Could you bullet point the pros and cons of this live sound evaluation:

Overall, a competent live sound assessment where you have been able to demonstrate your skills, understanding and processes surrounding live sound to a satisfactory level. As a group you were able to identify and select the microphones listed ion your planning document to ensure that instruments had appropriate microphones based on their characteristics. Placement of the D112 was close to the kick drum to minimise background noise/ spill however the capsule might have been aimed a little closer towards the sound hole to minimise reflections from the kick skin. Overhead microphones were positioned over the drumkit appropriately to ensure that capture was effective, however these could have been positioned a little lower to minimise spill/ background noise from other sound sources on stage. Snare microphone was appropriately angled towards the rim of the snare with the microphone hovering at the edge. I liked how you used the smaller boom microphone stand which was a space saving solution. In terms of health and safety, your microphone stands were set up safely and securely and health & safety was demonstrated well on stage where cables were neatly coiled around microphone stands to avoid trip hazards. You might however have placed an emphasis of tucking cables under the stage where possible to further encourage good health and safety practice. The guitar microphone also could have benefitted from some coiling around the stand as it was trailing across the stage and could, if tripped over, move the placement of the microphone. When it came to the PA configuration, the wiring from the desk to crossover was configured perfectly however the routing from the crossover to the sub amp was backwards where left output went to right speaker. Once this was identified however this was rectified. There was a little bit of confusion on where to plug in the top speakers to the crossover however after rechecking your speaker inputs you were able to identify the correct routing. As a group you were able to demonstrate gain setting fairly effectively where the CUE feature was used to show gain structure before adjusting with the preamp gain control. You did however require some support with the location of phantom power for your condenser microphones however once prompted you were able to set the gain for the OH microphones. Panning was utilised effectively during the assessment to replicate positioning on stage, particularly on the snare and overhead channels. EQ was applied to the kick and snare drum however there was a little hesitation surrounding the application of this where you required some guidance to locate the EQ controls on the desk and apply. When approaching the drum mix, you were able to hear all instruments however the mix was very snare heavy, and the kick drum was not very defined. This could have been amended by bringing the snare down in the mix and maybe also the OH’s as high frequencies travel fairly well and don't need excessive volume. The placement of your onstage monitors was appropriate to the musicians on stage however this required a little prompting from a team member to ensure the positioning was aimed at the musicians and not across the staging. When it came to utilising the monitors, monitor 1 was initially not powered on but this was identified by Mark. You were initially trying to send the vocal signal to auxiliary send 9 and required a prompt that the monitor was via auxiliary send 1.