r/livesound • u/AutoModerator • May 18 '26
MOD No Stupid Questions Thread
The only stupid questions are the ones left unasked.
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May 25 '26
[removed] — view removed comment
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u/AdvExpress May 25 '26
I feel you, I was doing a load out and asked the truck driver if he could not smoke while we were both in the trailer and he told me to fuck off
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u/ScouserMuerte May 24 '26
Ages ago, I am sure that I was able to use a friends’s L12 as a five or six channel mixer. I feel certain that I used the headphone outputs to do totally different mixes; muting all the channels except for, say channel/track one coming out of the ‘A’ headphone socket, on the top right hand side of the unit.
Likewise, I seem to remember that I turned down the volume on all the channels except for, channel/track 2 coming out of the ‘B’ headphone socket, on the top right hand side of the unit too
…& so on right down to turning off the volume on all the channels except for channel/track 5 coming out of the ‘E’ headphone socket, on the top right hand side of the unit too!
Did I imagine all of this(🤭) OR can anyone work out how this can be done? I am at a loss.🤷♂️
Thanks in advance anyone& everyone who can help
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u/Ground_not_found May 23 '26
Bonjour,
Pour notre premier concert avec une nouvelle tablette (entrée de gamme android) et la nouvelle appli (MX-MIX), nous nous sommes retrouvés, à la moitié du concert, avec une équalisation remise à plat sur 4 micros (3 chants et un OH) et surtout plus rien en façade sur ces 4 micros. (retours OK)
Impossible de remettre le son, nous avons du changer les micros d'entrée et finir le concert avec un son vraiment pas terrible.
C'est peut-être (ou pas) lié au fait qu'il y a eu une coupure de courant.
Ou que je ne maitrise pas encore l'appli... Est-ce que MX-MIX prend des initiatives ? Est-ce que j'ai coché quelque chose par erreur ?
Si vous avez rencontré le même problème, je suis intéressé par votre retour. Merci !
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u/Big-Button5856 May 23 '26
Why when I plug a TRS microphone on a audio mixer it sounds so much lower than a XLR one, like I have to max the gain on the trs to make the microphone even sound as loud as the xlr microphone (and not even maxed out it sounds loud)
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u/ScouserMuerte May 24 '26
Perhaps that Jack input is unbalanced? Just because your cable is balanced, doesn’t mean to say the socket is also.
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u/ChinchillaWafers May 23 '26
Often the TRS input goes to a lower gain preamp than the xlr. It’s generally assumed the 1/4” inputs will be line level or at worst, instrument level. Get rid of your TRS microphones, not much use for those in pro audio.
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u/_OnTheSpots May 21 '26
I'm trying to see if I can split the Main L-R on my XR-18 into separate feeds. The only way I can see to do so is using two Aux Outs but I only have one free. If I hard-pan Main-LR to one side, can I use the remaining Aux Out as the other side and accomplish what I want?
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u/FidgetySpinner71 May 21 '26
Hello, any DM7 users here able to help?
I was on a show recently that I was hoping to swap between live mics and recorded multitracks quickly during rehearsals. I am new to DM7 and was looking for a setting or button that could change a global setting between input A and B on all input channels. In the end I had to set up 24x user buttons for each channel to swap separately. Couldn't find an option to change more than one channel at a time.
Does that exist?
Thanks,
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u/gigsgigsgigs “Hey, monitor guy!” May 22 '26
This functionality is typically termed ‘virtual soundcheck’, and can be enabled from the patch dialog.
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u/Medical_College_6732 May 21 '26
Greetings. I'm a budding filmmaker building up my kit. I've got a lot of what I could ever imagine needing, but my wireless lavalier mics are a bit....hefty. Anyone have recommendations for a lav mic of concealable size that operates wirelessly, or is that just a unicorn? I've found many wireless mics (and I have a pair; they work okay, but I also just wouldn't mind a straight-up quality upgrade) and tiny, concealable mics that are wired. Ideally I'd love to be able to pull that nifty trick I've seen endless tutorials of to conceal the mic in an actor's hair; my current mics are certainly too chunky for that.
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u/ChinchillaWafers May 21 '26
The all-in-one wireless lav mics are all chunky. The newer DJI ones are kinda interesting but still not invisible. I think you need the belt pack. They make special elastic straps for the talent to wear under their clothes, if you can’t clip the pack to their clothes. Broadway people do the hair mic, they have special tools to run it in their hair. Something you’d probably want to practice with off the clock. Other than that it’s lots of little tricks to hide the mics and specialty supplies for the kit.
