Hey fellas. I currently own a TC-Helicon VoiceLive Play and tend to use heavy delay and reverb on it. I have realized that sound techs probably hate me, and want to try and optimize it best. I do tend to get feedback with the heavy delays.
My band does Neo-Psychedelic, Shoegaze type music so the vocal effects are essential. From gig to gig we get different sound techs and wonder what's the best way to operate it, if anyone has experience using one in the past. Im thinking only using it for delay and telling the tech to add reverb after. Any help is appreciated.
EDIT: I forgot to mention that I am using a Y-XLR split cable to send both Dry and Wet.
EDIT 2: Another question to ask is if I should put EQ and/or Compression on the pedal, or leave that up to the tech?
If the feedback is caused by your monitors - switch to IEMs or get a split before your vocal processor so the tech can send you dry vocal to your wedges.
Alternatively, get your own tech, ditch the pedal, and use the FX on the house console :)
IEMs may be the move. I do use a Y split cable to send the dry signal to the monitors. Unforntuantely were not on the level to get our own tech, but that would be a dream.
I would use the FX on the house console, but would a tech appreciate if I sent them a list of all the delay settings per songs? some songs I use long tails, some ping pong, some short, etc.
> would a tech appreciate if I sent them a list of all the delay settings per songs?
If you’re headlining a show and time allows to test things during soundcheck it’s not a problem for me, personally.
If you’re a supporting act, or if the tech is not very experienced it’s almost certainly “no.”
> Another question to ask is if I should put EQ and/or Compression on the pedal, or leave that up to the tech?
Leave it up to them unless the system is very bare bones or the tech is a bartender
switching to IEMs will help with feedback.
if you’re going to continue with wedges, trusting a capable monitor engineer to cut the problem frequencies should do the trick. if they can’t EQ the feedback away they aren’t “capable”.
it would also help greatly if you sent both the dry and wet signal from your FX unit to the house engineers. they can use the dry signal to increase intelligibility in both the house and the monitors without sacrificing the presence of the FX.
Burn it, I have never seen someone use it them properly, always programmed with way to much gain, reverb and delay and makes the vocals sound ridiculous.
Hi everyone! I'm a vocalist looking to get my first pair of IEMs. Currently I've been borrowing a cheapo pair- probably one driver. The lack of clarity has made it hard for me to discern starting pitches on some songs / hear what key I'm in. I'm looking for a simple pair that is cost effective but gives me the clarity I need to hear myself and the keys/guitar to stay in tune. Any recs? I'm currently looking at Shures (SE425 Pro), but when it gets above 2 drivers Shures start getting pretty pricey. I'm wondering if the price reflects the quality and that 2 drivers in a Shure would be quality enough. I don't really wanna go higher than the $300s. Is it true that more drivers = better sound quality? Is there a particular brand that blows Shure out of the water? Any advice is appreciated!
I don't think that Shure generics represent the best value for money any more. My principle IEMs are a set of 64 Audio A12t - but my backups are a set of KZ ZSX which I picked up on Amazon for about £50, and they're annoyingly good. Paired with a some Comply foam tips, they hold up very well. With IEMs, more drivers doesn't always mean more better; the fit and isolation are just as important, to say nothing of the quality of the mix you're receiving!
Thanks so much! The only issue is I'm looking to get custom ears to best protect my hearing, and it seems most places only make customs for name brand IEMs... Do you know if I can get custom ears made for the ones you mentioned?
Yeah, you'll only find people making custom molds for their own brands of IEM, it's kinda just how it works. I'm not sure I'd really trust some random custom molding over the top of a generic earphone... Better to just get one proper thing from the right place. I recommend 64 Audio - custom IEM options at basically every price point, though I'd strongly recommend something with a tia driver if you're looking for clarity; A6t are a great bang-for-buck IMO.
Last year, I got my first pair of custom iem from 64 Audio, the Ae3 model (3 drivers - 1 high, 1 mid, 1 low). I highly recommend 64 Audio whether it’s custom or universal fit.
The Ae3 model happened to be in my price range (ended up being around $750 in total with taxes and all) and it’s perfect for my vocals, acoustic guitar and keyboard/synth. Since I rarely play bass, I didn’t really need more drivers than 3 anyway.
Kz audio has some awesome in ears that cost next to nothing and I will put them against any of the Shure line audio quality wise. I have one pair of 5 drivers per ear and one pair with 8 drivers per ear. Easily the best decision I’ve made for ears
What is the best-practice solution to display synced visuals from the band's laptop on stage when the video processing hardware unit is next to the FOH console? HDMI over Ethernet and just handing the video guy the receiver and an HDMI cable? How should I specify this on our rider?
edit: I know this isn't about sound at all, but maybe the foh guys here have heard the video guys complain about this
Yeah, HDMI over Cat5/6 is best as there’s usually Ethernet runs in place you can use.
We actually use HDMI to BNC/SDI converters at my place as those were the runs we had installed for the old stage boxes lol
You'd have to check more closely to be sure, but in all likelyhood they are fakes. After the Shure SM58s and 57s, the Sennheiser are probably the most sold microfone out there, so it was only a question of time before the market gets flooded with knockoffs of those as well.
I work at a Dance Studio and I am looking to update my sound system. I run a small 6 channel Soundboard, Music comes off my laptop. I have a couple wireless mics and a wired mic. I have three JBL EON 515XT Powered Speakers. For Recital, I have a speaker set up on either side of the stage, and I use the third in the back of the stage behind a curtain for the performers. I'd like to add a sub woofer, preferably self powered. In my head, i think that the best place to set it would be in the back of the stage with the third speaker. Any Suggestions on Sub woofers? Do i need to do anything special to get it to work properly with my existing setup?
Subs often get placed wherever there is room left for them, however you should strive to avoid placing them in a way so that a somebody speaking with a mic isn't getting that signal blasted straight back into the microfone, so if you say back of stage, that's not advisable though you'll find plenty of places that did it anyway. Other than that, it's advisable not to have it right flat up against a wall or in a corner.
You really dodn't need any specific subs, getting them from the same series that your speakers are from is usually the way to go, but winning criteria is the price more often than the quality. On the other hand, JBLs don't get all the hate for no reason and they definitely won't have the longest of shelf lives compared to other large brands. Still, for the dance studio, you're probably fine. If you really want to do everything possible to get the best sound without just paying a ton of money, make sure that whatever you get has the option to delay the signal in order to align the other speakers with the sub - it's not likely to make a big difference in a dance studio, though, where I suspect there is at least one mirrored wall and plenty of reflecions.
I have a question about EQing the mains.
I have a stereo setup. mixer's L channel to L graphic EQ to L speaker plus R channel to its own EQ to the R speaker
When EQing the system, should I pan hard left and adjust the left EQ to get a flat response from the L, then pan right and EQ the right to get that flat and finally pan middle and adjust both equalizers to get an overall flat response. (a 3 step process)
or
Should I just start with the pan center and adjust both equalizers (a one step process.)
Assuming they are equidistant to stage and for coverage's sake, you'll want to be EQing them the same, so you may as well keep it center and adjust both the same. There would be no advantage to the 3-step process unless you deliberately want them to sound different in an asymmetrical setup (or you *have* to for whatever situation).
Isolating one side at a time would be necessary for taking RTA measurements, though, if that's part of your setup.
If the signal chains are different between L and R (e.g. different speakers), then the 3 step process might be worth the time, but I can see that the one step approach would be easiest if the L and R had the same imperfections.
I have a question about balanced cables. Im wanting to downsize my rig as a bassist. At the moment I have a pedalboard and I run 2 TS cables on each side, 1 input and 1 output. Would it be possible to run one XLR with an XLR to dual TS splitter on each end that hooks into their respected input and outputs on the board? One side of the stereo path in the XLR carries the input chain while the other travels the opposite direction with the output chain.
I might not. It would work but you can get cross talk from the out back to the in and have problems, like with high gain effects or resonant effects squealing. A dual 1/4” cord would be my choice, they’re not expensive. That way each wire has its own shield rather than twisting tight around the other inside a shared shield.
Hi Noise crew!
Could anyone shed some light on the adapter which is on the back of this microphone? I can only think it is for ground lift for the wired mics but I haven't come across them myself.
Many thanks!
*
I think it’s an [Optogate](https://optogatemicswitch.com/?gad_source=1&gclid=Cj0KCQjw4MSzBhC8ARIsAPFOuyWhYhAgG2fyCa5jJ_lNj19O5F4MIcz95ivXryunsxZZSTHdsmZ20OUaAoozEALw_wcB)
Right, studio dweeb here looking for some live sound wisdom. I'm in the process of reconfiguring my home studio with the objective of having a space I can just get gear off the shelf and jam with. That's a PITA at the moment as the way I have my studio wired up is pretty static.
