Chnl Instrument Mike type Mon Mix Processing
1 Kick drum PL-20/sim 1,2,3,4 comp
2 Snare SM-57 1,2,3,4 secondary verb if avail
3 Hat   1,3,4  
4 Rack Tom   1,3,4 secondary verb if avail
5 Flr Tom   1,3,4 secondary verb if avail
6 Overhead SM-91 1  
7 Bass Direct 1,2,3,4 Comp
8 Perc rack tom 1 AKG 414 1,4  
9 Perc rack tom 2 AKG 414 1,4  
10 Conga 1 AKG 414 1,4  
11 Conga 2 AKG 414 1,4  
12 Overhead Perc SM 91 1,4  
13 Guitar Acoustic DI 1,2,3,4  
14 Guitar Electric DI 1,2,3,4  
15 Keys Left DI 1,2,3,4  
16 Keys Right DI 1,2,3,4  
17 Sax SM-57 1,2,3,4  
18 Flute Left DI 1,2,3,4  
19 Flute Right DI 1,2,3,4  
20 Stage Right vox SM-58 1,2,3,4 DDL/verb comp if avail
21 Spot vocal mic SM-58 1,2,3,4 DDL/verb comp if avail
22 Stage Left vox SM-58 1,2,3,4  
23 CD Left line 1,2  
24 CD right line 1,2  
25 FX return Left line 1  
26 FX return Right line 1  

Mics may be substituted for similar mics/industry standard. At NO TIME will SM-58 or similar mics be allowed for instrument use. In the event that a 24 channel maximum mix is available, FX returns will not need to be fed into monitor system or channel returns.

  • Monitor Mix assignments as follows;
  • Mix 1-Douglas Spotted Eagle/Garwood in-ear monitors (mono input)
  • Mix 2-Stage Right/Stage Left mixes
  • Mix 3-Keys, Guitar, Bass
  • Mix 4-Percussion, Drums
  • In the event that more than 4 mixes are available, Keyboards should recieve first priority for separate mix, Percussion secondary priority.
  • Smaller wedges for Stage right/Stage Left positions are HIGHLY desirable, ie: EAW200 series, etc. We try to maintain a low profile for downstage area, as this makes for greater audience view of dancers.
  • Any technical questions should be addressed to Jason "Stix" Hatton at 801-364-4353, or to Native Restoration, 435-882-8494
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