ORGANIZED GRIME
Stage plot + Input list · Transcendental Southern Psych-Fi · Hattiesburg, MS
Stage Plot
Audience perspective · Stage 16′ W × 20′ D (ideal) · 4-piece instrumental
Quick Specs
Input List · 21 Channels
| Ch | Source | Mic / DI | Stand | +48V | Notes |
|---|---|---|---|---|---|
| Drums | |||||
| 1 | Kick drum | Beta 52A / D6 / B91 inside | Short boom | — | Yamaha EAD5 module on kit; onboard kick mic available if needed |
| 2 | Snare top | SM57 / Beta 57A | Short boom | — | |
| 3 | Snare bottom | SM57 | Short boom | — | Optional / engineer's discretion |
| 4 | Hi-hat | SM81 / KSM137 / KM184 | Tall boom | +48V | Optional |
| 5 | Rack tom | e604 / MD421 / Beta 98 | Clip | — | |
| 6 | Floor tom 1 (high) | e604 / MD421 / Beta 98 | Clip | — | |
| 7 | Floor tom 2 (low) | e604 / MD421 / Beta 98 | Clip | — | |
| 8 | Overhead L | KSM32 / KM184 / C414 / SM81 | Tall boom | +48V | Matched pair preferred (2 crashes, 1 ride) |
| 9 | Overhead R | KSM32 / KM184 / C414 / SM81 | Tall boom | +48V | Matched pair preferred |
| Bass | |||||
| 10 | Bass DI | Post-EQ DI from Rumble 500 | — | — | Passive bass; active DI fine. Use amp's XLR DI out or external DI |
| 11 | Bass cab (optional) | RE20 / MD421 / SM57 | Short boom | — | Engineer's choice; cab is Fender Rumble 500 stack |
| Guitar | |||||
| 12 | Guitar amp | Royer 121 preferred · SM57 OK | Short boom | — | Mesa Boogie Express 5:50; single 12" speaker |
| Keys | |||||
| 13 | Keys L (FOH) | XLR from Radial KL-8 Main L | — | — | Stereo strongly preferred; mono fold-down OK if channels tight |
| 14 | Keys R (FOH) | XLR from Radial KL-8 Main R | — | — | Carries Nord Electro + Moog + any laptop synth patches |
| Leslie | |||||
| 15 | Leslie top L | SM57 | Tall boom | — | Primary top mic — rotary horn |
| 16 | Leslie top R (optional) | SM57 | Tall boom | — | Second top mic in X-pattern at 90° — pair preferred but 1 mic OK |
| 17 | Leslie bottom | MD421 / Beta 52A / RE20 | Short boom | — | Rotary bass drum |
| Vocals | |||||
| 18 | Vocal — Matt (Guitar) | SM58 / Beta 58A | Tall boom | — | Banter + occasional group vocal/noises |
| 19 | Vocal — Marc (Bass) | SM58 / Beta 58A | Tall boom | — | Banter + occasional group vocal/noises |
| 20 | Vocal — Dell (Keys) | SM58 / Beta 58A | Tall boom | — | Banter + occasional group vocal/noises |
| 21 | Vocal — Andy (Drums) | SM58 / Beta 58A | Tall w/ clamp | — | Banter + occasional group vocal/noises |
Minimum Channel Configuration
If channel count is constrained, the band can deliver a full show on as few as 11 channels (with Leslie): Kick, Snare top, OH L, OH R (4), Bass DI (1), Guitar amp (1), Keys L/R (2), Leslie top + bottom (2), and one shared talkback vocal (1). If channels are very tight, the Leslie can be omitted entirely, bringing the floor to 9 channels.
Engineer Notes
All mic models listed are preferred — engineer substitutions are welcome and expected. Phantom power requirements (+48V) apply only to the condenser overheads and hi-hat. Bass DI can come from the amp's rear-panel XLR out (pre/post-EQ switchable on the Rumble 500) or from a stage-supplied active DI. The bass is passive; either works.
Keys FOH feed is a balanced stereo XLR pair from the Radial KL-8 — mono fold-down is acceptable if channels are tight but stereo is strongly preferred to preserve the Nord + Moog blend. The Leslie is a real rotary cabinet (no simulation); standard 2× SM57 top in an X-pattern at 90° + 1× MD421 bottom is ideal, but a single top mic is workable.
The Yamaha EAD5 module on the drum kit provides an onboard kick mic and ambient-stereo capture — available as a backup or for in-ears if needed.