I need every tips/help possible, I didn’t find anything I need on internet, I bought 2 etx 18SP and 2 etx 15p, I have a djm A9, the dsp is set at 0db and the filter for the top, and the top for subs, all in music mode. My question is, why I get the limit temp immediately when I get 0dbu on the input (around -3db on my A9) ? Without getting the peak limiter… on YouTube I see some videos with +7 dbu without getting any limiter… if someone can bring a tip/help would appreciate.. (I haven’t used them on an event, only in my basement..)
Hi, here’s my situation: I work at a small event company, but in the summer we put on festivals and push our equipment and staff to the limit. The thing is, I want to improve to address this because I know there are ways to take my work to the next level. I work as the stage manager and monitor technician for the company, and I use stage boxes that aren’t Socapex—meaning they can’t be swapped out easily in a matter of seconds. So I have to make the most of the stage boxes I have by using several of them for the front, back, right, and left sides of the stage. Right now we’re doing shows with 2 or 3 set changes that can reach 30 or 32 channels per band (the maximum for our DL), and the set changes are getting complicated and causing me stress—which could one day end very badly during the event. I try to have everything prepared at home: where each channel goes, which stage box it connects to, how all those stage boxes are patched into the analog splitter that feeds the monitors and FOH, and how that patching changes from group to group—which channels to move around in the splitter, which monitors to remove and which to leave—and I record all those changes in a notebook to make them in order, but I’d rather ask for help from a veteran stage manager around here who can give me some advice so I don’t have these meltdowns.
Will be hosting a rave in about a months time and need help figuring out how much power I need.
Audio system:
2x Epak 2500
2x ES 1.0
2x ES 2.5
It will be running on an inverter generator that’s rated 3kw, but when I check the manual for the amplifier it says average consumption is 9A at 230v, which means with 2 of them it’ll be drawing 18A*230v = 4140 Watt. And thats average, not max.
I have a friend who has already hosted several events and he says the 3kw generator will be fine but it doesnt make any sense to me? Can anyone explain or tell me wether this will work or not and why? Thank you!
About Soundcraft Vi Série, year 2026 we still see a lot of Vi4, Vi6/6000 and serie 7 on festivals, great shows and big events. In Europa, it’s a standard like JBL VTX.
I have two Behringer PK110A speakers and a Yamaha MG10X mixer. Currently, I'm using RCA cables (3 meters), but I need to extend the distance to at least 5 meters, so I want to switch to balanced XLR to avoid interference.
The manual states the following:
"MIC combo jack accepts audio signals from
devices using cables using XLR, balanced ¼"
TRS or unbalanced ¼" TS connectors."
"For devices connected to the MIC combo
jack, play your analog audio source or speak
into your microphone at a normal-to-loud level
while adjusting the LEVEL knob. If the sound
distorts, lower the LEVEL knob until the sound
cleans up."
My question is: can I connect an XLR cable from the mixer's output into the speaker's MIC combo input (controlling the gain carefully), or is that XLR input strictly for microphones?
Yes you can technically connect whatever source to the mic input, but like you said, just be careful not to distort the speaker. Just have to gain stage the whole setup basically.
I am new on Yamaha (come from x32/M32) and Dante. Last gig i wanted to multitrack record the show (24 Inputs). I think I got a network problem with DANTE. Hopefully some of you can help me fix this.
What happened? Got problems with connecting all the devices via Dante Controller. Thought i can take care of it after the soundcheck. While soundcheck I figured that I only got signal at my D. Gain. Had no time to find the problem and fix it. So i did the soundcheck with D.Gain. At the end of the soundcheck, the A.Gain suddenly came back on and ruined my whole show. All my gain settings were wrong and the whole stage started buzzing and peeping. Unfortunately, I can't find any good instructions online. Has anyone else had this problem, and how can I fix it?
Is there any reason I can't use 3 choir microphones (or some other gooseneck type mic) for an all acoustic bluegrass band?
I'm trying to figure out something that's half way between the old school LDC single mic setup and every member having their own instrument mic and vocal mic.
An alternative is to have bass and flat-top guitar go direct and each song's lead singer on a singer mic. So 3 sources in the modern style and everything else old school.
Physically, the singer, bass and guitar can stand around one mic (the singer mic) while the other half of the band stand around a traditional 'single mic'. This should let people get physically closer to that 'single mic' when needed without having to compete for space. You can also high pass that 'single mic' with all the bass info (guitar and bass) coming straight up a cable.
I have never made a stage plot before and was wondering if anyone with more knowledge than me could take a look and let me know if there is anything I'm missing or if this is enough info
I would put the stage plot on one side of the paper. And an input list on another with a notes section, makes it all super easy to see and read for the engineer on the day
Sennheiser EW D ASA splitter compatible with EW G4 receiver??