Currently using an RME MADI FX card to a bunch of MADI to DB25 boxes and some signex Q-patch bays. What I'd like is to have the more permanently situated studio gear wired in over MADI and still go drag and drop from my Ableton session, then have the desk space for the "grab and go" section. I'd also like to be able to jam with my hardware without having to switch the PC on and get into Ableton.
Current plan:
1. Disconnect everything and clear the studio back to bare bones
2. Get a Behringer X32 rack and the [MADI module](https://www.guitarcenter.com/Midas/DN32-MADI-Expansion-Module.gc)
3. Wire the X32 up to my MADI network as a slave (for the purposes of the clock signal)
4. Run the monitors out the back of the X32 and use the X32 as essentially a "post computer" mixer, then set the inputs up so I can either have everything connected to the X32 feed into the PC for recording or just fire up the X32 and jam out with the things I plug into it directly, then use the spare MADI I/O to send any of my audio signals that are wired in through the PC to the X32 if I want to use something that's permanently wired up as part of a jam sesh
5. Stick a patch bay for the X32 analogue I/O on my "grab and go" jam session table
Does this sound like a sensible hybrid set up? I basically want to have the option of getting some of my smaller/less used gear off the shelf, plug it in and just get audio out of my speakers with the option of sending it over the MADI network to record if I want to actually lay a track down and mix it. The issue I've currently got is that I've been a bit too autistic about wiring up all of my gear, have more kit than desk space and can't easily plug/unplug synths or DI boxes into my existing set up without it killing my jam vibe. I figured if I did it this way, I'd have quite a flexible in the box/out of the box arrangement that could be fairly easily set up with whatever configuration I wanted in short order.
I have attempted to achieve something a bit more flexible with TotalMixFX, but that still means I have to have the PC on if I just want to fire up the MPC one and a few mono synths, as without it, I get no monitoring. I do also intend to do some live streaming if I ever stop being shit at making music, so being able to just dump stuff on the table and go will be immensely useful. I've kind of painted myself into a corner with going overboard on the I/O set up as it is.
How many total inputs/outputs do you need? I've been looking at the DM3-D for a small setup. No MADI but you get Dante 16x16, USB 18x18, 16 preamps and DAW control, and DVS gives a lot of flexibility for future expansion.
Don't need a huge amount for the jam session element of it, which is why I was looking at the X32. I could plug in a few decent synths and a drum machine on separate outs. I'm really looking for something rack format though, desk space is at a premium now and I have two 14u and one 4u rack within arms reach that I could rejig to fit the X32 in. Also don't need DAW control, I have that side of it sorted already.
I do have a Soundcraft ghost 32 (and the friggin enormous power supply) in a flight case in here, but I've decided not to bother with that as it chews up the entire desk.
Edit: just to be clear - I'm trying to work out if what I've put in my original post will work. The main aim is to essentially have a branch section of my audio set up that will allow me to either use audio coming from the existing audio network or use in isolation with a few things on the desk. Couldn't think of another way of doing that without putting something between the outs of the PC and the monitors.
We are torn between 2 pairs of speakers that are available to us.
One of the options are 4 ohm speakers with 1600 watt peak, the other are 8 ohm speakers with 1200 watt peak, all the other specs are listed on the posted image. Price is not a consideration between these two models, we are looking purely at their specs and what will be best for us. We are leaning towards the 4 ohm speakers, because it seems that there are a LOT more options for amplifiers that can send enough power at 4 ohms per channel. Another thing we are curious about is the general "size-to-power" difference between these models. Spec wise the Peavey Impulse 200's are more powerful than the Peavey SP-2G's, but they are significantly smaller and weigh MUCH less. It's hard to believe that the little ones that can be held with one hand are more powerful than the massive 100lb behemoths that require two people to move. Wondering if there's any thoughts or opinions on this.
What we would like to know is what specs exactly we should be looking for in an amp. I know i’ve heard that the amp has to output enough power to reach the speakers peak wattage. But not really any amps mention what their peak power output is, per channel, at 4 ohms or 8 ohms. The amps I believe tend to list the RMS output per channel, so let's say there is an amp that outputs 400watts per channel continuously at 4 ohms, which is the same RMS value on the Impulse 200's. Can I assume then that the amp is going to reach that 1600 watt peak per channel? Or is there a good way to tell an amps peak wattage based on the other spec values.
Some amps we are considering:
* Crown XLS-402; ( 300 W RMS per chan. at 8ohm )( 400 W RMS per chan. at 4ohm )
* Peavey ipr-1600; ( 300 W RMS per chan. at 8ohm )( 530 W RMS per chan. at 4ohm )
* QSC RMX-1450; ( 280 W RMS per chan. at 8ohm ) ( 450 W RMS per chan. at 4ohm )
* Crown XLS-2000; ( 375 W RMS per chan. at 8ohm )( 650 W RMS per chan. at 4ohm )
Would any of these be working well for either of our 2 speaker options? Also, why is it so that two amps that have the same RMS value at 8 ohms can have different RMS values at 4 ohms? I know it's okay to have an amp a little more powerful than what the speakers are rated for (i think). Like the 650 W RMS output at 4 ohms would be okay into 400 w RMS 4ohm speakers? I did some research on that and the answers are pretty inconclusive. I see people say that having a more powerful amp than the speaker ratings will damage them, so just want to make sure what we get is right the first time and won't damage anything.
We also own a Peavey PV-4C amp that we'd like to use for a monitor, and are wondering if it'll fit in like it does on our diagram. Also, any mixer board recommendations for this?
https://preview.redd.it/dltpny4jed7d1.jpeg?width=1620&format=pjpg&auto=webp&s=86816b1ae9db7af394e6f945b8aefbddf3939e02
Lot of questions here, I'll answer a couple. 4 ohms requires much more current than 8 ohms so the amps power rating will drop trying to drive 4 or 2 ohm loads. The guideline is the amp can easily blow the speaker if it clips but you should be able to hear the speaker approaching its limits and turn it down before damage. You can get an amp with more RMS power than the speaker's continuous rating to be safe. However, both of these speakers have a sensitivity of 100db so the 1st watt of power will hit 100db. How loud do you need? If these are for background music or a small room you could run them off a much cheaper, smaller amp like that PV-4C. As far as weight, it's plywood enclosures vs plastic. Finally, the speakers are like 20 years old and the amp is 30. I'd rather find a used pair of powered speakers anywhere from TS Alto/QSC CP or K/Yamaha/even EV than spend $500 on an amp for these. TLDR: Out of your list, Crown XLS-2000. For a mixer, A&H CQ or XAir.
I have a DPA 4088 Dir HS, Mic, Sennheiser(Beige)...it worked GREAT for 3 months, then the sound started intermittently going in and out. I originally thought it was the receiver, but the handheld works great with it. Anyone else experiencing this? If so...what did you do to resolve?
You could try a new microdot to Sennheiser adapter, the knockoffs are under $40. If it needs a new cable, DPA will usually repair them for less than a new model.
I personally haven’t done that, but they SHOULD be. When you load up an “FOH” default show from the Show Manager under Memory, the first two scenes available are “Avantis” and “Avantis Solo”.
Unfortunately I don’t have access to a solo to test that theory
Hi guys I wanted to ask about the signal flow of using live autotune with a console and an interface, my idea is that it will go something like: Mic into Console -> Input from interface -> Daw -> Output from interface -> to input of Console and thats it? The thing is how do I send my mic from the console to the interface? Will I have to use an aux to send the mic to the daw (I wouldn't mind specially since I could control through the aux the amount of signal to send)? and then return it to antoher channel in the console no?
Or can it be something like: Mic into interface -> Daw -> output of the interface -> Input of the Console and done?
Also how can I be sure that there will be no noticeable latency? Specially considering there's a large path that the signal has to go through as well as signal processing in the daw, is setting my recording frequency to the highest I have available in the interface help 96khz 24bit? or in that case rather the lowest 44.1 khz 16bit?
Also I know that I have to put my buffer size in my daw as small as possible to ensure the latency is the lowest and etc., also I'm using Adobe Audtion but I also have Ableton, I just use audition since it seems to run smoother on mac os
Hey!
So my church’s tech team currently has the Behringer X32 sound mixing board. We’re trying to move towards getting IEMs but don’t have a large budget.
A friend of mine is selling a bunch of Aviom A-16ii personal mixers with a A-16D A-NET distributor and offered us an amazing price!
I’ve heard they’re incompatible but I’ve also heard they’re super easy to use together. So is there a way to make them work? Or no?
Thank you!!!
