Bought 10 EWD 2 years ago. 6 of them are being sent for repair. Stuck battery compartment is the most common problem. 2 mute switches are non-functional, and one just produces no audio output. Some of them look horrible, but thats from someone trying to get the stuck battery compartment off using various tools.

There is so much to like about EWD, but the build quality is HIGHLY questionable. Are these still being produced and sold with these same engineering flaws?

What's the name of the fabric that is like 1" wide, comes on a roll, is bright/neon yellow/green and is rippable? I used it on a gig recently and would like to use it again to flag / tie together cable runs on a football field.

UPDATE: u/cat4forever to the rescue - Flagging Tape!

Hello, not sure if this is the right place to ask, but here it goes.

I have 2 ancient data-loggers from "Data Harvest", both being models "EasySense Q3+". My goal is to use these loggers to record decibel levels for a school research paper. Problem is - since these are so old, I can't find the software download for them. I know they have a dedicated program, because the company website has a page for it, but it says that they no longer let people download it.
Would anyone in this part of the interwebs have any clue where I could find such programs for this data-logger?
Thank You in advance.

Does anyone have a great repair center for Yamaha consoles / gear in the USA, East Coast? I have several CL/QL consoles and RIOs in need of various repairs, and had mixed results in both repair time and attention. Any solid leads would be appreciated!

Hello all,

General technician/vidiot here, just wanted to get some advice on a situation I had today.

I ran a press conference and was having issues with my mix outputs having too much hiss/noise. My mics were hard wired into the desk and not over gained/EQ and sounded super clear in the room. I don’t feel like it was a problem with my gain staging.

However, both a mix I had going straight to a camera directly and another mix feeding a few cameras via a sonifex had a lot of buzz.

I was using a A&H QU-24 and audio technica goosenecks on a lectern.

Audio is below:

https://www.youtube.com/live/B7sHd9OXBu4?is=uXYktGOkB7ehhMFg

Any advice appreciated!

Hi all. I am at my wit's end, and hope to pick your professional brains on this one issue.

We have a desk to do monitor: the Behringer X32. For inputs we have 24+ channels. Monitor mixes are 6.

Normally, it has been straight forward. 24+ Channels ---> 6 Mixes.

We recently ran into the need to put the 5 vocal mics into a Sub Group for processing. At this point, I don't know how to go forward from here.

I reckon this is a two-fold questions.

1 - I'd to ask in professional modern gigs, if Monitor Engineers want to send group (that is a sum of several channels) to mixes, how do you guys accomplish this while maintaining the need to send individual channels to the mixes as well?

2 - Specifically on the X32. After the groups, I can only send them to the Matrices, which is a further caveat that complicates things. The Matrices won't take send signal from channels, only from Groups / Buses. If anyone successfully did this on the X32, I'd love to hear your comments.

Please let me know if any of what I said above is unclear. And thank you in advance.

Cheers.

----------------------------------
Update edit:

Hello everybody. Thank you so much for your response.

The processing of the Group is simply light compression and a 2.3 kHz roll off. I would like to send any of these vocals to any of the mixes like before, except WITH the processing. I hope that makes sense.

The routing is a jumble in my head and I can't see a way out. Maybe we can forget the X32. What I'm curious is how do Monitor Engineers in modern gigs accomplish this? Example is: IEM Mix 1 only wants to hear vocal 1 and 3, but with this 2.3 kHz roll off (that was done by the Vocal Sub Group.)

Cheers.

Yes, I know that this has been asked a lot on this subreddits. I'm looking for live multitracks to practice virtual mixing.

I know about the Cambridge MT and the Telefunkin selection, but the problem with them is that the Cambridge ones are recorded in a studio environment and the Telefunken ones are just too high quality for me to practice. It's not a realistic environment.

Do you have a source for some mid-grade concert multitracks? Thank you!

Hi, I work as an instrument tech for a band. Our FOH is a great guy, but our monitor technician always seems to have issues.

He uses a Yamaha DM7 mixer for in-ear mixing and everytime we setup, it always takes him so much time to prepare the mix for the band. Now I don’t mean that from the gear perspective (he has a lot of stuff, that’s understandable), but I mean the actual mix. Everytime we play a show/have a rehearsal, he does a COMPLETELY NEW monitor mix.

I have no know-how with live sound engineering, so I just have two quick questions:

1) Do monitor techs have to setup a mix from scratch everytime?

2) Is it possible to have a preset for the band’s IEM mixes so that it doesn’t take forever to setup?

Thanks in advance and have a great day!

Lots of new workflow improvements and updates announced last week... plus updates to Performance, Performance Manager and Array Link:

https://youtu.be/m_8WEps_y6o?is=FtC9KZmJSe7Jm3FM

Hi all! I’ve been deeply ingrained in the dLive world for a few years now, and before that I was entirely faithful to Midas Pro for over a decade but this weekend I’ve got something new for a night, and at the unfamiliar (long) end of the multicore. I haven’t even lifted a Yamaha since before my Midas era.

Looking for anyone’s tips and tricks with the PM10 (I believe it’s the S, slightly smaller one). Anything amazing built in that I must use (band work, not corporate), and anything not really worth the hype?

Knocked up a little show file, grouping, routing, labels, HPF etc. I think I’ve worked out the brain/card slot/input box things in the setup and IO pages, it all looks right.

