How to write a Sound System Specification
It’s probably happened to you
already and if it hasn’t, it will. Your Artist Manager, Tour Manager,
Production Manager or someone will ask you to come up with an audio spec for an
upcoming tour or series of shows. This might be for local promoters to supply
or to get quotes from production companies. Note that the system specification
is a technical document; dressing rooms, catering, transportation, security etc
should be a whole seperate document.
It’s not particularly hard to write a list of what you want but that is not really the point. What you really need is a brief but accurate description of the production equipment that is acceptable and necessary for your show while allowing for a range of options of brand, size, style and function in your choices. You also have to be reasonable in your demands if you want to be taken seriously.
A specification that includes “SPL level of 120dB from 40 – 20Khz throughout the venue” is not a realistic or reasonable specification, neither is asking for a 64 input desk for a 4 piece band performing in a pub.
Format
Let’s talk about the format of your document before you start writing lists. You need a header or title at the top and I suggest a contact information line right below that.
I usually put the document title, my name and the date prepared and a “Page X of Y” in a footer. That way you can always check if it’s the correct version that they are quoting on.
Here’s an example of a header with contact line
Artist Name - European Tour 2023 – PA System SpecificationPlease email complete system specs of what you plan to supply to the Artist's Production Manager.
Production Manager, emailaddress@somemail.com. Phone xxx,yyy,zzzz
Sound Engineer, emailaddress@othermail.com Phone aaa,bbb,cccc
Here is an example of a footer
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Artist Name – PA System – Europe Tour 2023 October 5, 2022 Page 1 of 3It’s easiest if you use a word processor to setup a template so that you don’t have to re-invent the page layout every time you need to write a spec. Likewise with Input Lists.
Sections
You can make it easier for your suppliers to understand what you want if you have clearly delineated sections to your spec. If a supplier is only dealing with part of your spec it makes it much easier for them to find what is needed without having to read the whole thing.
My section headers and sub headers usually read like this
Audio System
FOH Mix - Required Equipment
Specific desk brand, model, racks and cabling. Include Multicores
Example Audio System Specification
2. AUDIO SYSTEM REQUIREMENTS
FOH Speaker System
Typical FOH speaker system to accommodate a variety of halls in the 1500 to 5000 seat size. For larger venues please consult with the Artist’s Production Manager. Supply with one fully trained and experienced English speaking system technician.
Typical System
24 Line array speakers – 12 per side main arrays
4 Dual 18" subwoofers or 6 single 18" subwoofers
4 Fill boxes, inner, front & outer
6 Low line lip fill speakers
2 Sets bumpers & rigging hardware to accommodate main array speakers
1 Package of chain motors, motor controller and rigging. Rigging package to include all necessary parts to fly all the house speakers, including fill boxes if necessary. Include spare pins, steel, shackles & necessary hardware for all speakers. Rigging attachment points must each be rated for full load of array. Include safety cables as and where required by local codes. Include sufficient tie lines for orienting all flown speaker arrays.
1 Meyer Galileo DSP, or equivalent, signal distribution and speaker management system. DSP to accept inputs from XLR connectors as either analog or digital signals. For stage mounted DSP supply wired ethernet network access to allow operation from FOH. Software speaker management (e.g. d&b R1 V2 or L' Acoustic Network Manager) is acceptable as long as all EQ, delay and zoning functions are fully accessible and sensibly templated. Supply a laptop computer with correct software versions to control loudspeaker management systems.
1 Lot of all necessary AC power distribution and speaker cabling.
2 Bumper mounted laser pointers and inclinometers (1 per array) to permit accurate main array orientation.
System technician must have complete control of the whole speaker system with the ability adjust the system to suit the artist’s FOH engineer. Supply disto measurement devices to calculate optimum array configuration using manufacturer's prediction software.
Acceptable FOH Speaker Systems
L' Acoustic K2 or Kara. d&b KSL, J or V-Series. Meyer Lion or Leopard. Include all necessary amplification and DSP processing. Smaller enclosures may require higher quantities to be supplied. Other brands and types may be acceptable, please check with us first, do not assume anything.
FOH Mix
Preferred Equipment.
1 Digico SD-12 with D2 or SD Rack, minimum 48*16, with fibre or coax cards. Ensure that current firmware is installed.
1 Set FOH 100m signal mults (fibre or coax). Include copper returns for com and talkback and any required feeds to stage. Include AC power from stage to FOH with minimum 4 free outlets.
Alternates:
1 Digico SD-9 with SD, MADI or D2-Rack and appropriate bridging boxes if required.
1 100m 2 circuit coax or fibre cable set to connect stage rack to FOH.
Other FOH Equipment
1 Shure SM58S switched talkback mic to monitor desk & stage
1 Intercom station with belt pack, standalone strobe indicator light and telephone handset to connect directly with the monitor desk position.
2 Short tripod boom mic stands for system measurement mics
2 each 15m & 30m XLR cables for system measurement
1 Lot short (3m) analog and AES XLR cable and any other required cable for FOH patching and general use. Include a complete set of audio adapters including male & female TRS-XLR, male and female XLR turnarounds, phase reverses and pin 1 lifts. Include suitable music playback patch cables.
Monitor Rig
Down Stage Left setup position. Supply with one fully trained and experienced English speaking system technician who must have complete control and access to the system.