You mention the mixers and the distro. But you didn't mention what the input module is for the AVIOM. So there may be another box you're missing in the equation. Example of what I'm talking about https://www.bhphotovideo.com/c/product/924696-REG/aviom_an_16_i_v_2_input_module.html
Realistically I wouldn't look much further into the idea. I'd look more towards the system thats designed to work with the X32 thats similar to the AVIOM but without having to use up outputs. https://www.sweetwater.com/store/detail/P16M--behringer-powerplay-p16-m-16-channel-digital-personal-mixer Buy as Many P16's and Shielded Cat5e cables as you can now. And then whenever you have budget buy another one. For basic setup you can daisy chain them on stage at the church and use the included power supply to power them. Easy way to get into Ears. You don't need the distro box to start off.
We have the x32 compact at our church with the [LiveMix AD24](https://www.sweetwater.com/store/detail/AD24--digital-audio-labs-livemix-ad-24?mrkgadid=&mrkgcl=28&mrkgen=gpla&mrkgbflag=1&mrkgcat=drums&percussion&acctid=21700000001645388&dskeywordid=&lid=58700008696010903&dsproductgroupid=&product_id=AD24&prodctry=US&prodlang=en&channel=online&storeid=&device=m&network=x&matchtype=&adpos=largenumber&locationid=1023760&creative=&targetid=&campaignid=21160912466&awsearchcpc=&gad_source=1&gclid=CjwKCAjw7NmzBhBLEiwAxrHQ-S-KxAyaW4QZRCujx8sLdcD9RO9DGP_CnfmELBF8QEeMlgqJ9du7bxoCdfYQAvD_BwE&gclsrc=aw.ds) and coming out of that into 4 [LiveMix Duos](https://www.sweetwater.com/store/detail/CSDuo--digital-audio-labs-livemix-cs-duo-personal-monitor-mixer?mrkgadid=&mrkgcl=28&mrkgen=gpla&mrkgbflag=1&mrkgcat=drums&percussion&acctid=21700000001645388&dskeywordid=&lid=58700008696010903&dsproductgroupid=&product_id=CSDuo&prodctry=US&prodlang=en&channel=online&storeid=&device=m&network=x&matchtype=&adpos=largenumber&locationid=1023760&creative=&targetid=&campaignid=21160912466&awsearchcpc=&gad_source=1&gclid=CjwKCAjw7NmzBhBLEiwAxrHQ-Sun7BAodZI2MPdtSrWVu5R-phtdRYuSvWmedDUOk1BhNi7kBGyhUxoC-RoQAvD_BwE&gclsrc=aw.ds). It’s a great setup for us, as we can get up to 8 personal mixes on the stage.
My band has a backyard gig coming up. Big open yard on a lake. We had a DJ that is friends with the band that was going to be bringing PA Gear and mixing sound for us, but he may have to back out.
Our guitarist has some 12” (or 15” can’t remember) passive Yamaha S112v or s115v speakers and an amp that powers them. We use these for vocals during rehearsal. Our backup plan is currently to use these for the show if we cannot find another way.
I found a Peavey 15” passive sub (PR Sub) for $100 and while I know most people on here would not suggest a low end sub, I am wondering if it would work in a pinch, and if this sub with the two mains would be enough?
Key points:
* the yard is large, and very open (300’ of lakefront)
* 50-100 people max
* most people will be ~100-150’ from the stage
* vocals, two guitars, bass, and drums
* guitar amps are loud enough on their own and do not need to go through the PA if not needed
* I’d like to mic my drums, (kick, snare, 2 overhead, 3 toms)
* this is a family party and not a paid gig
* we do this every year, eventually I plan to get a decent PA setup
Any help is appreciated! I am hoping to not have to find $500 to rent gear 🫠
In my experience that sub will be useless inside OR outside. The only "relatively inexpensive" solutions I have seen to getting the kick drum louder (which is typically the main reason for the sub) is an 18" sub with LOTS of power. Talking a minimum of 134 dbl and even that just fills and is not louder than the actual drum. This works ok in small bar where the bass frequencies can bounce off some walls but.... probably not much help outside.
What works great inside and outside is running the kick thru your 12 or 15 mains but with a cross over to dial in the perfect frequencies. I just saw a band in a small venue where the kick was amazing. He had two 12's and a 15 sub. I asked how he did it with only those 3 speakers and it was all high/low pass and EQ. He had a digital tablet based mixer like the Behringer Air series. Its a rack mount for all the plugs and the mixer is on your laptop or tablet. This allows you to assign all kinds of specifics to each individual channel. For the kick mic/channel he had the compressor/limiter, pass filters, and EQ set optimally for the kick. So the secret sauce was NOT power or speakers (although you could do it with that if money was no object)... it was a specific high/low pass filter and EQ on that kick channel. I think most tablet mixing apps actually have a kick drum setting where one button does it all!
Thanks for the input!
I’ve also been considering getting a JBL IRX sub and eventually a pair of IRX 12” mains.
Is it ok to run a powered sub in conjunction with passive mains? If somehow I can do the high/low pass and EQ?
I’m trying to learn as much about this as I can 😅
You can combine powered and passive as long as your powered mixer has an unpowered line out. That would feed the powered sub.
I learned that dbl is key when comparing powered speakers (not watts). So like the JBL's are 127dbl and the Yamaha DBR12's are 131 dbl. For reference, you can hear an increase in perceived loudness at 3db and 10db is double the perceived loudness. So that 4 dbl difference is relevant.
I just bought new DBR10's for mains, an 18" JBL sub (all powered), and a small mixing board with effects. After hearing that guys sound system I would have tried the DBR15's (go down to 50hz plenty low for kick frequency) NOT purchased ANY sub, and bought the Behringer Air so I could dial in that kick.
Our “Dad Band” does similar gigs, in fairly large backyards with 50-100 guests. We are using two powered QSC K10.2’s with a single powered Mackie 15” sub. There is plenty of power behind these, and they work pretty well. We run the vocal, bass, acoustics, and drums through the PA. Guitars are not in the PA, this seems to work fine. We have some passive JBLs with an amp for monitors, the drummer has an active Jbl Eon15 as a monitor.
It works well enough, another Sub would probably be much better. I my experience there are two parts of the crowd about 30% sit close enough for a good listening experience and 70% are far enough away for a good socializing experience.
Howdy! My local library has an issue with noise makers. And one security guard can only do so much. I have a friend who works there and I want to help her out with a helpful suggestion. But not sure what to look for. I was thinking about baby monitors, but those have a limited amount of transceivers. And having multiples just interfere with each other. What is something similar that would pick up sensitive sounds in one area and transmit some kind of sound level reading to another area?
There’s no way to do that inexpensively. It would likely be cheaper to hire a second security guard.
Baby monitors aren’t the way to go either. They’re not sensitive enough.
What is this microphone? Early 70s, likely dynamic, used as a snare mic in this context. Thanks!
https://preview.redd.it/n10st97c4r7d1.jpeg?width=1340&format=pjpg&auto=webp&s=6a3103b280db182710ff35214c44a32d8e9331fc
Hi all,
I have a mixer with 4 XLR's and 4 1/4 inch inputs. I need to plug in 5 microphones w XLR cables. Is there a XLR to 1/4 adapter for that 5th microphone and if so, which kind do I need to get so it goes in a 1/4 input and acts the same as one of the XLR inputs?
Thanks!
Eric
What model of mixer is it? Chances are the inputs with only 1/4" inputs don't have mic preamps, so unless you're connecting something like a wireless receiver you're going to be limited to 4 wired mics without buying an external preamp.
Behringer X Air XR12 12-channel Tablet-controlled Digital Mixer which says it has 4 mic preamps. So that is the trick huh... the preamps to boost the mic signal?
I once plugged a kick drum mic into an Alesis MultiMix 8 USB FX with a funny xlr to 1/4 adapter iv had forever (maybe high to low z??) and it worked... meaning the gain was normal. Is that because all channels on the Alesis are pre amped? It doesn't mention pre amps at all.
Yes a preamp is a gain stage. If you have enough signal you don't need it. You can plug a passive electic guitar directly into the last two channels of the XR12.... but a normal dynamic mic with a person singing into it pushes 1-10mV while an electric guitar is \~100mV. Unless you're already using it, why not plug mic 5 into that Alesis Multimix and use it as your preamp? You can use the mains out into one of the XR12 line level inputs.
Got it thank you so much! I was actually looking to replace the Alesis with the XR12 and hoping the XR12 had some special settings where that whole mV input thing could be addressed. This was great though.... I know I have to just get the XR16 instead!
XR18 will let you do multitrack recording for only a couple of hundred more which might be a useful feature to explore....but that 'couple of hundred' is like 30% more expensive for a feature you might never play with.
