Setup instructions

Team tasks with drawing sheets, commissioning, safety and pack-up.

Setup teams and handoffs

Thank you for helping with the assembly setup on Saturday, 10 October. This is the best page to start from. Find your team below, then open that team's page for the detailed instructions.

Before setup:
Everyone helping with installation or dismantling — including helpers who are not normally part of A/V — should download and review A-149-E (PDF). Each A/V keyman will also review the team's DC-83 job hazard analysis before work begins.

Key times for Saturday

Find your team

Your team page has the drawings and step-by-step instructions.

Come prepared: Wear suitable work shoes and bring work gloves. Follow your keyman's instructions if additional PPE is needed.

If you are also helping with Friday delivery or unloading, see Friday transport and Saturday installation.

If you are unsure which team you are on, please ask JP before starting work.

How teams help each other

Start early on the booth power, 30 m AMC-3 audio multicore (snake) cable, the six passive loudspeakers with their speakON cables, and the Stage team's XLR microphone cable runs. This lets testing begin while smaller tasks are still being finished.

When your team is finished: Stage, Loudspeakers and Power should check with Lacey and help Audio Cabling with the remaining cable work until it is ready for testing.

Keep exits and walkways clear, protect every floor crossing, and ask your keyman if anything in the room does not match the current drawing.

For Sunday, use the confirmed dismantling teams and instructions. Follow the teardown safety meeting and your dismantling keyman.

Schematics and equipment overview

The CABR-2026 schematic is the drawing set for this assembly. Download the full PDF. The October BOM is the equipment list.

If you are a crew member, you do not need to memorize this page. Follow your keyman and your team's short instructions. Keymen use the exact measurements and connections below.

Important:
If the room does not match the drawing, stop and tell JP or Alex. Do not change the design on your own. Any change that affects the approved design must be confirmed through LBD.

Sheet

What it shows

Main teams

1-1

Seating and six passive-loudspeaker positions

Loudspeakers, Audio Cabling, A/V Booth

4-1

Stage microphones, monitors and power routes

Stage, Power, Audio Cabling, Loudspeakers

6-1

A/V booth and audio connections

A/V Booth, Audio Cabling, Stage

6-2

Passive and active loudspeaker connections

Loudspeakers, Audio Cabling, Power

View Sheet 1-1 — seating and loudspeakers

Sheet 1-1 seating and loudspeaker layout

View Sheet 4-1 — stage area

Sheet 4-1 stage area

View Sheet 6-1 — A/V booth wiring

Sheet 6-1 A/V booth wiring

View Sheet 6-2 — loudspeaker wiring

Sheet 6-2 loudspeaker wiring

Heavy cases

Case

Main contents

Weight / handling

AHEC-2/1

Audio rack

25 kg — use a helper

PLS-1

Six passive loudspeakers

150 kg, wheeled — Trucking help on Friday

TP-1

Six speaker tripods

100 kg, wheeled — Trucking help on Friday

ALS-4

Four active loudspeakers

50 kg, wheeled

SES-1

Ten 5 kg sandbags

50 kg total — unload one at a time

MS-1

Microphone stands

30 kg, wheeled

PCS-2

Power equipment

50 kg, wheeled

CPS-1

Cable covers and mats

60 kg, wheeled

Any case over 20 kg needs enough helpers. Roll wheeled cases and close all latches before moving them.

Keyman reference

Item

Arrangement

Passive speakers

Six on TP-1 tripods, about 5° down; normally 2.5 m high, except SPK-1.2 at 2.4 m.

Stage monitors

Two active speakers fed from AMC-3 return A by  XLR cable.

Lobby and Accounting

Two active speakers fed from AMC-3 return B by  XLR cable.

Microphones

MIC-1–4 use  XLR cables  to AMC-3 inputs 1–4; the venue wireless receivers use  XLR cables  to inputs 5–6.

