For you that are Musicians and Show Techs, notice the projection horm loudspeakers on stands pointed upwards. This is how house monitors used to be done, to provide real-time mids and mid-highs to augment the delayed bottom of the out-front system. Also notice Jim's Blonde Bassman with the DF series JBL (how you and I wish we had that rig now ! ). Jim also had a Dual Showman rig that can be distinguished in other Outcast photos by it's Black covering and face. No instrument mics back then folks, just raw power. To maintain a stage balance in large venues back then, you simply had to have a rig that would keep up with the rest of the band's rigs. One of the reasons The Outcasts musical tone was very good is because we were running our amps wide open most of the time to keep up with Jim Ryan's ungodly good volume / presence / tone. If you want to hear Outcast recordings with the justice they sounded live, then you should play the recordings through tube amplifiers with the preamps at the top of their head room (because the studios back then would not allow bands to crank their amps like they would in live performance). The Outcasts sometimes used 2 mics for each person in large venues; One mic from the house PA and one mic to an Outcasts onstage PA rig (similar to the monitors here) to run an Echoplex through since effects had not yet become part of house systems; Which would also serve what we now call side-wash monitors. It was also not unusual for a house mic to be placed in front of a band's own PA speakers, allowing the band it's own mix while reinforcing it with the house system.
The cusp of getting a full-on house sound and light production was the number of people that would be brought by an act and how much the tickets could be sold for, ... to pay the cost of unionized house-production technicians; And at the $1.00 to $2.00 per ticket a large crowd of Teen Agers could afford, many large venue concerts were produced with skeleton crews of house sound and light technicians. Part of assessing a hall prior to a concert was to notice how many spotlight rooms had their room light on and how many techs were hanging out on the rafter runs. You knew you were getting somewhere when 3 Trooper spotlights and good houselights would happen at shows.
Below is Show Dancer Lynn Lindstrom next to Rick getting hyped for the show. The crowd is clapping in unison, bringing on Ricks all-teeth smile.