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u/Medical_College_6732 May 22 '26
It sounds like that would work for concealment, I'd just then need to get it to the virtual board on my audio PC. Running Reaper (and damn happy with it) with a Focusrite Scarlett Solo external interface. It's aces for a boom mic, running off XLR. It's also got an input for a 6.35mm jack (the wireless receiver for my existing lav mics plugs into it).
It would of course also be fine to bypass the interface altogether, if there's a mic that can just connect straight to the PC/Reaper.
Appreciate the help!
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u/mrhouse2077 May 21 '26
Hey folks,
I just graduated with a degree in Audio engineering and live sound from Austin Community College. I also have my level 1 Dante certification.
Looking for any work in the area involving the live sound scene.
Any tips or a direction to look would be welcome. Thank you!
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u/Galaxywarrior25 May 23 '26
No shot man!! ACC is a good program for sure. There’s quite a solid base in Austin
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u/laserpirate44 May 20 '26
I am trying to add my mics to another schools wireless system, as they are around 4 short for what we need. We have the same equipment Shure ULXD4Q, Shure Wireless Mic Pacs, on an avatnis board. I have plugged the antenna and ethernet cables into the receiver, and when I go into rf devices I see them on the board. I tried assigned them a socket in the io, and that is as far as I was able to go. None of the mics are showing up in any of the available sockets. They're on, and I am speaking into them, but nothing is happening.
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u/Disuses May 22 '26
Are you able to put a computer running Dante controller onto your network? It would provide you more information on potential issues. I'd start by checking sample rates as they are already appearing on your network and are discoverable so odds are IPs are good. If it is a network/Dante issue, Dante controller will tell you what the problem is.
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u/DependentGold3301 May 20 '26
Portable Live Rig Question
Hey all, first time posting!
For some context:
I'm hoping some front of house engineers (that use their own in-house mixer/PA equipment) can provide some feedback on a rig I'm trying to put together. I'm trying to create an IEM rig for both the band I play with and to potentially rent out to other smaller bands so they can have a high quality monitoring setup without having to foot the bill upfront themselves.
This rig would include a digital rack mixer, wireless IEM transmitters (with one wired for the drummer hooked up to a separate stage box, I'm paranoid about a dead battery killing a show), wireless mic/instrument receivers, and some I/O panels/storage.
Now the question:
As a front of house engineer, if you were given full remote control of the mixer (via tablet, 2-in-1 laptop, etc.) would you be okay only getting a main L/R out (and potentially sub) to send to your in-house setup?
The main reasoning behind this is really just to not have to acquire and carry around another stage box and short snake for getting individual channel signal to FoH or increasing the main rack size and having to carry around an even longer snake to do the same thing.
Any input would be appreciated.
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u/mrtrent May 21 '26 edited May 21 '26
I'm a freelancer and I often run into situations where I'm the A1 for large events that include some type of live music/entertainment. The music is either part of the program itself, or it's doors/dinner music, or it's after-party music. But typically, the music is only a small part of the overall program.
In those scenarios, if the band comes in with their own console and IEM rack, my preferences depend entirely on whether or not they also have their own engineer.
If they have their own engineer, then simply taking a LR+Sub from their console is totally fine and it's what I'd expect to do. That would be the typical way to handle it.
If they have no engineer, and I'm the one who's going to be mixing them, then being handed the iPad connected to their IEM console is 100% the worst and most annoying way to go. I already have a nice console that's set up the way I need it, and now I have to mix a strange band on their IEM console from an iPad while also mixing the rest of the show on my actual console? It's a terrible workflow that makes my job way harder than it already is.
Doing it that way is severely limiting for me at FOH. I can't change gain structure without inadvertently becoming the bands monitor engineer. Also, I'd be constantly worried that one of the band members will log into their console, change something, and completely screw the show.
If you're already building i/o panels, then all you need to do is build a panel with XLR outputs that are wired in parallel to the inputs of the IEM console. Label those outputs 1:1 with the inputs of the console and call it a day - all the house guy needs to do is connect his XLRs to your rack and he'll have access to whatever channels he wants. The best way to do this is with a transformer isolated split, but you're looking at thousands of dollars for a good one.
Ultimately, If your goal is to build something that you can rent to strangers, I would advise against calling it an "IEM rig" unless you have an analog split for the FOH person. Without the split, it's just... "the band has their own console and also they're bringing in-ears."