Media computers

Each PC connects to its AIF by  USB cable; AIF-1 connects to AMC-3 input 7 by  XLR cable, and AIF-2 to input 8 by  XLR cable.

Projectors

PC-1 HDMI cable to the venue HDMI extender transmitter.

DSP outputs

XLR cables:  DSP output 3 to AMC-3 return A; output 5 to return B. Output 4 is not used.

The venue also provides at least two wireless microphones and the HDMI extender. Alex arranges the two media computers. These items are not in the BOM.

Friday transport and Saturday installation

Friday, 9 October

Friday crew: JP, Zabrina, Mike Vigil and Lilia Vigil list Friday availability. Lacey Cox is also confirmed to help with unloading.
Trucking contact: Korawat Sungmongkol, Trucking and Equipment overseer.

Time

What happens

16:30

Safety briefing at the venue (6th floor), led by Trucking; time tentative.

16:45

Kingdom Hall truck delivery. Help move the equipment to the 6th-floor hall.

17:45

Bethel (LBD) A/V truck delivery. Count the cases against the  October BOM.

Case handling:
Close all latches before moving a case. Roll wheeled cases on a clear route, use the lift, and use enough helpers for loads over 20 kg or bulky items. Wear work shoes and gloves. Move the PLS-1 and TP-1 cases with Trucking’s help. Store the cases together, closed and clear of exits in the 6th-floor hall overnight.

If a case is missing or damaged, tell JP. Photograph damage and report it to LBD: 02-821-6620 · InboxLBD.TH@jw.org.

Saturday, 10 October

Time

What happens

08:00

Safety talk and prayer, led by JP. Each keyman then reviews the team's DC-83 and the work area.

After the talk

Power, Audio Cabling, Loudspeakers, Stage and A/V Booth begin together.

Morning

Keymen guide the work. Keep exits clear and protect every floor crossing.

By 12:00

Setup is handed to Alex for commissioning, microphone adjustment, sound checks, media tests and projector tests.

By 14:00

Have the AHEC commissioned so attendees can enter.

The priority is to make the booth power, 30 m AMC-3 audio multicore (snake) cable, six passive loudspeakers with their speakON cables, and XLR stage-microphone cables ready early enough for testing.

Team pages: Audio Cabling · A/V Booth · Loudspeakers · Stage · Power

Audio cabling

Keyman 🔑 Crew
Lacey Cox Ruben Martinez; Zabrina Bourgeois; Karina Li; Layo Kirby; TaSanee Kirby; Meyana Barnhart; Ittikorn "Joeu"; Pinja Keskinen; Bethany Mundell; Sebastien Machez

Your team routes, labels and protects the main audio cabling.

Routing and handoff:
Audio Cabling delivers labelled cable ends; the receiving team makes the equipment connections. Stage owns the on-stage XLR microphone cable runs, and Power owns mains cables.

Before starting, meet Lacey, review the team’s DC-83, and open the schematics.

DC-83 — Saturday morning safety review

Reviewed by Ralph Ord on 5 October 2026. Open the final PDF.

Final Audio cabling DC-83, reviewed by Ralph Ord on 5 October 2026

Safety:
Roll heavy cases and use helpers for loads over 20 kg; wear work shoes and gloves. Keep equipment switched off while pulling the multicore cable. Keep exits and walking paths clear. Accounting is beside the baptism area: agree that route with the Baptism overseer and keep cables and connectors away from wet floors.

🔌 Connector quick reference — speakON / XLR

Open this only if you need help identifying the cable ends.

speakON cable connector XLR cable connectors — male and female

Audio Cabling reference — annotated Sheet 1-1. This edited view adds cable routes and stage monitors specifically for the Audio Cabling team; these annotations are not included in the original schematics PDF. Use the original schematics for the full technical drawing set.

Annotated Sheet 1-1 for Audio Cabling, with cable routes, stage monitors and cable-type legend

🗺️ View venue layout — departments and room orientation

Use this only to orient yourself to departments, partitions and room features. Use the CABR schematics for A/V placement.