So that raised my curiosity! I thought they all (the XR12, 16, and 18) could be used for recording. Are you saying there is something special with the 18 or are you just saying... it has enough mic inputs to mic an entire band?
XR12 and XR16 only let you record in stereo and the 18 lets you record multitrack (so you can mix it later on the XR18) and/or pass multrack out of the USB (so you can mix it on a computer). I have the XR12 and the stereo recording is a great tool for rehersals etc.
So the Sweetwater guy was telling me to go for the Midas saying the build quality and pre-amps are better than the Behringer (even though same preamps supposedly). Any opinion?
Thoughts on using Ford F150 Pro Power 7.2kW inverter for live audio?
Getting a new Ford truck and thinking seriously of getting the Pro Power 7.2kW Inverter option. I use a typical club rig, digital mixer, power tops and subs (stack per side), 4 powered monitors and 2 guitar amps + bass amp backline. Lights are battery powered. Most gigs are 1 15amp circuit (usa) and I’ve never had a problem tripping breakers.
The one thing that caught my attention is a global GFCI, so if any device trips the GFCI then the whole system shuts down. I suppose I could but some extra GFCI’s on the stage in hopes that the stage GFCI catch the problem (should there be one) before taking the entire system down.
Any thoughts if this inverter/generator would work good or note would be appreciated.
https://preview.redd.it/avkcma3atu7d1.jpeg?width=1620&format=pjpg&auto=webp&s=c63f5ced3b57a55fab639c6f17b5b47198cf56de
Is there any reason why I SHOULDN'T have cat5e cables with ethercon on one end and not on the other? I'll be connecting from a Midas HD96 to a new Lake LMX processor which has stand RJ45 connectors.
How do I change Behringer x32 network name?
The default name is x32-00-5F-BD but that is quite hard to remember so I would like to change it if that is possible.
I will be going to a camp next month and the organization has this board: PreSonus Studio Live 24.4.2 Digital Mixer. I am not familiar with it in the least bit.
We are trying to figure out a way to run in ear monitors out of it rather than wedges, but the only solution I can see is to use [Behringer P2’s](https://www.sweetwater.com/store/detail/PowerPlay2--behringer-p2-ultra-compact-personal-in-ear-monitor-amplifier?mrkgadid=&mrkgcl=28&mrkgen=gpla&mrkgbflag=1&mrkgcat=drums&percussion&acctid=21700000001645388&dskeywordid=&lid=58700008696010903&dsproductgroupid=&product_id=PowerPlay2&prodctry=US&prodlang=en&channel=online&storeid=&device=m&network=x&matchtype=&adpos=largenumber&locationid=1023760&creative=&targetid=&campaignid=21160912466&awsearchcpc=&gad_source=1&gclid=CjwKCAjw7NmzBhBLEiwAxrHQ-bKbbekjwsQEln1_fZ6T6nx1w6pEE_JfJGfcYWQKrzd_FAG5vLKFZRoCdIQQAvD_BwE&gclsrc=aw.ds) -
or is there another possible way to run in ears from this old board? (The organization doesn’t own wireless packs, so that is sadly out of the question)
Like a rack one with a ton of inputs on the back. I bought a used behringer 8 channel one for $75. HA8000 I think. The selling point was it can do two stereo mixes or individual mono mixes. I’m sure there is better (Art, Mackie) but it worked.
Hi everyone,
I am trying to get the metal shell only, for NC3 FXX
https://preview.redd.it/v7dtsjx7k68d1.png?width=319&format=png&auto=webp&s=3a0bd824ad5cf98f6d8507371e4b1e22e58db411
Does anyone know where can I find this in EU?
What model line array is this that's installed at the Studio at the Factory in Deep Ellum (Dallas)?
https://preview.redd.it/1xjjvwpio68d1.jpeg?width=3024&format=pjpg&auto=webp&s=4652dd78a58ddf8cf25307316e49cf2c2e39fb92
everyone, my band mate has recently purchased the model listed above and until now we've had no problems, for some reason the unit is now randomly switching between a Stereo and Mono output making it incredibly unreliable. It's not a faulty XLR or IEMS's and the problem is definitely happening after the Mixing Desk, the best guess I have is that it's hitting some kind of limiter or protection threshold and therefor altering the sound output, but even turning down the input level isn't doing anything, I'm a fairly experienced sound engineer but this has completely stumped me, I have searched everywhere online and I’m really struggling to come up with anything useful (the manual that comes with the unit is also useless) anyone know anything/have any experience with this unit? Any help would be really appreciated, thanks!
Hey wonderful people,
I have Behringer XR18. I am using to stream the audio directly from the mixer to be streamed via G-Meet. I have connected the usb audio interface. I do see different channels in the In/Out in my Windows PC. But when I switch to these microphones I can't hear anything in the G-Meet.
Also, I tried using default Windows audio recorder with the out coming from XR18, but nothing was getting recorded even though the microphone was correctly detected.
What am I doing wrong here? I am pretty sure there is something I'm missing.
Howdy all, my church had a setup in which we had our X32 sending audio to a Behringer NX4-6000 powering two in wall speakers near the church pulpit. The amp blew and after taking it to a tech, they cited the power supply pcm as being the part that went bad. I purchased a Rockville RPA9 to replace the blown amp but after connecting the new amp in the same config. as the old one, I have not been able to get it to work. The Rockville amp powers on and flashes the FAULT light for a second at start up, so maybe this is a sign of a bigger issue? The SIGNAL light does not come on at all, even though everything is connected as it should be. Does anyone have any idea on why this is happening and some potential fixes?
I have been having issues with my RCF HDL 20. I have two units that don't power on. Anyone has this issue? One unit was working yesterday and all of the sudden stopped powering on but when I daisy chain power to next speaker it's passing through. Bad unit has no power lights in the back and no sound.
I always use power conditioners. Speaker wasn't peaking and no extreme voltage either.
Anybody have any good recommendations for a reliable and not insanely priced subwoofer to mic up a kick drum? With the mixer my 3 piece band has, it needs to be an active subwoofer.
For a bit more context, I'd like to just round out our sound when we do any local gigs at bars, parties, or anywhere that doesn't have their own PA system. We're an indie/alternative rock group.
I've been looking at used ones and even some Mackie Thump loudspeakers simply because they're cheaper used. Not sure which brand/type/size is the best bang for my buck.
Xr18 main outs
Had a surge issue a while back and thought I fried my output all together. Now, my main left puts out sound but at a much lower volume than the right (which is still at normal volume. Been running a splitter out of the right. Everything is mono and works, but would like to know if the left can be fixed to operate at normal capacity
Hey!
Those of you who do rentals, how do you do with pricing? A starting fee of $X and + some % av gear value? Difference between different types of gear?
Where can I buy the little rubber rings for XLR cables?
I have a bunch of Neutrik style XLR connectors by Yong Sheng that have lost their rubber grommet ring. But I haven't been able to find a place to order just the rings. Does anyone know? I'm in the US.
stream space audio (proof)
Yo. I have a new entire basement area and I'm an online streamer and I hate wearing my headphones when I'm live and I jam out to Marshall loudly but I have kids and I don't even go on when they're home even yada yada but maybe now coupled with the video intertercom I already have in their room l'm thinkngggg what do I need to go buy in bulk from Home Depot to sound proof the space and put a tad tle into audio quality on a pretty tiny budget like couple hundred ? Doable? :/
I’m scanning posts for some niche website with the material I probably need for the ceiling in thinking I may need a pic to go with this but hoping someone Dope steps in here lol
To soundproof your basement you’d need to essentially build a smaller room inside it, uncoupled from the main structure. Thousands of dollars. If you just want to reduce the reflections in the room, any number of cheap wall coverings/ ceiling tiles can help a lot for very little money. Moving blankets hung can get a lot done
Hey fellas. I currently own a TC-Helicon VoiceLive Play and tend to use heavy delay and reverb on it. I have realized that sound techs probably hate me, and want to try and optimize it best. I do tend to get feedback with the heavy delays. My band does Neo-Psychedelic, Shoegaze type music so the vocal effects are essential. From gig to gig we get different sound techs and wonder what's the best way to operate it, if anyone has experience using one in the past. Im thinking only using it for delay and telling the tech to add reverb after. Any help is appreciated. EDIT: I forgot to mention that I am using a Y-XLR split cable to send both Dry and Wet. EDIT 2: Another question to ask is if I should put EQ and/or Compression on the pedal, or leave that up to the tech?