Preferred Monitor Console
Avid S6L digital desk c/w 1 Avid SL64 stage rack, minimum 48x16 configuration. Include working console lamps with spare bulbs, suitable VGA monitor, USB keyboard and mouse. Ensure that the most current firmware is installed.
Alternate Console
Avid SC 48 digital desk with 48 X 16 configuration. Include working console lamps with spare bulbs, suitable VGA monitor, USB keyboard and mouse and 8 TRS-XLR3M and TRS-XLR3F adapters.
Monitor & Stage Audio Equipment
1 48 * 2 transformer isolated splitter with two 25' (8m) mult tails to reach monitor and house stage racks.
1 lot XLR and mult cabling for monitor signal patching, plus suitable spares
7 low profile high power wedge monitors self powered or with amplification/processing for 6 mixes ( Meyer MJF210 preferred, d&b M4 and L`Acoustic X12 are very acceptable)
2 wireless ear monitor transmitters - prefer Shure PSM1000 dual channel
4 wireless ear monitor body packs to match
1 Shure antenna distribution system for ear monitor system
1 Helical Antenna
1 Switched talkback mic - Shure SM58S or similar
1 RF Handheld mic kit complete – Prefer Shure ULXD or Axient.
4 Separate line level audio transformer isolation boxes with XLR connectors and pin 1 lifts.
Include all necessary hardware, power distribution & signal cabling for all monitors and associated equipment along with batteries for ear monitor packs.
Include a complete double set of audio adapters including male & female TRS-XLR, male and female XLR turnarounds, phase reverses and pin 1 lifts.
Microphones, stands, DIs and stage cabling
See attached list for details & distribution of microphones that you supply. We supply some microphones and DI's as indicated on lists. Mic Stands - all black.
Audio Stage Cable
30 20’-25' (6m) mic cables
2 50’ (15m) mic cables
3 12-16 channel stage input boxes (FXLR) with multipin disconnects
3 75' (23m) mult extension cables to match stage input boxes
1 50' (15m) mult extension cables to match stage input boxes
3 12-16 channel multipin fanout to XLRM for stage rack patching
4 ¼” X 3’ (1m) instrument cables
4 ¼” X 10’ (3m) instrument cables
4 75' (23m) Monitor cable sets to match wedges
2 20’-25' (6m) Monitor cable sets to match wedges
2 10’-12' (3m) Monitor cable sets to match wedges
2 230V/120V transformers with US Edison style outlets - 15A output per device
2 US style Edison quad outlet boxes - 50’ (15m)
2 US style Edison quad outlet boxes - 15’ (5m)
Other
All signal distribution must be confirmed in positive phase, clean and free of any ground loops, hums or buzzes.
Rigging hardware must be certified, of a type approved by the speaker manufacturer and installed by an experienced & certified rigger.
Electrical power services must conform to national and local codes and be connected by a certified electrician. Electrical service must have secure service earth and demonstrate zero potential difference between neutral and earth. Generators must be earthed at their location and be bonded to stage and roof structures.
IMPORTANT
Parts of this performance are extremely quiet, Generators need to be placed far enough away as to not be heard on the stage or in the audience. Noisy HVAC systems should be turned off!
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Input List
This is easiest to format as a spreadsheet that can be copy and pasted into your main document.
Example Input List
- Be sure to date your list so you know the show technicians have the correct version when you do your advance phone calls.
- I use Splitter (or Main Rack) input as the definitive stage input patch. Both FOH and Monitor desks may be patched differently depending on each engineers requirements.
- I use shorthand for stands and put a note underneath the patch. Typically SRB, TRB, STB, and TTB for short or tall, round or tripod base stands and clip for Sennheiser 604’s or Beta 98’s that don’t need a physical stand
- I like to include the musicians’ names; it helps the local techs and stage hands when working on stage.
- Comments may be used to indicate which mics or other special pieces you may be supplying yourself.
- A, B, C and D refer to stage patch box cross patch channels. Include “direct to split” if that particular channel is a direct patch.
Stage Diagram
This is another essential piece of information. It doesn’t need to be artistic, named rectangular blocks in an approximate representation of your stage setup is enough.
Show instrument, amplifier
and drum kit positions as well as vocal mic locations and musician names.
Including AC drop box locations and riser locations and dimensions is really
helpful.
Name the downstage, stage left and stage right edges, include monitor desk location and any other stage tech locations (e.g. guitar world). Make sure your stage diagram exactly reflects your input patch. Some people include a short form input list on the bottom of their stage diagram.
Example Stage Diagram
This diagram is from a festival I worked on several years ago, with the artists names redacted.
Final Comments
Having good technical documentation is essential, but it is no substitute for a phone call to advance the show which is best done a couple of weeks in advance.
Have your part organised and together. When you show up on stage to setup bring spare copies of your input list and stage plot. Make sure you have current desk files that correspond to your input list for both monitors and FOH.
Be prepared for desks that do not have the most recent firmware. For digital desks, older firmware will not load files made with more recent versions. I carry files made with firmware that is several years old, just in case.
Be prepared to accept alternates, especially for one off gigs like festivals. If they can’t supply your “must have” desk then you need to build your show with an off line editor for the desk they can supply. I carry files for Digico, Yamaha and Avid desks. There will be rough spots for sure (how do I route to matrix on this desk?) and you’ll probably have to lean on the house mixer or system tech for help.
You should encourage your fellow LIghting, video and backline techs to follow similar guidelines for specifying their parts of the technical specification. In the end these will all get assembled into one master document.
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© Clive Alcock - 2023
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