Imperial World Samrong circuit assembly venue layout showing departments and partitions

🔌 View Sheet 6-2 — loudspeaker wiring and splitters

CABR-2026 Sheet 6-2 showing LSCS-01 and LSCS-02 speakON splitters and loudspeaker wiring

What your team does

  1. Coordinate the pull with Lacey. Carefully lay the 30 m AMC-3 audio multicore (snake) cable from stage to booth; avoid sharp bends, protect connectors, and leave both ends ready for Stage and A/V Booth.
  2. Run the labelled speakON loudspeaker cables to the six passive-speaker positions. LSCS-01 is the front-group speakON splitter; LSCS-02 is the rear-group splitter. Leave enough slack and hand each speakON cable to Loudspeakers before the speaker is raised.
  3. At the stage end of the AMC-3 audio multicore (snake) cable, the two XLR return lines come out as return A and return B. Route return A to the stage monitors and return B to the lobby and Accounting. Label and protect the runs, then leave the cable ends for the Loudspeakers team to connect to the active speakers.
  4. Make the MIC-1–4 XLR cables and AMC-3 handoff ready for Stage. Confirm their routing to AMC-3 inputs 1–4 and labels are complete; help if needed.
  5. Run labelled XLR cables from the venue wireless-receiver location to AMC-3 inputs 5–6, ready for A/V Booth to connect.
  6. Protect floor crossings with CPS-1 cable covers/mats or CPS-3 carpet. Inspect the edges for raised or loose areas before handing over the runs. Help trace any cable that fails its test.

Extra help: When Stage, Loudspeakers and Power finish their own work, they should check with Lacey and help Audio Cabling with the remaining cable work.

Cable routing reminders

For the keyman

Run Route Drawing
AMC-3 30 m AMC-3 audio multicore (snake) cable: stage box → AHEC-2 at the booth 4-1, 6-1
Front speakers speakON cable: Amplifier A → LSCS-01 (speakON splitter) → SPK-1.1 / 1.2 → 1.3 1-1, 6-2
Rear speakers speakON cable: Amplifier B → LSCS-02 (speakON splitter) → SPK-2.1 / 2.2 → 2.3 1-1, 6-2
Stage monitors XLR cable: AMC-3 return A → Stage Left → Stage Right 4-1, 6-2
Lobby / Accounting XLR cable: AMC-3 return B → Lobby → Accounting 6-2

When the protected routes pass their tests, tell Lacey and Alex. For teardown, follow the confirmed dismantling teams and instructions: wait for the audience to clear and the briefing to finish, confirm power is off, then coil and inventory the cables.

A/V booth and commissioning

Keyman 🔑 Crew Audio overseer
Micah Phillips Mint Phillips; Brendan Coonce Alex Li

Your team sets up the audio rack and the two media computers, connects the venue wireless microphones and projector link, and helps Alex test the complete system.

Media-computer plan: Alex will bring one laptop; Yuri Chaplygin will bring a second laptop as the backup.

Before starting, meet Micah, review the team’s DC-83, and open Sheet 6-1 in the schematics.

DC-83 — Saturday morning safety review

Reviewed by Ralph Ord on 5 October 2026. Open the final PDF.

Final A/V booth DC-83, reviewed by Ralph Ord on 5 October 2026

Safety:
Keep cases latched while moving them; use wheels and a helper for the 25 kg AHEC-2/1 case. Set equipment on stable surfaces and keep the operator route clear. Keep systems switched off while making connections.