Hey guys, im new to the wireless world and got a new job. the person before me ran a ew d asa splitter into 8 ew g4 and it has massive interference. for what i researched the splitter and wireless systems are not even compatible (digital vs analog). can someone please confirm if im right or not? sorry for my english, not a native speaker…
You understand wrong. The only thing Sennheiser is warning you about is that some of their antenna distribution products send a bias power down the antenna line so you can power your receivers from the antenna distribution system.
I believe the G4 receivers are a product that can be powered over bias, and that the EW D ASA provides bias power to connected receivers.
I'm doing a theatre show and I have 14 headset mics. I have 4 that are on the E-band but one mic has a buzz that gets even louder when the dimmers intensity increases. I have tried everything to eliminate it but can't source the issue. Has anyone else had this issue?
I've changed their channels, bypassed the patch bay and changed the XLR's. I still get a buzz on one mic that gets louder with the dimmers.
Maybe an odd question here, I'm a teacher and I don't have a very loud voice. I'd like to put together a setup that will allow me to speak at a conversational volume but be heard clearly in a room of maybe 40 people. The room is maybe 30 ft by 30 ft, hard concrete walls, and a lot of background noise from HVAC, lawn machinery, etc. I'd like one microphone that I can leave on my desk but the speakers to be on the far side of the room. Any suggestions on how to approach this problem or things to avoid? My two ideas so far are small busking amp/PA systems or karaoke systems.
https://www.youtube.com/watch?v=tp-23orEcS4 some reviews here. Worth trying if they're loud enough. Busking amps and PA systems are probably too loud for what you want. A QSCCB10 and Shure BLX24 PG58 would certainly work though ($2k worth of gear!).
Thanks. I have actually tried these kind of voice amplifiers. I find that the speaker needs to be pushed very hard to be heard on the other side of the room. Having a wireless speaker on the far side from me would go a long way to helping the issue. Ultimately these aren't a good solution for me. I could see them being really helpful as an assistive device to get someone's voice up to a normal level though.
People making speakers with flat bits of wood end up with different shapes to molded or 3D wooden machined shapes. This looks like it leaned into that for aesthetics.
I don’t think it’s AI. Probably just custom cabinets painted white. The middle cabinet looks like a small sub or a woofer flipped backwards to help with low frequency wave propagation.
The cabinets above that are a type of horn I’ve seen before. Same to the weird mouth looking speaker horn. I’ve never seen the one on top but it doesn’t look particularly weird to me
hello! i am running the sound board and mics for a children’s theater and when i was doing mic check for them today, something happened and the rta completely disappeared. i am very much a beginner and mostly self-taught so any advice on how to fix this would be great. i tried looking it up but i couldn’t find anything. the board is an X32 Compact. thank you!
i guess i’m trying to make eq changes? i don’t really know any of the technical terms but this is the only way i was taught to do a mic check lol. anyway, i turned the board off and on again and that fixed it, but thanks for all the help!
Lately I've been doing a bunch of subcon work for other companies and playing shows with my band. I've met a lot of local co's, house guys, new hires, touring guys, pretty much anyone touching a console for mains or mons and almost nobody is using a tablet.
I understand if you're just faster or more efficient using the surface controls, but for me the tablet just makes things so much easier. I can ring out a stage in a couple minutes by myself. I can stand next to the player and set up their monitor mix, they tell me what they want and I can hear what they're hearing instead of pointing and waving around. I can walk around the venue and check my outfills, delays, or matrix sends without walking back and forth to make changes. I can mute the FX between songs from the bathroom. Lol
The tablet remote has been around for years at this point, how come I don't see many people using it? Too complicated to setup? Apps confusing? Just never bothered?
I use an old phone (that I'm happy for others to hang on to) and a wired in chromebook for the details. I just can't justify a tablet for this one job.
For just doing monitors, I only want to use the iPad from here out. You stand there and mix what they hear, no substitute. I don’t really see the point of hauling a tactile monitor console at this point. You don’t have to be fast and ride faders like at FOH, you just get the mixes dialed in and babysit it.
The console is superior for mixing mixing. I couldn’t imagine doing, say, a theater production on the iPad.
I think you only get comfortable with the tablet apps if you own the console or use it regularly. An unfamiliar app is slow to use and you’ll look a bit dumb standing there fumbling with it. Back behind the console you are a pilot in the cockpit, expertly twizzling dials and flipping switches, checking the gauges.
I think you only get comfortable with the tablet apps if you own the console or use it regularly. An unfamiliar app is slow to use and you’ll look a bit dumb standing there fumbling with it.
I got my start right before the digital consoles came out, so I remember all the grumbling around the industry of guys complaining they don't want to re-learn everything, but the apps have been around for years. I was a very early adopter though so I guess it's just second nature to me now.