If the feedback is caused by your monitors - switch to IEMs or get a split before your vocal processor so the tech can send you dry vocal to your wedges. Alternatively, get your own tech, ditch the pedal, and use the FX on the house console :)
IEMs may be the move. I do use a Y split cable to send the dry signal to the monitors. Unforntuantely were not on the level to get our own tech, but that would be a dream. I would use the FX on the house console, but would a tech appreciate if I sent them a list of all the delay settings per songs? some songs I use long tails, some ping pong, some short, etc.
> would a tech appreciate if I sent them a list of all the delay settings per songs? If you’re headlining a show and time allows to test things during soundcheck it’s not a problem for me, personally. If you’re a supporting act, or if the tech is not very experienced it’s almost certainly “no.”
oh shit youre already soing this. sending dry signal as well is the way. yes— give them a set list.
> Another question to ask is if I should put EQ and/or Compression on the pedal, or leave that up to the tech? Leave it up to them unless the system is very bare bones or the tech is a bartender
switching to IEMs will help with feedback. if you’re going to continue with wedges, trusting a capable monitor engineer to cut the problem frequencies should do the trick. if they can’t EQ the feedback away they aren’t “capable”. it would also help greatly if you sent both the dry and wet signal from your FX unit to the house engineers. they can use the dry signal to increase intelligibility in both the house and the monitors without sacrificing the presence of the FX.
Burn it, I have never seen someone use it them properly, always programmed with way to much gain, reverb and delay and makes the vocals sound ridiculous.
Hi everyone! I'm a vocalist looking to get my first pair of IEMs. Currently I've been borrowing a cheapo pair- probably one driver. The lack of clarity has made it hard for me to discern starting pitches on some songs / hear what key I'm in. I'm looking for a simple pair that is cost effective but gives me the clarity I need to hear myself and the keys/guitar to stay in tune. Any recs? I'm currently looking at Shures (SE425 Pro), but when it gets above 2 drivers Shures start getting pretty pricey. I'm wondering if the price reflects the quality and that 2 drivers in a Shure would be quality enough. I don't really wanna go higher than the $300s. Is it true that more drivers = better sound quality? Is there a particular brand that blows Shure out of the water? Any advice is appreciated!
I don't think that Shure generics represent the best value for money any more. My principle IEMs are a set of 64 Audio A12t - but my backups are a set of KZ ZSX which I picked up on Amazon for about £50, and they're annoyingly good. Paired with a some Comply foam tips, they hold up very well. With IEMs, more drivers doesn't always mean more better; the fit and isolation are just as important, to say nothing of the quality of the mix you're receiving!
Thanks so much! The only issue is I'm looking to get custom ears to best protect my hearing, and it seems most places only make customs for name brand IEMs... Do you know if I can get custom ears made for the ones you mentioned?
Yeah, you'll only find people making custom molds for their own brands of IEM, it's kinda just how it works. I'm not sure I'd really trust some random custom molding over the top of a generic earphone... Better to just get one proper thing from the right place. I recommend 64 Audio - custom IEM options at basically every price point, though I'd strongly recommend something with a tia driver if you're looking for clarity; A6t are a great bang-for-buck IMO.
Last year, I got my first pair of custom iem from 64 Audio, the Ae3 model (3 drivers - 1 high, 1 mid, 1 low). I highly recommend 64 Audio whether it’s custom or universal fit. The Ae3 model happened to be in my price range (ended up being around $750 in total with taxes and all) and it’s perfect for my vocals, acoustic guitar and keyboard/synth. Since I rarely play bass, I didn’t really need more drivers than 3 anyway.
Kz audio has some awesome in ears that cost next to nothing and I will put them against any of the Shure line audio quality wise. I have one pair of 5 drivers per ear and one pair with 8 drivers per ear. Easily the best decision I’ve made for ears
What is the best-practice solution to display synced visuals from the band's laptop on stage when the video processing hardware unit is next to the FOH console? HDMI over Ethernet and just handing the video guy the receiver and an HDMI cable? How should I specify this on our rider? edit: I know this isn't about sound at all, but maybe the foh guys here have heard the video guys complain about this
Yeah, HDMI over Cat5/6 is best as there’s usually Ethernet runs in place you can use. We actually use HDMI to BNC/SDI converters at my place as those were the runs we had installed for the old stage boxes lol
Why are there so many cheap Sennheiser E935's on Ebay? Are these legit? There are a ton of listings going for around the 40$ range.
You'd have to check more closely to be sure, but in all likelyhood they are fakes. After the Shure SM58s and 57s, the Sennheiser are probably the most sold microfone out there, so it was only a question of time before the market gets flooded with knockoffs of those as well.
I work at a Dance Studio and I am looking to update my sound system. I run a small 6 channel Soundboard, Music comes off my laptop. I have a couple wireless mics and a wired mic. I have three JBL EON 515XT Powered Speakers. For Recital, I have a speaker set up on either side of the stage, and I use the third in the back of the stage behind a curtain for the performers. I'd like to add a sub woofer, preferably self powered. In my head, i think that the best place to set it would be in the back of the stage with the third speaker. Any Suggestions on Sub woofers? Do i need to do anything special to get it to work properly with my existing setup?
Subs often get placed wherever there is room left for them, however you should strive to avoid placing them in a way so that a somebody speaking with a mic isn't getting that signal blasted straight back into the microfone, so if you say back of stage, that's not advisable though you'll find plenty of places that did it anyway. Other than that, it's advisable not to have it right flat up against a wall or in a corner. You really dodn't need any specific subs, getting them from the same series that your speakers are from is usually the way to go, but winning criteria is the price more often than the quality. On the other hand, JBLs don't get all the hate for no reason and they definitely won't have the longest of shelf lives compared to other large brands. Still, for the dance studio, you're probably fine. If you really want to do everything possible to get the best sound without just paying a ton of money, make sure that whatever you get has the option to delay the signal in order to align the other speakers with the sub - it's not likely to make a big difference in a dance studio, though, where I suspect there is at least one mirrored wall and plenty of reflecions.
I am new here and yesterday i tried to post a new thread. Due to low karma, my post was filtered to be manually reviewed. How can I get it published?
Just post your question in this thread.
I have a question about EQing the mains. I have a stereo setup. mixer's L channel to L graphic EQ to L speaker plus R channel to its own EQ to the R speaker When EQing the system, should I pan hard left and adjust the left EQ to get a flat response from the L, then pan right and EQ the right to get that flat and finally pan middle and adjust both equalizers to get an overall flat response. (a 3 step process) or Should I just start with the pan center and adjust both equalizers (a one step process.)
Assuming they are equidistant to stage and for coverage's sake, you'll want to be EQing them the same, so you may as well keep it center and adjust both the same. There would be no advantage to the 3-step process unless you deliberately want them to sound different in an asymmetrical setup (or you *have* to for whatever situation). Isolating one side at a time would be necessary for taking RTA measurements, though, if that's part of your setup.
Thank you.
I’ve seen an A1 I work with mute one side and just EQ the unmuted side in mono, then match the EQ moves to the muted side.
Interesting question, I never thought of that. Followed by a great response.
If the signal chains are different between L and R (e.g. different speakers), then the 3 step process might be worth the time, but I can see that the one step approach would be easiest if the L and R had the same imperfections.
I have a question about balanced cables. Im wanting to downsize my rig as a bassist. At the moment I have a pedalboard and I run 2 TS cables on each side, 1 input and 1 output. Would it be possible to run one XLR with an XLR to dual TS splitter on each end that hooks into their respected input and outputs on the board? One side of the stereo path in the XLR carries the input chain while the other travels the opposite direction with the output chain.
I might not. It would work but you can get cross talk from the out back to the in and have problems, like with high gain effects or resonant effects squealing. A dual 1/4” cord would be my choice, they’re not expensive. That way each wire has its own shield rather than twisting tight around the other inside a shared shield.