Current CABR-2026 Sheet 6-1 — audio headend wiring

CABR-2026 Sheet 6-1 showing AHEC-2, AMC-3, wireless receivers, media interfaces, media computers and projector HDMI transmitter connections

What your team does

  1. Set up the AHEC-2 audio rack and the two media computers at the A/V booth.
    🗺️ View Sheet 1-1 — A/V booth location

    CABR-2026 Sheet 1-1 showing the A/V booth location within the seating area

  2. Check the labels and connect the booth/headend ends of the 30 m AMC-3 audio multicore (snake) cable, speakON passive-speaker output cables and XLR active-speaker return cables as Sheet 6-1 shows. Audio Cabling delivers the ends; the receiving teams connect their equipment.
  3. Connect each media computer to its AIF by USB cable. Then run an XLR cable from AIF-1 to AMC-3 input 7 and another XLR cable from AIF-2 to input 8. Label both ends.
  4. Collect the venue wireless microphones and receivers. Audio Cabling brings the XLR cables to the receiver and AMC-3 locations; connect the receivers to AMC-3 inputs 5–6.
  5. Connect the PC-1 HDMI cable to the venue’s HDMI transmitter. Label the cable and secure it and the transmitter.
  6. After all connection checks, Jeff Korell inspects the cords and connects booth power. Confirm final speaker positions with Corey and Alex before the sound check and keep them unchanged afterward. Micah and Alex switch on, test at low level and commission the system; test the projectors with venue staff.

For Micah, Alex and the operators

Signal Connection / starting point
PC-1 / PC-2 audio USB cable from each PC to its AIF; XLR cables from AIF-1 / AIF-2 to AMC-3 inputs 7 / 8. AIF Mono on; Ground Lift off; gain about 11 o'clock; media-player volume 100%. Fine-tune during the sound check.
Wireless microphones XLR cables: venue receivers → AMC-3 inputs 5–6; adjust carefully for feedback.
Passive speakers speakON cables: amplifier output A to the front group; output B to the rear group.
Stage monitors XLR cable: DSP output 3 → AMC-3 return A → stage monitors.
Lobby / Accounting XLR cable: DSP output 5 → AMC-3 return B → lobby / Accounting. Output 4 is not used.

Keep food and drinks away from the equipment tables. Personal devices can cause noise, so keep them away from audio equipment if interference is heard.

Use approved media and keep files and outlines private. Get Alex’s approval before connecting the media computers to the internet. Display the theme artwork before each session, during lunch and for about 30 minutes after the program. After the event, delete the media and outlines from both computers as directed.

Commissioning the AHEC-2

For the full commissioning procedure, open CO-160a and go to Chapter 3 → Audio Headend → AHEC-2, pages 3–4 → “Commissioning an Audio Installation.” The points below are only a quick guide.

  1. Connect to the DSP. Use a laptop with an Ethernet port or adapter and an Ethernet cable. CO-160a shows the network settings and how to connect with the DLM System Control Editor.
  2. Load the starting preset. Use the LBD preset or the venue/event preset if one is available.
  3. Test each output zone. Use the approved audio test material and confirm that each output feeds the correct loudspeakers. If an output does not match Sheet 1-1 or 6-2, stop and correct the connection with Alex before continuing.
  4. Check delays and levels. Use the click track to listen where front and rear zones overlap. Then balance the zones with pink noise and an SPL meter. CO-160a sets 82 dB-SPL as the maximum target at the seats closest to a loudspeaker.
  5. Make speech clear and stable. Have several people read at the main microphone. Follow CO-160a to improve speech intelligibility and reduce feedback without making voices sound unnatural.
  6. Finish the whole-system test. Confirm both media computers, all microphones, every loudspeaker zone, stage monitors, lobby/Accounting feeds and the projector link. Save the final DSP settings when commissioning is complete.

Before attendees are admitted, Alex and the operators should listen from several seating areas and agree on a simple backup plan for a failed microphone or computer.

Follow the confirmed dismantling teams and instructions. After the audience has cleared and the safety meeting has finished, Micah leads system shutdown; Jeff isolates and disconnects power before the booth team unplugs cables. Latch and inventory the cases, and return venue equipment to venue staff.

