Okay, the labeling process as far as the inputs are concerned, consists of four labels for each input device that is for each microphone or DI box. These labels are used as follows one for each end of the XLR that connects the sub box to the actual microphone or DI box itself. One for the microphone or DI box and one for the tail that is plugged from the remote box into the mainstage box which will look something like this. Obviously, before we start, we need to remove the old labels. This is going to be the cable for the kick drum out microphone which would be this one To be 252 and the kick drum in microphone, which would be this one which is a lovely Sennheiser. No, no one removes the out labels first from the microphones and the cables like so.
Okay, so we would start with the mic cable, the appropriate input device, a sharp knife with which I'm going to cut the tape. So we now have four lights labels for each one of these two kick drum microphones. So this is the output microphone to be 250 to first label the microphone then biocentrism Cable like so. As you can see, this cable is now clearly identifiable by things. When you have 24 or so plugged into a stage box, it makes life an awful lot easier. And this fourth label will go on the appropriate tail.
This will plug into the appropriately numbered XLR tile here which is in this case going to be number two. It's one other small thing I should explain whilst I have this breakout in my hand. six and nine can very easily be confused because as you can see, these labels can be read from either way up. For example, Particularly number eight, it doesn't matter. But the number six and nine do There are several ways of getting around this problem. As you can see, with this particular loom, the people have anticipated that this might be a problem, and six and nine are actually printed.
There it is. Now you go you can see quite clearly there are six and nine, so there is no possibility of there being any confusion whatsoever. There is another method and that is to put a little.in the bottom right hand corner in order to differentiate between them, for example, this would be a number six and that would be a number nine. Again, as you can see, they're quite clearly the little dot there which is always in the bottom right hand corner makes it quite clear which way up it should be therefore preventing any confusion. Okay, DI box labeling, just to be very specific about this, not only should one right on the type label the source or the instrument that the DI box is being used for, for example, a keyboard but also in order to make sure that you can recall the switch settings as you can see we have a phase reversal low cut switch and a ground left here.
Now it is quite possible that you're going to need to change the settings if we choose to use this DI box for a subsequent Act. The way that I do it in case of a DI box which has switches that are either on or off is just using arrows on the type here. biggest possible so they're nice and clear. You can see this way all three of these switches are in the up position as the switches as you can see, and the arrows to indicate which way around they should be. This not only serves as a useful way of actually recording changes between the settings for different acts. It also serves as a reminder to check the DI boxes when you're putting them back to their original settings.
Because it's very easy to overlook one of these little switches and it can make a very significant difference during the first tune of the show. Particularly if it is for example, a pan switch it can mean a difference of 20 Db in the signal, which can be really quite embarrassing. If it happens to be the wrong way around. Something comes at you 20 Db louder than you'd wanted it to come. I surprised most of us over the years. So it's a really good idea to make sure that you get the switches back the way that they were originally.