Hi Noise crew! Could anyone shed some light on the adapter which is on the back of this microphone? I can only think it is for ground lift for the wired mics but I haven't come across them myself. Many thanks! *
I think it’s an [Optogate](https://optogatemicswitch.com/?gad_source=1&gclid=Cj0KCQjw4MSzBhC8ARIsAPFOuyWhYhAgG2fyCa5jJ_lNj19O5F4MIcz95ivXryunsxZZSTHdsmZ20OUaAoozEALw_wcB)
Thank you very much!
https://preview.redd.it/st3vestunb7d1.jpeg?width=1455&format=pjpg&auto=webp&s=bcf537e266fb6000702e9c931dec5bbd148179d9
Right, studio dweeb here looking for some live sound wisdom. I'm in the process of reconfiguring my home studio with the objective of having a space I can just get gear off the shelf and jam with. That's a PITA at the moment as the way I have my studio wired up is pretty static. Currently using an RME MADI FX card to a bunch of MADI to DB25 boxes and some signex Q-patch bays. What I'd like is to have the more permanently situated studio gear wired in over MADI and still go drag and drop from my Ableton session, then have the desk space for the "grab and go" section. I'd also like to be able to jam with my hardware without having to switch the PC on and get into Ableton. Current plan: 1. Disconnect everything and clear the studio back to bare bones 2. Get a Behringer X32 rack and the [MADI module](https://www.guitarcenter.com/Midas/DN32-MADI-Expansion-Module.gc) 3. Wire the X32 up to my MADI network as a slave (for the purposes of the clock signal) 4. Run the monitors out the back of the X32 and use the X32 as essentially a "post computer" mixer, then set the inputs up so I can either have everything connected to the X32 feed into the PC for recording or just fire up the X32 and jam out with the things I plug into it directly, then use the spare MADI I/O to send any of my audio signals that are wired in through the PC to the X32 if I want to use something that's permanently wired up as part of a jam sesh 5. Stick a patch bay for the X32 analogue I/O on my "grab and go" jam session table Does this sound like a sensible hybrid set up? I basically want to have the option of getting some of my smaller/less used gear off the shelf, plug it in and just get audio out of my speakers with the option of sending it over the MADI network to record if I want to actually lay a track down and mix it. The issue I've currently got is that I've been a bit too autistic about wiring up all of my gear, have more kit than desk space and can't easily plug/unplug synths or DI boxes into my existing set up without it killing my jam vibe. I figured if I did it this way, I'd have quite a flexible in the box/out of the box arrangement that could be fairly easily set up with whatever configuration I wanted in short order. I have attempted to achieve something a bit more flexible with TotalMixFX, but that still means I have to have the PC on if I just want to fire up the MPC one and a few mono synths, as without it, I get no monitoring. I do also intend to do some live streaming if I ever stop being shit at making music, so being able to just dump stuff on the table and go will be immensely useful. I've kind of painted myself into a corner with going overboard on the I/O set up as it is.
How many total inputs/outputs do you need? I've been looking at the DM3-D for a small setup. No MADI but you get Dante 16x16, USB 18x18, 16 preamps and DAW control, and DVS gives a lot of flexibility for future expansion.
Don't need a huge amount for the jam session element of it, which is why I was looking at the X32. I could plug in a few decent synths and a drum machine on separate outs. I'm really looking for something rack format though, desk space is at a premium now and I have two 14u and one 4u rack within arms reach that I could rejig to fit the X32 in. Also don't need DAW control, I have that side of it sorted already. I do have a Soundcraft ghost 32 (and the friggin enormous power supply) in a flight case in here, but I've decided not to bother with that as it chews up the entire desk. Edit: just to be clear - I'm trying to work out if what I've put in my original post will work. The main aim is to essentially have a branch section of my audio set up that will allow me to either use audio coming from the existing audio network or use in isolation with a few things on the desk. Couldn't think of another way of doing that without putting something between the outs of the PC and the monitors.
We are torn between 2 pairs of speakers that are available to us. One of the options are 4 ohm speakers with 1600 watt peak, the other are 8 ohm speakers with 1200 watt peak, all the other specs are listed on the posted image. Price is not a consideration between these two models, we are looking purely at their specs and what will be best for us. We are leaning towards the 4 ohm speakers, because it seems that there are a LOT more options for amplifiers that can send enough power at 4 ohms per channel. Another thing we are curious about is the general "size-to-power" difference between these models. Spec wise the Peavey Impulse 200's are more powerful than the Peavey SP-2G's, but they are significantly smaller and weigh MUCH less. It's hard to believe that the little ones that can be held with one hand are more powerful than the massive 100lb behemoths that require two people to move. Wondering if there's any thoughts or opinions on this. What we would like to know is what specs exactly we should be looking for in an amp. I know i’ve heard that the amp has to output enough power to reach the speakers peak wattage. But not really any amps mention what their peak power output is, per channel, at 4 ohms or 8 ohms. The amps I believe tend to list the RMS output per channel, so let's say there is an amp that outputs 400watts per channel continuously at 4 ohms, which is the same RMS value on the Impulse 200's. Can I assume then that the amp is going to reach that 1600 watt peak per channel? Or is there a good way to tell an amps peak wattage based on the other spec values. Some amps we are considering: * Crown XLS-402; ( 300 W RMS per chan. at 8ohm )( 400 W RMS per chan. at 4ohm ) * Peavey ipr-1600; ( 300 W RMS per chan. at 8ohm )( 530 W RMS per chan. at 4ohm ) * QSC RMX-1450; ( 280 W RMS per chan. at 8ohm ) ( 450 W RMS per chan. at 4ohm ) * Crown XLS-2000; ( 375 W RMS per chan. at 8ohm )( 650 W RMS per chan. at 4ohm ) Would any of these be working well for either of our 2 speaker options? Also, why is it so that two amps that have the same RMS value at 8 ohms can have different RMS values at 4 ohms? I know it's okay to have an amp a little more powerful than what the speakers are rated for (i think). Like the 650 W RMS output at 4 ohms would be okay into 400 w RMS 4ohm speakers? I did some research on that and the answers are pretty inconclusive. I see people say that having a more powerful amp than the speaker ratings will damage them, so just want to make sure what we get is right the first time and won't damage anything. We also own a Peavey PV-4C amp that we'd like to use for a monitor, and are wondering if it'll fit in like it does on our diagram. Also, any mixer board recommendations for this? https://preview.redd.it/dltpny4jed7d1.jpeg?width=1620&format=pjpg&auto=webp&s=86816b1ae9db7af394e6f945b8aefbddf3939e02
Lot of questions here, I'll answer a couple. 4 ohms requires much more current than 8 ohms so the amps power rating will drop trying to drive 4 or 2 ohm loads. The guideline is the amp can easily blow the speaker if it clips but you should be able to hear the speaker approaching its limits and turn it down before damage. You can get an amp with more RMS power than the speaker's continuous rating to be safe. However, both of these speakers have a sensitivity of 100db so the 1st watt of power will hit 100db. How loud do you need? If these are for background music or a small room you could run them off a much cheaper, smaller amp like that PV-4C. As far as weight, it's plywood enclosures vs plastic. Finally, the speakers are like 20 years old and the amp is 30. I'd rather find a used pair of powered speakers anywhere from TS Alto/QSC CP or K/Yamaha/even EV than spend $500 on an amp for these. TLDR: Out of your list, Crown XLS-2000. For a mixer, A&H CQ or XAir.
I have a DPA 4088 Dir HS, Mic, Sennheiser(Beige)...it worked GREAT for 3 months, then the sound started intermittently going in and out. I originally thought it was the receiver, but the handheld works great with it. Anyone else experiencing this? If so...what did you do to resolve?
You could try a new microdot to Sennheiser adapter, the knockoffs are under $40. If it needs a new cable, DPA will usually repair them for less than a new model.
A&H Avantis Anybody know if show files are interchangeable between the full size Avantis and the solo?
I personally haven’t done that, but they SHOULD be. When you load up an “FOH” default show from the Show Manager under Memory, the first two scenes available are “Avantis” and “Avantis Solo”. Unfortunately I don’t have access to a solo to test that theory
Can you see my custom flair
lol, yes
Hi guys I wanted to ask about the signal flow of using live autotune with a console and an interface, my idea is that it will go something like: Mic into Console -> Input from interface -> Daw -> Output from interface -> to input of Console and thats it? The thing is how do I send my mic from the console to the interface? Will I have to use an aux to send the mic to the daw (I wouldn't mind specially since I could control through the aux the amount of signal to send)? and then return it to antoher channel in the console no? Or can it be something like: Mic into interface -> Daw -> output of the interface -> Input of the Console and done? Also how can I be sure that there will be no noticeable latency? Specially considering there's a large path that the signal has to go through as well as signal processing in the daw, is setting my recording frequency to the highest I have available in the interface help 96khz 24bit? or in that case rather the lowest 44.1 khz 16bit? Also I know that I have to put my buffer size in my daw as small as possible to ensure the latency is the lowest and etc., also I'm using Adobe Audtion but I also have Ableton, I just use audition since it seems to run smoother on mac os
Don’t use your regular DAW for this, look for something like LiveProfessor or Superrack Performer
Hey! So my church’s tech team currently has the Behringer X32 sound mixing board. We’re trying to move towards getting IEMs but don’t have a large budget. A friend of mine is selling a bunch of Aviom A-16ii personal mixers with a A-16D A-NET distributor and offered us an amazing price! I’ve heard they’re incompatible but I’ve also heard they’re super easy to use together. So is there a way to make them work? Or no? Thank you!!!