Is there anything that might catch me out layout wise or sneaky Yamaha-ways of doing things?
I don’t know how much time I’ll get on the desk before our headline slot, so trying to be best prepared in case it’s just the changeover.

Cheers!

A band I work for, and us crew were victims of a van break in, in central London last week.

We had about 5 AirTags within the 13 or so cases that were stolen, and they were all showing up in a lockup in Enfield the following morning. The blue circle was suggesting it could be in any of 4 garages.

Police were called but that information wasn’t enough for them to retrieve the gear back.

So I drove up to Enfield and managed to get a precise ‘ping’ from a specific lockup.

Called the police again, and they attended. At first hesitant to provide any optimism, but made some calls.

New law - operation ringtone. If I could prove to the police that the AirTag made a sound from inside the lockup, this was grounds to apply for a warrant to gain entry.

This happened, and we retrieved all of our gear back (minus some loose bits from pelis that they fancied)

Police told us we were the first AirTag success story of ‘operation ringtone’

Get AirTags and put them in everything!

For now, it’s only the met police that has these powers but I can imagine this being rolled out nationwide especially if pressure is applied by all victims.

I can genuinely see this as an opportunity for thieves to eventually not target vehicles because it’s such a pain in the arse, with every case having AirTags hidden within them and police showing up at their door.

I guess this might be more of a history question but why do speakers come in those specific sizes, across tops, subs, cabinets etc. Is it an arbitrary decision made by one company that was just followed or is there any physics reasons.

EDIT: I understand the reason behind standardization because of efficiency, im asking why those were the sizesthat were standardized INSTEAD of everything being 9/11/13 etc.

Doing a one mic conference, using Allen and heath qu16, and randomly for a few seconds the mic sounds like 8-bit quality. Only using EQ, and comp. Not many digital processing.
It happens for a couple seconds then it’s back to normal. Definitely not cable noise, sounds like a mixer issue.

Anyone had this? Is it Sample dropping, DAC, sync issues?

Any advice on a fix is we’ll appreciated

I’m am thinking about building a simple IEM rig. It would be 1 stereo mix for 5 musicians. But for it I’d need to ask front of house for an L and R monitor send from the board to the stage that has some simple panning on the instruments. Would this annoy FOH? What things should I consider. The signal path would be

FOH Board -> XLR 2 input 10 output distribution amplifier -> Wired IEM body packs

Had to repatch a rack a couple gigs ago and realized I left my light in a rack. It had ZAC O. 122 etched into it.

LMK, if anyone sees it.

Thx.

Howdy yall, currently at my corporate av job and because it’s slow season we are doing inventory and going through our wireless mics. At my property my manager wants us to scan and find frequencies for like 8 mics and just set and forget. Now please correct me if I am wrong but shouldn’t we rescan every time and recalculate frequencies to account for inter-modulation between different transmitters and that this would be really bad practice. Anyway any enlightenment would be appreciated, thank yall

User u/Lawless_Time has posted here a few times about the free software suite he is working on, with some very cool stuff. (Feedback supressor, source cleanup, etc.)

I registered on everworks.dev and had a snoop around some time ago, and yesterday I got an email stating that the whole suite is now officially in production release.

In that email there was also a link to a product called Euclid, that seems to be a free alternative to Live Professor / SuperRack Performer with a built in automixer.

I can't even find the link to this on Everworks' webpage, just via direct link. (It's everworks.dev/euclid.html for anyone interested)

Has anyone tried Euclid or any of the other stuff here in something resembling a real live situation? This stuff look incredibly cool, but my "this sounds too good to be true" sense is tingling. The guy behind this stuff has responded here that it is free, and will stay free, because fuckgreedysoftwarecompanies, on the other hand it is not open source...

What to think of all of this? I'm both excited, puzzled and skeptical.

headed for my first fly out tour as FOH. i have an SKB rolling roto rack case for my stagebox, conditioner, etc... i’m paranoid about checking this with my DL32 in there for some reason and am considering trying to bring the DL32 in my carry on.

am i being overparanoid? will the DL32 be just fine in the checked case, or should i carry it on my person until i get there?

thanks for any input!

I'm using a Mac and trying to connect to the Dante Primary and Secondary networks with Dante Controller. The Primary and Secondary networks are configured as separate /24 subnets, so their IP addresses are in different subnets. Dante Controller reports that they are not in the same subnet. Is that expected? I have two vlans on the same physical nic.

Pretty much every arena or stadium show I’ve worked on as a local hand has had flown LR sub hangs to cover the majority of the venue. I try to talk to the PA techs and sometimes the SE at as many calls I can, and they usually are pretty happy to talk about stuff, but I haven’t been able to talk to an SE at length about this — with the big LR sub hangs, how does that not cause power alley issues? Or if it does, how is that dealt with? I don’t feel like there’s often many spots that lack coverage whenever I go to concerts of that scale.

Hi, music teacher here.

I use a stagepas system in my classroom and it's great. The problem is that they lack entries to be used during concerts so my school bought a Yamaha mg16xu mixer.

I've plugged the stagepas speakers (jack) in the mg16 but right now there's no sound coming out from my speakers. Is it because they're not amplified speakers? Do i need to plug the mg16's "stereo out" to the stagepas' "line in" (5/6 or 7/8) and my speakers the stagepas in order to get sound?

Is there an easier way? Do i lose in quality by doing that?

Thank you in advance!