Loudspeakers

Keyman 🔑

Crew

Corey DeLoach

Melissa DeLoach; Mike Vigil; Lilia Vigil; Mike Mundell; Malachi Jenkins

Your team places and aims six passive loudspeakers, two stage monitors and the active speakers for the lobby and Accounting.

Before starting, meet Corey, review the Loudspeakers DC-83, and open Sheets 1-1, 4-1 and 6-2 in the schematics.

DC-83 — Saturday morning safety review

Reviewed by Ralph Ord on 5 October 2026. Open the final PDF.

Final Loudspeakers DC-83, reviewed by Ralph Ord on 5 October 2026

Safety:
Use two people to mount or remove a loudspeaker. Wear hard hats while working with raised speakers. Keep hands clear of moving parts. Connect the speakON cable before raising, and check every lock is secure before letting go.

🔌 What a speakON connector looks like

speakON cable connector

What your team does

  1. With Corey, mark the six passive-speaker positions from Sheet 1-1. Keep exits and walking paths clear.
  2. Set up the passive speakers using the quick guide below; complete each as far as practical before moving on.
  3. Place the two stage monitors on the stage floor as shown on Sheet 4-1. Agree the exact positions with Stage.
  4. Place the lobby and Accounting active speakers on stable surfaces near safe wall sockets. These speakers do not use the passive-speaker tripods.
  5. For all active speakers: the labelled XLR return cables start at the stage end of the AMC-3 audio multicore (snake) cable. Return A feeds the stage monitors; return B feeds the lobby and Accounting. Audio Cabling routes and labels these runs; your team connects them to the active speakers. Power handles mains connections. Confirm both handoffs and final positions with those teams before final placement and testing. Keep connections accessible and cables clear of walking paths and wet areas.
  6. Test every speaker with A/V Booth and walk the seating area with Alex. Adjust audio levels only as directed.

Set up each passive loudspeaker — CO-160a quick guide

These steps come from CO-160a Chapter 3, Tripods (TP-1), pages 5–6, Figures 58–59. Use the current CABR-2026 drawings for the actual speaker position, height and aiming.

Current CABR-2026 Sheet 6-2 — loudspeaker wiring

CABR-2026 Sheet 6-2 showing passive and active loudspeaker wiring

1. Open and secure the tripod — Figure 58

📘 View CO-160a Figure 58 — TP-1 tripod

CO-160a Figure 58 showing TP-1 tripod setup and controls

2. Mount and aim the loudspeaker — Figure 59

📘 View CO-160a Figure 59 — tilt/angle adapter

CO-160a Figure 59 showing the loudspeaker tilt-angle adapter

3. Connect the speakON cable before raising

4. Raise and lock the tripod — Figure 58

For the keyman

Group

Position and height

Aim — about 5° down

Front: SPK-1.1, 1.2, 1.3

About 4 m from the first row; normally 2.5 m high, with 1.2 at 2.4 m

Toward sections A, B and C

Rear: SPK-2.1, 2.2, 2.3

About 3.5 m from the first row; 2.5 m high

Toward sections D, E and F

If a raised speaker is above a walkway, keep at least 2.1 m clear underneath or use a barrier.

When your speaker work is finished: Check with Lacey and help Audio Cabling with the remaining cable work.

Roll the heavy PLS-1, TP-1 and ALS-4 cases with enough helpers. See Safety, dismantling and references for Sunday’s confirmed assignments and sequence. Wait until the audience has left, power is off and the teardown briefing is finished. Lower the tripod completely before two people remove the loudspeaker.

Stage and microphones

Saturday stage setup

Keyman 🔑 Crew Stage overseer
Jason Kirby Gerald Berard; SuMalei Kirby; Matthew Chappelle; Cameron Korell Jeff Korell

Your team prepares the stage microphones and stands, runs the on-stage XLR microphone cables, and helps participants use the microphones correctly.

Before starting, meet Jason, review the team’s DC-83, and open Sheets 4-1 and 6-1 in the schematics.

DC-83 — Saturday morning safety review

Reviewed by Ralph Ord on 5 October 2026. Open the final PDF.

