cables was a Cat5e cable I could use to connect with the digital stage box directly, I then connected the stagebox to the amplifiers via XLR with the outputs on the rack. This worked and I proceeded this way as I was working under a time constraint and wanted to be ready for the soundchecks that were organised to take place. A factor of the PA I had to account for was that the FOH position sounded very different from the listening position in front of the stage. This meant that when mixing I had to check how the mix sounded by walking out in front of the desk and standing in a better position. When the sound checks started I ran through each channel to make sure I had a signal. I also checked the placement of each microphone to ensure everything was correct. When the first artist was in place to do a sound check I ran through each channel again and added appropriate processing, with the parametric eq, compressor and gates starting with each piece of the drum kit followed by the whole drum kit, each instrument (bass, guitar etc.) and then vocals. Once I had the basic processing and gain structure set I asked the artists what they wanted in their monitors and then had the artists run through part of a song to let me add some effects to the vocals and drum kit and allow the artists a chance to listen to their monitor mixes. Once they finished playing I made any adjustments to the monitor mixes that the artists requested and then saved the desk as a snapshot to be able to recall that artists mix when they came to perform. The final performance itself went well with no major issues occurring during the show. This event was one that allowed me to show what I had learnt over the previous 2 years about events and work with a team I had become familiar with. During the events planning stage we had planned to have a separate FOH and monitors role however when it became apparent that there was only one console we decided to split the workload between us. This meant walking the other person through my show file and letting them mix some of the artists while I assisted them with anything they needed. As a production team the event was initially spearheaded by one student who aimed to be the production manager and asked if we would like help in certain technical roles, I amongst others accepted and we began to make our individual technical documents, including channel lists and a show file which I made for FOH sound. Eventually it became apparent that the production manager wasn’t fulfilling their role and led by one of the crew we ensured all technical documentation was in place and ready for the event with them as the new PM, this included a full production pack with a running order designed to allow everyone to know what everyone else is doing making it easier to coordinate. (see below) By the day of the event we hadn’t had any contact from the former production manager nor their assistant so we took it upon ourselves to make sure the event ran smoothly. Unlike p3 or going into an external venue with equipment; Metronomes PA system and lighting is rigged and remains setup all the time this meant all the setup required was the stage with the backline and monitors in addition to a ground package of lighting and the FOH position which consists of a riser, some railing and the two desks that are connected via a multicore from the right side of FOH. The equipment I interacted with included the Digico SD12 sound desk, L’Acoustics Kiva II, SB15 and SB18i speakers alongside this monitors had X12 Monitors and an Allen and Heath S3500 mixing desk both using the microphones from the venue including dynamic microphones and condenser microphones. Since I had time to plan, was familiar with many of the artists and had used the SD12 previously at the christmas party we worked on I built a show file that allowed me to work more efficiently and make changes quicker without having to move across the desk. Since the desk has two screens, two banks of faders and two master faders. This allowed me to split the left side to mixing input channels and the right side to mixing outputs and having overall control of the desk. Each side was copied onto the 2nd layer of the opposite side so if needed both sides could perform both tasks. The input channels were split into “drums”, “band”, “vocals” and “misc” each of these would input into a stereo group with the drums and vocals having an additional group with the two being called “___ clean” and “___ crush” this was so all signal going through the desk would go through the same amount of processing and reduce the chance of latency being different across each group. Each input layer also had the FX return channels for that group on it which allowed for control of individual effects settings without changing screens. The right hand side of the desk had the control groups on one layer. I had this setup in case I wanted extra control of groups and so I could control my outputs under the “CG master”. The following page had all of the group outputs in one place followed by the “FX master” page which had all of the aux outputs and return channels for effects on the desk in one place. My last page had my matrix outputs which was how I sent my “PA L+R”, “PA FillM” and “PA SubsM” out of the desk to the amplifiers and where my graphic equalisers were inserted, each stereo group was sent to the appropriate locations in the matrix with the mono outputs having -6dB applied to account for mono summing. Finally my two master faders had the master CG as one and the input controlling house music as the other. Looking back on the event now it went very well and I’m pleased to have been able to work on it with the people I did. The only major mistake I made was during the start of one performance I foolishly decided to change one of the bank layouts on my desk to control the vocal mic and the backing track channel for a rapper, while this shouldn’t of been a problem in the moment I managed to forget the structure of my showfile and forgot to unmute the group that the backing tracks ran into. This led to a moment of vocals with no tracks and when I found the problem and unmuted the group a moment of very loud music. What I learnt from that was to not change the layout of my show file mid show and if I find the issue not to hit un-mute without first checking the input channel’s fader level.