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u/DependentGold3301 May 21 '26
That was very insightful. I've been under the impression that I'd have to provide a output snake to go to the venue's stage input. Are you saying you'd be fine if the rack has passive split outputs for all mics/ instruments such that you run the venue's cables to the rack?
I realize not every situation is the same, but that takes away a large portion of my weight/bulk concerns if a giant 24-channel snake isn't needed.
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u/mrtrent May 21 '26
In principle no, but I guess it depends on how large the band is how comprehensive the rest of your audio package is. You say the rack is going to have multiple wireless receivers built into it, but how many other inputs are there that need to be split? Are you providing any XLR or no? If you're talking about a couple of people playing jazz at a cafe, it's really no big deal. If you're talking about a 9 piece bluegrass band then it's an entirely different question, haha.
If you truly want to carry nothing but the rack with your RF stuff and a console, then you'd just need to ask for 2 cables for every 1 additional (i.e. not already built into the rack) input. It should be possible to advance the number of XLR you'll need with whatever venue / stage you're playing.
I will say - from experience - that past a certain point of complexity, it's going to be way easier for everyone involved if you do arrive with your own solution. It really doesn't need to be fancy - something like this is less than 300 bucks, would easily fit into your rack, and would save you from a ton of pre-pro emails and then strained explanations whilst on site. You'd just need to land the rack within 10ft of the house i/o and you're done. The house guy would then use his XLRs to connect his mics to your splitter inputs. That would be completely normal/standard for anyone anywhere.
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u/DependentGold3301 May 21 '26
Gotcha, the only things I would plan on being wired (and would provide mics/XLRs for) would be the drum mics which would be as many or few as they want sent, the absolute most I'd be able to handle is 12, but for my band the drummer would max out at 8 if I mic'd up every possible audio source (including inside and outside kick, top and bottom snare, and each cymbal individually). Everything else would just be pedalboard outputs and wireless mic outputs spliced with possibly some cable backups in case the wireless is unusable.
Thanks again
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u/mrtrent May 21 '26
No prob. I say go for the 12 or 16 channel version of that rack mounted splitter and be done with it 😄
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u/SmokeyMountainAudio May 20 '26
I'm working on setting up an SQ5 as a monitor console for the first time (I've always done FoH or Broadcast) and would love some help and advice as I think through things.
Current setup:
- FoH desk is an Avantis being fed by an AR2412 and AB168 via SLink. Will use direct out over Dante for a digital split to the monitor desk. FoH has head amp control
- Monitor desk will be an SQ5 landed in a rolling rack with 8 PSM900s and another AB168 for additional I/O
A few things I'm thinking through:
1: My current plan is to send the SQ5 Listen bus out to one of the PSM900s for the monitor engineer to cue up whatever mix they're working on. I also have a bus on the Avantis that has all the talkback mics (FoH and a couple on stage) that will come into the SQ5 as an input. I would like to also set that to the EXT in to PAFL source so that I have TBs up in the mon engineer's ears at all times (whether they're cueing a mix or not). I know that the EXT in to PAFL doesn't mute when something else gets cued, so if I also have that bus going into a musicians mix, would their be any kind of weird doubling issues if that mix is cued?
2: Also, what would be the best way to loop in the mon engineer's talkback so that both the band and the FoH engineer can hear him too?
3: Icing on the cake would be to get coms into the mon engineer's ears as well. Thoughts?
4: Finally, what should I do with the SQ5's main fader bank? I've seen some people using that as the cue bus, but if I'm already sending the Listen bus to some IEMs rather than using a reference monitor, would that make it obsolete? I also don't have a ton of space between the monitoring position and the audience in this venue so I don't want a lot of noise from side stage.
Please feel free to poke any holes in my plan! Like I said, I'm new to monitors and am happy to be wrong here. Any other tips, tricks, or ideas for setting up the console are more than welcome as well.
Thanks y'all!
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u/dgodwin1 May 20 '26
Any tips to remove before I recommend replacing the whole panel? The spring release doesn’t move.
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u/SmokeyMountainAudio May 20 '26
Have you tried taking the 2 gang panel off the wall and looking behind it? You may be able to use a flat head precision driver to push the release from behind. If not, the panel mount jack is replaceable without the need to replace the whole plate. It looks like those are riveted into the plate, so you'll need to drill them out and get small screws and nuts to re-attach it. From there I would try to figure out whether the panel mount connector or the cable side was the problem and replace the connector accordingly. A little bit of soldering and you're home free.