Final Stage and microphones DC-83, reviewed by Ralph Ord on 5 October 2026

Safety:
Watch the stage edge and keep access clear. Coordinate with Power and Loudspeakers in the shared work area. Roll the 30 kg MS-1 case with helpers and wear work shoes. Keep equipment switched off while connecting the XLR cables.

🔌 What XLR connectors look like

XLR cable connectors — male and female

Main reference — Sheet 4-1. Use it for microphone, lectern and stage-monitor positions and on-stage cable routes.

CABR-2026 Sheet 4-1 showing stage microphones, lectern, stage monitors and stage cable routes

What your team does

  1. Remove old or loose tape and mark the stage edge. Confirm the lectern, participant and microphone positions with Jeff.
  2. Run the four XLR microphone cables between AMC-3 inputs 1–4 and the microphone positions. Confirm the handoff, routes and labels with Audio Cabling; ask for help if needed.
    • If the XLR cable has attached Velcro, open it and roll the cable off; do not remove the Velcro.
    • Route the XLR cables neatly along the stage edge and away from participant walking paths.
    • Where practical, do not run XLR audio cables parallel to power cables. If they must cross, cross at right angles.
    • Use only small pieces of tape where needed, and use proper cable protection anywhere an XLR cable crosses or enters a walkway.
    • Label each XLR cable at the AMC-3 end and again near its microphone position.
  3. Connect each XLR microphone cable to its assigned AMC-3 input (1–4) and to the matching microphone before mounting the microphone. Set each stand firmly and tape the cable flat, away from the stage edge.
  4. Agree the two stage-monitor positions with the Loudspeakers team.
  5. Check stand stability and cable slack, then test every microphone position at low level with Alex and A/V Booth. Train the stage assistants on microphone placement and handoffs, including the venue wireless microphones.
  6. Attend the program walk-through and follow the S-343 Stage Layout for chairman microphone positions, participant entry and exit, interviews, demonstrations and other stage cues. Before each participant goes on stage, give the required reminders from CO-160 Appendix F and confirm where the participant should stand or sit.

Sunday program assignments

PositionMorningAfternoon
Stage key manJason KirbyMatthew Chappelle

Chairman side mic (Stage right)

Gerald Berard

Corey DeLoach

Chairman side headset (Stage right)

Jason Kirby

Matthew Chappelle

Participant side mic (Stage left)

Ruben Martinez

Josh Norton

Participant side headset (Stage left)

Mike Vigil

Jeff Korell

Microphone positions

Microphone Position AMC-3 input
MIC-1 Lectern 1
MIC-2 Floor stand beside the lectern 2
MIC-3 and MIC-4 As Jeff directs 3 and 4
Venue wireless microphones Roving use as assigned Receivers on 5 and 6

Baptism arrangements and the exact positions for experiences are confirmed at the program walk-through.

When your stage setup is finished: Check with Lacey and help Audio Cabling with the remaining cable work.

Sunday dismantling

Stage dismantling keyman: Jeff Korell. Crew: Gerald Berard, SuMalei Kirby, Matthew Chappelle and Cameron Korell. See the full dismantling team roster. Wait for the audience to clear and the teardown briefing to finish; confirm power is off. Work back from the stage edge while removing microphones, tape and stands, and inventory the equipment as it is packed.

Power distribution

Keyman 🔑 Crew
Jeff Korell April Korell

Your team safely runs mains power to the A/V booth, the stage, and the active loudspeakers. Audio Cabling handles audio cables.

Before starting, review the team’s DC-83 and Sheet 4-1 in the schematics.

DC-83 — Saturday morning safety review

Reviewed by Ralph Ord on 5 October 2026. Open the final PDF.

Final Power distribution DC-83, reviewed by Ralph Ord on 5 October 2026

Main reference — Sheet 4-1. Use it for venue outlets, stage power, stage monitors and the route to the A/V booth.

