STUART ROSENBERG: My name is Stuart Rosenberg, and I’d like to welcome to you to the League of Creative Musicians. This is the control room in the studio of the League and we’re happy to have you here.

These are standard NEMA boxes...,

GRETCHEN HASSE: Mmm hmm.

STUART ROSENBERG: ...which you can buy at any electrical supply store, and then we had the panels custom-made and fitted with Neutriks. Here we have the stage mic inputs, and from this position here they’re going from this box under the concrete slab and up to the mix position where we just work. We had to break up the slab because we had to do some plumbing stuff, so while we had the slab open, we put a big plastic conduit so we can run all of our lines that way.

So, in addition to having lines that go directly from the stage to the mix position, we also have lines that go from the stage into the control room, okay? So we can use this room as another tracking room for the control room. And more importantly, by putting a splitter box right here, we can then route everything that happens on stage and go straight back to the DM2000. So, if we’re doing a broadcast for instance, we have a dedicated section of the console and we’ve got 96 inputs back there, so we’ve got a dedicated 32 inputs on the console that are dedicated to what happens on the stage. We just hit a button, it all goes all come up, and we’re able to construct our broadcast mix from whatever is happening on the stage independent of what’s happening at the mix position. So, we can do the live show and a broadcast live show sound or recording simultaneously.

The wiring design was done by Mike Konopka, who’s a wonderful engineer, very smart guy. He does a lot of work with Timothy Powell over at Metro Mobile. The idea here was to try and create something that was neat, that was efficient in terms of space, and because we’re using standard electrical conduit, the NEMA boxes all mount and fit directly to those.