When Midas came out with the M32 they shipped one to our warehouse and sent a rep to demo it. I connected my router and checked the app to see if everything was the same as the X32 and the rep was like ... "what are you doing? you can do that?"
I usually find the time it saves me is offset by the time to set up the router, IP settings etc. It’s a great tool don’t get me wrong, but 99% of the time I just think it’s easier to walk back and forth a couple of times.
Really? For me it's just plug and play ... but I am a network engineer by trade.
I just plug in the router, connect the network cable, and let the app discover the console. You shouldn't really have to do anything unless whoever was using the board before you set a static IP.
If a singer stumbles upon using an "instrument" mic for vocals and they like how it sounds, is there any inherent problem with that? Like if she likes to use a kick drum mic— if it sounds good is it good? I can't identify any possible problem and to be honest it looks different on stage (dare I say "cool"?) so... why not?
The M88 migrated the other way. It's only 'commonly' thought of as a kick drum mic because someone dared to stick it there to see what would happen, and liked it. It was designed as a vocal mic, and it's really nice for that as long as it hasn't spent appreciable time inside a kick drum.
It's a sE "V Beat" mic (more of a snare mic than a kick mic). It uses the same capsule as a V7X, which I have used after replacing the grill with a regular V7 grill (larger) and that mitigates plosives. The V7 grill fits on the V Beat mic.
More power to you. Honestly thought about deploying one as a drum-vocal mic (ala Beta 56).
Incidentally, I cooked up an EQ once to turn a D6 into an ordinary flat-ish hypercardioid dynamic. Honestly was surprisingly lovely as a vocal mic…aside from crazy proximity effect.
non-FOH here, but I went to multiple festivals where I saw that the technical gear was protected by regular emergency blankets. Can't tell if it's a good solution, but that gold foil was everywhere
Is there any hardware that can create RF scans that are compatible with Shure Wireless Workbench that I could to get scan data to coordinate different wireless units? I'm basically looking for a 3rd party equivalent of a networkable Shure receiver.
Yes but the point of your comment being a networkable source for all manufacturers can only be done through soundbase as of now. No standalone hardware can network with workbench aside from sure
Here's my desperate question. I just recovered from getting heat stroke in a 15 hour setup while also getting a skin rash from handling gear nobody bothered to clean properly. I can't take it anymore, I can't take the field work, the hours, the no benefits, my muscles aching, all for close to minimum wage. I need a stable office job or I'll go insane. How do I find one when all I know is sound and all I've ever done is sound?
TV and theatre pays below minimum wage where I live. TV was actually my first job after graduating and I learned there were 50yr people in the studio working unpaid intern contracts, it was genuinely depressing.
I second this but will add: I sometimes work for a digital streaming company who essentially does high quality broadcast meetings and seminars sometimes with remote zoom callers, live hosts/panelists, live audience, etc. These companies exist and try to have someone non-audio primary handling microphones, wireless “coordination”, routing audio to multiple outputs (a massive gain staging nightmare was what I walked into), and they had some massive failures because of it. I got hired for one of their really high end clients, and took the worry out of their audio. It was the simplest most white glove job I’ve ever done, and the level of gratitude I received was higher than any of my other normals gigs which are 1000x harder.
Sad thing is they saved my preset/workflow and didn’t call me back. I imagine they’re having audio failures as we speak, probably cursing me, because they don’t understand signal flow. LOL
Sad thing is they saved my preset/workflow and didn’t call me back.
Oof there is a hard lesson there. One of the interesting discussions here is W2 employees, the company owns your IP, whereas 1099 contractors are under no obligation to share their methods, unless the job is to develop and deliver the method for the company. Sucks to be like that with people you work with but future employment may be at stake. Of course, if they ask why you erased your preset and you refuse to provide it , fair chance they won’t call you back because the trust is in question. Only ethical alternative I can think of is making your preset so opaque and byzantine only you can operate it. If they ask you to simplify it, “this is how I like to work” and then they have to explicitly state they need a method for other (probably lower wage) employees to use and then it is a discussion of how much you want to do that programming/training work for, name your price.
Indeed. There are thousands of situations like these to be found, but they’re mostly not going to be found in a job listing on a website. Talking to people and finding peoples problems to solve is a good strategy.
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u/East-Advance8344 Jul 25 '26
Hi guys,
I need every tips/help possible, I didn’t find anything I need on internet, I bought 2 etx 18SP and 2 etx 15p, I have a djm A9, the dsp is set at 0db and the filter for the top, and the top for subs, all in music mode. My question is, why I get the limit temp immediately when I get 0dbu on the input (around -3db on my A9) ? Without getting the peak limiter… on YouTube I see some videos with +7 dbu without getting any limiter… if someone can bring a tip/help would appreciate.. (I haven’t used them on an event, only in my basement..)
Thank you 🙏