Experience with a wide variety of music, venues, stages and PA systems, integrating systems into venues for the best sound, and troubleshooting gear & acoustics.
Logic Ethos CA/Nd rigs. Good sound quality over a wide area. Even at quiet levels, the sound is very good. As is the ability to go loud when needed — with low distortion & bags of headroom for the very loud bits.
K-Array 202/102 One or two metre long slim-line arrays mounted on 18" subs. Just about the most invisible PA system there is. Perfect for classical, folk and roots amplification. Lovely sound, without the beefier look of traditional systems. The sound quality is maintained over a wide area, and at quiet levels, too unusually. Can go loud, much more so than other 'stick' systems.
LM12 monitors. Fitted with 12 inch BMS co-axial drivers, they give excellent sound, good even coverage & excellent feedback-rejection... and can go loud.
Shure SM58, the natural-sounding Neumann KMS 105, and Heil PR35 for a gutsy powerful sound with superior feedback and stage-sound rejection.
Condensers ~ small and large diameter
Dynamics ~ clip-on, drum, guitar, double-bass, brass
DI boxes ~ passive and active
It needs theory - and practice. Proper mixing needs constant attention, something that's missing at many concerts.
Some examples of normal practices; these can confuse & annoy concert-goers
* Cutting excess bass when the talent is talking close to the mic between songs
* Taking most of the reverb off when the talent is talking between songs
* Muting channels not actively used
* Different parts of songs/pieces needing a different feel - just like CDs
* Catching and fixing any incipient 'bloom', before feedback
* Making sure acoustic acts sound real - and that includes not too loud