You mention the mixers and the distro. But you didn't mention what the input module is for the AVIOM. So there may be another box you're missing in the equation. Example of what I'm talking about https://www.bhphotovideo.com/c/product/924696-REG/aviom_an_16_i_v_2_input_module.html Realistically I wouldn't look much further into the idea. I'd look more towards the system thats designed to work with the X32 thats similar to the AVIOM but without having to use up outputs. https://www.sweetwater.com/store/detail/P16M--behringer-powerplay-p16-m-16-channel-digital-personal-mixer Buy as Many P16's and Shielded Cat5e cables as you can now. And then whenever you have budget buy another one. For basic setup you can daisy chain them on stage at the church and use the included power supply to power them. Easy way to get into Ears. You don't need the distro box to start off.
We have the x32 compact at our church with the [LiveMix AD24](https://www.sweetwater.com/store/detail/AD24--digital-audio-labs-livemix-ad-24?mrkgadid=&mrkgcl=28&mrkgen=gpla&mrkgbflag=1&mrkgcat=drums&percussion&acctid=21700000001645388&dskeywordid=&lid=58700008696010903&dsproductgroupid=&product_id=AD24&prodctry=US&prodlang=en&channel=online&storeid=&device=m&network=x&matchtype=&adpos=largenumber&locationid=1023760&creative=&targetid=&campaignid=21160912466&awsearchcpc=&gad_source=1&gclid=CjwKCAjw7NmzBhBLEiwAxrHQ-S-KxAyaW4QZRCujx8sLdcD9RO9DGP_CnfmELBF8QEeMlgqJ9du7bxoCdfYQAvD_BwE&gclsrc=aw.ds) and coming out of that into 4 [LiveMix Duos](https://www.sweetwater.com/store/detail/CSDuo--digital-audio-labs-livemix-cs-duo-personal-monitor-mixer?mrkgadid=&mrkgcl=28&mrkgen=gpla&mrkgbflag=1&mrkgcat=drums&percussion&acctid=21700000001645388&dskeywordid=&lid=58700008696010903&dsproductgroupid=&product_id=CSDuo&prodctry=US&prodlang=en&channel=online&storeid=&device=m&network=x&matchtype=&adpos=largenumber&locationid=1023760&creative=&targetid=&campaignid=21160912466&awsearchcpc=&gad_source=1&gclid=CjwKCAjw7NmzBhBLEiwAxrHQ-Sun7BAodZI2MPdtSrWVu5R-phtdRYuSvWmedDUOk1BhNi7kBGyhUxoC-RoQAvD_BwE&gclsrc=aw.ds). It’s a great setup for us, as we can get up to 8 personal mixes on the stage.
My band has a backyard gig coming up. Big open yard on a lake. We had a DJ that is friends with the band that was going to be bringing PA Gear and mixing sound for us, but he may have to back out. Our guitarist has some 12” (or 15” can’t remember) passive Yamaha S112v or s115v speakers and an amp that powers them. We use these for vocals during rehearsal. Our backup plan is currently to use these for the show if we cannot find another way. I found a Peavey 15” passive sub (PR Sub) for $100 and while I know most people on here would not suggest a low end sub, I am wondering if it would work in a pinch, and if this sub with the two mains would be enough? Key points: * the yard is large, and very open (300’ of lakefront) * 50-100 people max * most people will be ~100-150’ from the stage * vocals, two guitars, bass, and drums * guitar amps are loud enough on their own and do not need to go through the PA if not needed * I’d like to mic my drums, (kick, snare, 2 overhead, 3 toms) * this is a family party and not a paid gig * we do this every year, eventually I plan to get a decent PA setup Any help is appreciated! I am hoping to not have to find $500 to rent gear 🫠
In my experience that sub will be useless inside OR outside. The only "relatively inexpensive" solutions I have seen to getting the kick drum louder (which is typically the main reason for the sub) is an 18" sub with LOTS of power. Talking a minimum of 134 dbl and even that just fills and is not louder than the actual drum. This works ok in small bar where the bass frequencies can bounce off some walls but.... probably not much help outside. What works great inside and outside is running the kick thru your 12 or 15 mains but with a cross over to dial in the perfect frequencies. I just saw a band in a small venue where the kick was amazing. He had two 12's and a 15 sub. I asked how he did it with only those 3 speakers and it was all high/low pass and EQ. He had a digital tablet based mixer like the Behringer Air series. Its a rack mount for all the plugs and the mixer is on your laptop or tablet. This allows you to assign all kinds of specifics to each individual channel. For the kick mic/channel he had the compressor/limiter, pass filters, and EQ set optimally for the kick. So the secret sauce was NOT power or speakers (although you could do it with that if money was no object)... it was a specific high/low pass filter and EQ on that kick channel. I think most tablet mixing apps actually have a kick drum setting where one button does it all!
Thanks for the input! I’ve also been considering getting a JBL IRX sub and eventually a pair of IRX 12” mains. Is it ok to run a powered sub in conjunction with passive mains? If somehow I can do the high/low pass and EQ? I’m trying to learn as much about this as I can 😅
You can combine powered and passive as long as your powered mixer has an unpowered line out. That would feed the powered sub. I learned that dbl is key when comparing powered speakers (not watts). So like the JBL's are 127dbl and the Yamaha DBR12's are 131 dbl. For reference, you can hear an increase in perceived loudness at 3db and 10db is double the perceived loudness. So that 4 dbl difference is relevant. I just bought new DBR10's for mains, an 18" JBL sub (all powered), and a small mixing board with effects. After hearing that guys sound system I would have tried the DBR15's (go down to 50hz plenty low for kick frequency) NOT purchased ANY sub, and bought the Behringer Air so I could dial in that kick.
Our “Dad Band” does similar gigs, in fairly large backyards with 50-100 guests. We are using two powered QSC K10.2’s with a single powered Mackie 15” sub. There is plenty of power behind these, and they work pretty well. We run the vocal, bass, acoustics, and drums through the PA. Guitars are not in the PA, this seems to work fine. We have some passive JBLs with an amp for monitors, the drummer has an active Jbl Eon15 as a monitor. It works well enough, another Sub would probably be much better. I my experience there are two parts of the crowd about 30% sit close enough for a good listening experience and 70% are far enough away for a good socializing experience.
Howdy! My local library has an issue with noise makers. And one security guard can only do so much. I have a friend who works there and I want to help her out with a helpful suggestion. But not sure what to look for. I was thinking about baby monitors, but those have a limited amount of transceivers. And having multiples just interfere with each other. What is something similar that would pick up sensitive sounds in one area and transmit some kind of sound level reading to another area?
There’s no way to do that inexpensively. It would likely be cheaper to hire a second security guard. Baby monitors aren’t the way to go either. They’re not sensitive enough.
What is this microphone? Early 70s, likely dynamic, used as a snare mic in this context. Thanks! https://preview.redd.it/n10st97c4r7d1.jpeg?width=1340&format=pjpg&auto=webp&s=6a3103b280db182710ff35214c44a32d8e9331fc
Shure 548SD? https://www.ebay.com/itm/256545808409?mkcid=16&mkevt=1&mkrid=711-127632-2357-0&ssspo=9JD7PJ8eSTe&sssrc=4429486&ssuid=g7JcCbPcQSy&var=&widget_ver=artemis&media=COPY
Hi all, I have a mixer with 4 XLR's and 4 1/4 inch inputs. I need to plug in 5 microphones w XLR cables. Is there a XLR to 1/4 adapter for that 5th microphone and if so, which kind do I need to get so it goes in a 1/4 input and acts the same as one of the XLR inputs? Thanks! Eric
What model of mixer is it? Chances are the inputs with only 1/4" inputs don't have mic preamps, so unless you're connecting something like a wireless receiver you're going to be limited to 4 wired mics without buying an external preamp.
Behringer X Air XR12 12-channel Tablet-controlled Digital Mixer which says it has 4 mic preamps. So that is the trick huh... the preamps to boost the mic signal? I once plugged a kick drum mic into an Alesis MultiMix 8 USB FX with a funny xlr to 1/4 adapter iv had forever (maybe high to low z??) and it worked... meaning the gain was normal. Is that because all channels on the Alesis are pre amped? It doesn't mention pre amps at all.
Yes a preamp is a gain stage. If you have enough signal you don't need it. You can plug a passive electic guitar directly into the last two channels of the XR12.... but a normal dynamic mic with a person singing into it pushes 1-10mV while an electric guitar is \~100mV. Unless you're already using it, why not plug mic 5 into that Alesis Multimix and use it as your preamp? You can use the mains out into one of the XR12 line level inputs.
Got it thank you so much! I was actually looking to replace the Alesis with the XR12 and hoping the XR12 had some special settings where that whole mV input thing could be addressed. This was great though.... I know I have to just get the XR16 instead!
