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Their unique sound reflects their influences, which range from The Beatles and Stones, to STP, Weezer, Bob Marley, Sublime, Thin Lizzy, Metallica, Radiohead, Bon Jovi and even Steely Dan. Peckers”) and 4 singles of original music. The band has successfully released two albums (“Garage Boys” & “Sgt. The band has been consistently booked over 275 shows inn a calendar year. They have also performed internationally in Ireland and the United Kingdom. The band is constantly touring nationally, in states such as Nevada, Texas, Oklahoma, Wyoming, South Dakota, Arkansas, Utah and California. Overall, they have been hired to perform at 16 out of the 28 famous Las Vegas Strip Casino venues.

In addition, they also have been the house band at Harrah’s Las Vegas Carnival Court. They are regular performers on the Fremont Street Experience stages. During the Garage Boys 15 years together, the band has become a staple in the Las Vegas entertainment community. Who can blame them it’s a tough industry. Most bands pack it in after a few months…a year tops. The band has also been nominated for Best Local Rock Band by Vegas Rocks Magazine. They have also been featured in Pop Vulture, Rock Thiz and Rock on Request Magazines.

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Their accomplishments have been featured on local Las Vegas Rock KOMP radio station, podcasts, and Channel 13-Morning Blend TV station. They have performed as opening acts for internationally known artists, such as Vanilla Ice, Toby Keith, Sammy Hagar, Puddle of Mud, Aaron Tippen, Mark McGrath and Mark Chesnutt, Ronnie Milsap, Andrew Dice Clay, Steel Panther and many more. The Garage Boys have stood the test of time touring, recording and performing in just about every circumstance known to all band kind. Little did they know that seven years later they would be hailed as one of the most exciting and sought after rock bands in Nevada. The Tony Marques Band is another showcase of local talent that blurs the lines between country and rock.Only a few miles from the Las Vegas strip in June of 2007, four guys, that had never met, rehearsed for the first time in a beat up old studio. Local talent includes bands Pizzo put together himself expressly for the stages such as a genre-jumping rock group called Alter Ego, and Crush. Headliners this summer will include Sugar Ray, Collective Soul, and Cheap Trick. It can’t get much simpler and quicker than that.”īeyond fulfilling his role as production manager for the street, he also books the nightly talent for each of the stages.

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“The stage techs simply patch whatever is needed for an act,Īnd then a single Ethernet cable carries the signals over to the house mix “Changeovers are now faster thanĮver,” Pizzo says. Offers 16 XLR inputs and eight XLR outputs. Patching is performed via A&H DX168 stage box expanders, each of which

Before long, however, each started adding their own custom Initially every operator started with the same basic workflowĬonfiguration. While rotary controls have been given over to effects and compressor parameterĬhanges. Soft keys on each board are used for groups, delay taps, and VCA mutes, VCAs, aux masters, matrixes, and other things that don’t get touched that Moving down a layer, you’ll find secondary Left for drums, bass, guitars, tracks, keys, and vocals, and then move back toĬenter from the right with effects returns and DCA masters.

Layers start at the top with inputs coming from the Mixes can be dragged and dropped to any strip on the board with customizableĬolor-coding and naming. Stage, each operator can spread out further on their console. With the SQ-7 we can create another layer that’s separate and on top just for their ears, thereby giving them a custom mix that’s completely separate from the house.” In the past the musicians may not have heard our fader pushes in their ears, but they’d hear the channel EQ and compressor changes we’d make, which could be distracting. Often, these IEM (in-ear monitoring) mixes are not post-fader. “We also have the ability to setup a secondary monitor mix layer for the in-ear mixes some of our bands use.

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“Now we have the horsepower to do everything we need to do plus give the musicians control over what they hear all from a single control surface,” he reports.

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Monitors, Pizzo also enlisted the aid of SQ4You, an app which allows up toĮight performers onstage to control their own monitor mixes from an Android or Addressing the issue of having only one console for both the house and

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