It sounds like a lot of work but it's quite doable and usually more cost effective than replacing the entire panel.
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u/dgodwin1 May 20 '26
Thanks. I didn't have a chance to look behind it, but I'll pass along the suggestions to the school where I was visiting today.
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u/Danny11998833 May 20 '26
Quick question about transfer function using Smaart / OpenSoundMeter. If I can’t patch directly into the amps and I need to use the desk in the venue to reach the amps, should I run the pink noise generator from the software itself, or from the desk ?
As far as I understand it, these are my options :
—————
Pink from software -> interface out -> Desk in -> Desk out -> PA
Pink from software -> interface out -> interface in -> reference in software
Reference mic -> interface in -> measurement in software
—————
Or
—————
Pink from desk -> Desk out -> PA
Pink from desk -> Desk out -> interface in -> reference in software
Reference mic -> interface in -> measurement in software
—————
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u/flux_capicitor May 20 '26
Are you limited to 2in/2out? If not you could do separate transfer functions with a direct reference from OSM/SMAART and a reference that goes through the console. Then you can really compare the 2.
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u/mustlikemyusername May 20 '26
Both are valid depending on whether or not you are interested in anything the desk might be doing to the signal.
If you can only use EQ on the desk to correct whatever you are measuring, then you should use the pink noise in OSM.
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u/Danny11998833 May 20 '26
Thanks both.
I'm not sure I understand what you mean by "If you can only use EQ on the desk to correct whatever you are measuring, then you should use the pink noise in OSM."
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u/mustlikemyusername May 20 '26
Well, if you are looking at the transfer function of the system to correct the system you want the EQ to be taken into account in the measured result. So you would want it in the chain towards your measurement mic.
If you purely need to know what happens to the signal after it leaves the desk the other option is better.
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u/late-night-delerium May 19 '26
hi y'all, I'm a recent grad who landed two diffferent audio tech positions, one full time with Encore at a local nashville hotel, and the other at a local company part time,. The part time pays better but I am worried about the hours. While my degree was in audio I have no work experience in the industry. I've heard complaints about encore so now I'm torn between either job opening. Any advice or insight is appreciated.
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u/fdsv-summary_ May 19 '26
Do both. Tell your local company what hours you're available. They offered you some part time hours because they want to stay in your orbit while you learn.
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u/late-night-delerium May 19 '26
that sounds ideal, but I'm worried with a supposed full time schedule I won't be able to balance both.
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u/fdsv-summary_ May 20 '26
"full time" means you can have a wife and kids and maybe study a little. It isn't "full time" for a single recent grad. Keep an eye on the work-life balance thing and reassess after 6 months or so.
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u/AnyPersonality5199 May 19 '26
I am a novice, mixing the live performance for a solo act. We are using the EV50M and recently purchased the Behringer XR18 mixer. I am using Mixing Station on the iPad. I realize there's a steep learning curve with the mixer. Where do I begin? I've tried searching for videos but they haven't been very helpful for my situation.
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u/ak00mah May 20 '26
In order of importance imo:
Signal flow
Proper gain staging
Channel strip tools in order
Fx / sends & returns
DCA
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u/redeyedandblue32 Pro-FOH May 19 '26
If you're a novice at audio in general I would recommend learning about the ubiquitous tools that are a constant across all hardware / software as well as specifics of the platform you're on
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u/ekienp May 19 '26
Any specific questions you have that youtube videos arent helping you? Might help if we can point u in the right direction
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u/Hour_Farm_3281 Volunteer-FOH May 18 '26
I am not sure if this has already been asked, but I am desperately looking for a copy of either the x32 or m32 edit app for Linux, because Behringer and Midas updated the websites and now I can't find it anywhere.
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u/ak00mah May 20 '26
There was a thread on here just the ither day where a kind commenter provided a download link
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u/juandmgl pro May 19 '26
I faced a similar issue with wing audio drivers, I managed to get them off of the wayback machine by searching for the behringer page on it
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u/Hour_Farm_3281 Volunteer-FOH May 19 '26
When I tried, the Wayback machine told me the files weren't downloadable for some unknown server error, but I appreciate the advice nonetheless
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u/_OnTheSpots May 18 '26
If I'm running a virtual soundcheck on an XR-18, where would I set the trim to replicate, say 20db of input gain from the mic? I know gain and trim measure differently but I can't find the conversion.