CABR-2026 Sheet 4-1 showing stage equipment, venue outlets and power routes

Safety:
Roll the 50 kg PCS-2 case on a clear route with helpers; wear work shoes and gloves.

Electrical work: Only a qualified person performs panel work or other work requiring a qualification. Never alter an equipment ground. Set aside damaged cords, avoid overloaded circuits, and keep power away from the baptism area and wet floors.

What your team does

  1. Confirm the two approved venue outlets on Sheet 4-1 and verify supply ratings against the expected loads. Agree routes with Stage and Audio Cabling before laying mains cables through their work area.
  2. From the left outlet, run the booth supply along the stage front and down the centre route to the A/V booth.
  3. From the right outlet, run power for stage equipment, including both stage monitors. Coordinate final connections with Stage and Loudspeakers.
  4. Confirm safe wall sockets for the lobby and Accounting speakers; run their mains supply and coordinate final connections with Loudspeakers.
  5. Protect every floor crossing and inspect circuits, routes and cover edges; keep exits and participant paths clear. Tell the teams before energizing any supply. Jeff connects booth power only after A/V Booth’s connection checks.
  6. When power work is safely complete, check with Lacey and help Audio Cabling with the remaining cable work and floor crossings.

Where practical, keep mains power separate from audio cables; cross at right angles where they meet.

The venue wireless receivers at the stage may also need power; confirm this with the venue technician.

Follow the confirmed dismantling teams and instructions. After the audience has cleared and the safety meeting has finished, let the teams shut down their equipment. Jeff isolates and disconnects power before cords are removed. Use a qualified person for panel work and inventory the power equipment.

Safety, dismantling and references

Your safety matters more than any deadline. The detailed guidance is in CO-160 Chapter 6, A-149, and each team's DC-83 job hazard analysis.

Contact Name / information
Emergency 093-019-4124 — Bo Nielsen, assembly overseer
First aid First Aid desk — Kye Hadley
Safety overseer Ralph Ord

During delivery and setup

Sunday dismantling

Use the dismantling teams below and follow your keyman after the teardown safety meeting.

Dismantling teamKeymanCrew
Cabling (Video and Audio)Lacey CoxRonan Gav Budd; Ruben Martinez; Layo Kirby; TaSanee Kirby; Meyana Barnhart; Marcel Lewandowski; Adam Brier; Kassander Jensen; Pinja Keskinen; Yuri Chaplygin; Bethany Mundell; Sebastien Machez
A/V BoothMicah PhillipsMint Phillips; Dern; Brendan Coonce
StageJeff KorellGerald Berard; SuMalei Kirby; Matthew Chappelle; Cameron Korell
LoudspeakersCorey DeLoachMelissa DeLoach; Mike Vigil; Lilia Vigil; Mike Mundell; Malachi Jenkins
PackingJason KirbyZabrina Bourgeois; Karina Li; April Korell

Cabling: Also gather the rugs used to secure cable runs.

  1. Note the actual program end. Let the audience leave. The teardown safety meeting and prayer begins 30 minutes after the actual end; wait for it before starting.
  2. The meeting leader will name the teams, keymen, packing area and work order. Shut down equipment; Jeff isolates and disconnects power before anyone unplugs cables.
  3. With two people wearing hard hats, lower each tripod completely before removing its loudspeaker. Remove stands, microphones, cables and covers without creating trip hazards. Return venue equipment to venue staff.
    • Coil XLR cables and other audio cables neatly. Do not wrap them around your elbow; avoid twists and sharp bends, and keep any attached Velcro with the cable.
  4. Bring every item to the packing area. Packing checks each item against the October BOM before cases go to the truck. Put each item back in its correct box; cable colour tags match the box. Before leaving, make one quick check of the work area for anything left behind.
  5. Report and photograph damage. Close every latch, and strap wheeled cases in the truck rather than relying on the wheel locks.

Thank you for your loving support and careful work.