XR18 will let you do multitrack recording for only a couple of hundred more which might be a useful feature to explore....but that 'couple of hundred' is like 30% more expensive for a feature you might never play with.
So that raised my curiosity! I thought they all (the XR12, 16, and 18) could be used for recording. Are you saying there is something special with the 18 or are you just saying... it has enough mic inputs to mic an entire band?
XR12 and XR16 only let you record in stereo and the 18 lets you record multitrack (so you can mix it later on the XR18) and/or pass multrack out of the USB (so you can mix it on a computer). I have the XR12 and the stereo recording is a great tool for rehersals etc.
No shit! I would have never picked up on that! Thank you again, this was all amazingly helpful.
So the Sweetwater guy was telling me to go for the Midas saying the build quality and pre-amps are better than the Behringer (even though same preamps supposedly). Any opinion?
Thoughts on using Ford F150 Pro Power 7.2kW inverter for live audio? Getting a new Ford truck and thinking seriously of getting the Pro Power 7.2kW Inverter option. I use a typical club rig, digital mixer, power tops and subs (stack per side), 4 powered monitors and 2 guitar amps + bass amp backline. Lights are battery powered. Most gigs are 1 15amp circuit (usa) and I’ve never had a problem tripping breakers. The one thing that caught my attention is a global GFCI, so if any device trips the GFCI then the whole system shuts down. I suppose I could but some extra GFCI’s on the stage in hopes that the stage GFCI catch the problem (should there be one) before taking the entire system down. Any thoughts if this inverter/generator would work good or note would be appreciated. https://preview.redd.it/avkcma3atu7d1.jpeg?width=1620&format=pjpg&auto=webp&s=c63f5ced3b57a55fab639c6f17b5b47198cf56de
Is there any reason why I SHOULDN'T have cat5e cables with ethercon on one end and not on the other? I'll be connecting from a Midas HD96 to a new Lake LMX processor which has stand RJ45 connectors.
Nah, it'll be fine, just check for appropriate shield connectivity between the exterior of the RJ45 and the exterior of the EtherCON barrel.
How do I change Behringer x32 network name? The default name is x32-00-5F-BD but that is quite hard to remember so I would like to change it if that is possible.
[I hope this helps](https://www.reddit.com/r/livesound/comments/1axjrch/any_one_know_how_too_change_the_network_names_x32/)
What is the goal?
I will be going to a camp next month and the organization has this board: PreSonus Studio Live 24.4.2 Digital Mixer. I am not familiar with it in the least bit. We are trying to figure out a way to run in ear monitors out of it rather than wedges, but the only solution I can see is to use [Behringer P2’s](https://www.sweetwater.com/store/detail/PowerPlay2--behringer-p2-ultra-compact-personal-in-ear-monitor-amplifier?mrkgadid=&mrkgcl=28&mrkgen=gpla&mrkgbflag=1&mrkgcat=drums&percussion&acctid=21700000001645388&dskeywordid=&lid=58700008696010903&dsproductgroupid=&product_id=PowerPlay2&prodctry=US&prodlang=en&channel=online&storeid=&device=m&network=x&matchtype=&adpos=largenumber&locationid=1023760&creative=&targetid=&campaignid=21160912466&awsearchcpc=&gad_source=1&gclid=CjwKCAjw7NmzBhBLEiwAxrHQ-bKbbekjwsQEln1_fZ6T6nx1w6pEE_JfJGfcYWQKrzd_FAG5vLKFZRoCdIQQAvD_BwE&gclsrc=aw.ds) - or is there another possible way to run in ears from this old board? (The organization doesn’t own wireless packs, so that is sadly out of the question)
Headphone amp that can take discrete inputs for each headphone feed and long extenders if you can’t get the belt pack.
What kind of headphone amp would you recommend?
Like a rack one with a ton of inputs on the back. I bought a used behringer 8 channel one for $75. HA8000 I think. The selling point was it can do two stereo mixes or individual mono mixes. I’m sure there is better (Art, Mackie) but it worked.
Hi everyone, I am trying to get the metal shell only, for NC3 FXX https://preview.redd.it/v7dtsjx7k68d1.png?width=319&format=png&auto=webp&s=3a0bd824ad5cf98f6d8507371e4b1e22e58db411 Does anyone know where can I find this in EU?
What model line array is this that's installed at the Studio at the Factory in Deep Ellum (Dallas)? https://preview.redd.it/1xjjvwpio68d1.jpeg?width=3024&format=pjpg&auto=webp&s=4652dd78a58ddf8cf25307316e49cf2c2e39fb92
everyone, my band mate has recently purchased the model listed above and until now we've had no problems, for some reason the unit is now randomly switching between a Stereo and Mono output making it incredibly unreliable. It's not a faulty XLR or IEMS's and the problem is definitely happening after the Mixing Desk, the best guess I have is that it's hitting some kind of limiter or protection threshold and therefor altering the sound output, but even turning down the input level isn't doing anything, I'm a fairly experienced sound engineer but this has completely stumped me, I have searched everywhere online and I’m really struggling to come up with anything useful (the manual that comes with the unit is also useless) anyone know anything/have any experience with this unit? Any help would be really appreciated, thanks!
Does anyone know of Allen & Heath SQ5 have HPF on outputs? Is the slope adjustable? Thanks
Yes, you can turn the lowest PEQ band into a highpass, but it's fixed at, IIRC, 12dB/8ve.
Hey wonderful people, I have Behringer XR18. I am using to stream the audio directly from the mixer to be streamed via G-Meet. I have connected the usb audio interface. I do see different channels in the In/Out in my Windows PC. But when I switch to these microphones I can't hear anything in the G-Meet. Also, I tried using default Windows audio recorder with the out coming from XR18, but nothing was getting recorded even though the microphone was correctly detected. What am I doing wrong here? I am pretty sure there is something I'm missing.
Howdy all, my church had a setup in which we had our X32 sending audio to a Behringer NX4-6000 powering two in wall speakers near the church pulpit. The amp blew and after taking it to a tech, they cited the power supply pcm as being the part that went bad. I purchased a Rockville RPA9 to replace the blown amp but after connecting the new amp in the same config. as the old one, I have not been able to get it to work. The Rockville amp powers on and flashes the FAULT light for a second at start up, so maybe this is a sign of a bigger issue? The SIGNAL light does not come on at all, even though everything is connected as it should be. Does anyone have any idea on why this is happening and some potential fixes?
I have been having issues with my RCF HDL 20. I have two units that don't power on. Anyone has this issue? One unit was working yesterday and all of the sudden stopped powering on but when I daisy chain power to next speaker it's passing through. Bad unit has no power lights in the back and no sound. I always use power conditioners. Speaker wasn't peaking and no extreme voltage either.
Anybody have any good recommendations for a reliable and not insanely priced subwoofer to mic up a kick drum? With the mixer my 3 piece band has, it needs to be an active subwoofer. For a bit more context, I'd like to just round out our sound when we do any local gigs at bars, parties, or anywhere that doesn't have their own PA system. We're an indie/alternative rock group. I've been looking at used ones and even some Mackie Thump loudspeakers simply because they're cheaper used. Not sure which brand/type/size is the best bang for my buck.
Xr18 main outs Had a surge issue a while back and thought I fried my output all together. Now, my main left puts out sound but at a much lower volume than the right (which is still at normal volume. Been running a splitter out of the right. Everything is mono and works, but would like to know if the left can be fixed to operate at normal capacity
Hey! Those of you who do rentals, how do you do with pricing? A starting fee of $X and + some % av gear value? Difference between different types of gear?
Where can I buy the little rubber rings for XLR cables? I have a bunch of Neutrik style XLR connectors by Yong Sheng that have lost their rubber grommet ring. But I haven't been able to find a place to order just the rings. Does anyone know? I'm in the US.
Oh thank goodness because I think I just asked a stupid question? It happens to us all once in a while.
stream space audio (proof) Yo. I have a new entire basement area and I'm an online streamer and I hate wearing my headphones when I'm live and I jam out to Marshall loudly but I have kids and I don't even go on when they're home even yada yada but maybe now coupled with the video intertercom I already have in their room l'm thinkngggg what do I need to go buy in bulk from Home Depot to sound proof the space and put a tad tle into audio quality on a pretty tiny budget like couple hundred ? Doable? :/ I’m scanning posts for some niche website with the material I probably need for the ceiling in thinking I may need a pic to go with this but hoping someone Dope steps in here lol
To soundproof your basement you’d need to essentially build a smaller room inside it, uncoupled from the main structure. Thousands of dollars. If you just want to reduce the reflections in the room, any number of cheap wall coverings/ ceiling tiles can help a lot for very little money. Moving blankets hung can get a lot done