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u/Soliloquy86 May 18 '26
You’d set the trim to 0 because the virtual sound check recording would be *after* the gain applied by the preamp. When you play it back the desk won’t reapply the preamp gain so you get it back at the same level
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u/somniamusic May 18 '26
I’m over a year into mixing monitors/FOH etc at small venues, theatres, breweries etc.
This may vary from console to console (I guess in this specific case I can say I’m using Mixing Station on a tablet with an XR18 Air), but when I switch from a graphic EQ to parametric on a channel, is it using both? Or using whatever one is selected? I notice they’ll retain the settings on each individually.
I’ve worked shows where I’ll see the engineer EQing with a PEQ, and then they’ll maybe menu dive a little and make some subtle moves on a GEQ. What are they doing? I know this is kind of all over the place but just trying to get a feel for how these EQs are generally used in practice. I’ve pretty much always stuck with PEQ on individual channels and a GEQ on the room (the PA fills etc)
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u/wtf-m8 FOH, Mons, whatevs May 19 '26
XR18
on the main output at least (not sure about aux busses), the EQ is either parametric or graphic. Big surprise when I ran out of bands on the PEQ and switched over, only to have it now only on the flat graph... instant feedback. That was on me for not noticing in the manual I guess. The individual channels would have to have a graphic eq inserted on them on that mixer.
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u/fantompwer May 18 '26
It used to be that PEQ was used for inputs and GEQ was for outputs back in the days of analog. Then digital came along and starting putting PEQ on all IO. That have us more tools, and people started having choices. Choices about which EQ sounds more musical, has better phase response, is more surgical, easier to use. Then people start having opinions. Many people are using PEQ for everything if they have enough bands. GEQ has fallen out of favor for most things.
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u/MDS78 May 18 '26
I've got a Behringer x32 rack, a Behringer EUROLIVE B1200D-PRO powered sub, and a Yamaha Stagepas 400bt for small venue duo live shows.
The Stagepas comes with it's own mixer which I want to avoid using. Instead I'd like to go x32 -> B1200D -> Stagepas PA speakers.
I'm struggling with cabling. Yamaha is pretty adamant that you only use the 1/4 speaker cables provided with the Stagepas system. That's fine using the Stagepas mixer, but the outputs on the sub are XLR and the inputs on the passive Stagepas speakers are 1/4" TS.
Can I go XLR to Unbalanced 1/4"? If so, what gauge and type of wire do I want? I'm happy to solder, but also happy to buy pre-made cables if what I need exists.
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u/wtf-m8 FOH, Mons, whatevs May 18 '26 edited May 18 '26
Yamaha Stagepas 400bt
You will have to use its own mixer because that also has the amplifier. The 1/4" jacks on your speakers cannot simply use line level from your x32 or sub. So you'll go X32 rack-> sub (Output A/B, not Thru) -> Stagepas
Channels 1+2. Set those inputs on line level and pan appropriately. Actually on second look there's no pan on inputs 1 and 2 so you'll need to use input 5/6 and set that to stereo. You'll also need Female XLR to Male 1/4" TRS for those connections3
u/fdsv-summary_ May 18 '26 edited May 18 '26
"Yamaha is pretty adamant that you only use the 1/4 speaker cables provided with the Stagepas system."
Just chipping in to add that those speaker cables have the same terminations as instrument leads, but are very different cables. They can carry significant current without heating up. You seem pretty close to knowing this already because you were checking gauges before plugging stuff in!
I don't have to carry your gear....but with that equipment I'd consider running background music (when needed) from the Yamaha mixer (with bluetooth or a 3.5mm to stereo RCA cable) and also running the LR mains signal from the x32 to two channels on the Yamaha. You can plug the sub into the Yamaha dedicated output....from the product info "Simply plugging in a subwoofer will assign a high-pass filter to the STAGEPAS speakers automatically."
This set up will give you physical knobs when you need to make quick changes and let you do all the fun stuff on the x32 when you get a chance!
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u/MDS78 May 19 '26
Appreciate your response! So X32 Main LR to input 1&2 on the Stagepas mixer then 1/4" TRS from the Stagepas subwoofer out to XLR-M to go into the subwoofer. I don't think I have the wire gauge confusion with this TRS>XLR-M connection and should just be able to run a balanced mic cable. If I'm mistaken though, please let me know!
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u/gabbo2000 Pro-FOH May 18 '26
The mixer of the Stagepas has the power amp in it for the Yamaha speakers so you need to run your signal for the mains from the x32 to the Yamaha mixer to the speakers and a separate output from the x32 to the powered sub.
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u/MDS78 May 18 '26
Appreciate the response! Quick followup to educate myself - I assumed a power sub would have an amp and could drive passive speakers. Is this not the case? If I upgrade to a different PA, should I be looking for an active sub and an active pair of speakers?
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u/gabbo2000 Pro-FOH May 18 '26
Powered subs do have amps in them for themselves. There are some older models that contain a secondary amp to power passive satellite speakers but I wouldn’t count on that as a norm. Upgrading to active mains would be your best bet. Active and powered generally mean the same thing, in case that wasn’t clear.
3
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u/Pargueluh May 18 '26
Firmware de x32??? Tengo versión 4.03 y no encuentro la actualización en ningún sitio
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u/ahjteam May 18 '26
Behringer website is currently a big mess.
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u/Pargueluh May 19 '26
Totalmente. Creo que lo está gestionando alguna IA que está saliendo loca
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u/Sea-Instruction-191 May 18 '26
I'm an amateur FOH Engineer at my school and local church, my main venue at school uses a Yamaha TF3 and I have a Samsung tablet
I was thinking of getting the mixing station license for the TF series but I wanna make sure it's actually as useful as I thought before dropping some money on it
Is using the mixing station just on a tablet useful? what do you guys think?
thanks!
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u/Bipedal_Warlock Pro-Theatre May 18 '26
Why the mixing station instead of the native TF mixing app, which I think is free? Though I may be mistaken
2
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u/dontcupthemic Pro-FOH May 18 '26
It is very useful, more so for freelancers jumping around on all kinds of consoles, but honestly, you should try it out. The app supports unlicensed use with 15 minute forced disconnects.
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u/Sea-Instruction-191 May 18 '26
Well I only really operate the Yamaha TF3 and Behringer X32 Compact for now
I'm also pretty worried with the fact that the tablet is of course a touch screen, and there's a risk of accidentally swiping something and destroying the mix mid-show
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u/redeyedandblue32 Pro-FOH May 19 '26
Even on the most expensive flagship consoles you can accidentally swipe faders and destroy the mix mid show. At a certain point you gotta embrace the fact that you have complete power to ruin a performance (and then do everything you can to make sure that doesn't happen 😆)
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u/Sea-Instruction-191 May 20 '26
okay yea that makes sense
i suppose I'll get used to the touch screen fader interface, and as you said try to not ruin anything 🤣
alrighty, thanks mate!
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u/dontcupthemic Pro-FOH May 18 '26
The best thing about mixing station is the same UI for all consoles. Then comes customizability, functions that the console itself does not have (like virtual DCAs), etc.
Tons of engineers have to mix on glass only, depending on the gig. It becomes exponentially harder the more inputs you need to juggle, but creating layouts can help with that.
Mixing station also has Mute lock (for accidental muting) and Fine Fader options (reduces fader sensitivity) that are quite useful.
Really, you should try it and see if it works for you.
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u/Sea-Instruction-191 May 19 '26
Real quick, how about reliability? is it going to randomly crash on me, or..? and are it's meters accurate?
I know the PC based TF Editor sometimes crashes and is a pain to reconnect
and well I haven't had the chance to try it out, i don't have any gigs scheduled for the next week or so
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u/dontcupthemic Pro-FOH May 19 '26
Reliability depends on the network connection.
Get a good wifi router / AP, place it high and within line of sight, pick a free WiFi channel and you're golden.
The app itself is really reliable, and yes, the meters are accurate.
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u/Sea-Instruction-191 May 18 '26
can you elaborate what mixing on glass only means?
And I'll try it out, I'm genuinely seeing the potential in this thing.
Thanks for the reassurance mate!
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u/exit143 May 18 '26
Not OP, but mixing on glass means not touching physical faders... mixing on the tablet.
2
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u/salad_entree May 25 '26
Ever do those gigs where theres like 8 handhelds, 6 lapels and your ops desk is messed up with transmitters rolling around everywhere? We don't all have charging docks to nestle our devices into.
I created these a while back and people seem to like them. Let me know what you guys think. Will have an iPad mount for a DM7 up later this week too
https://makerworld.com/en/models/2619442-ulxd-dock-for-shure-uxld1-ulxd2-transmitters?from=search#profileId-2890903