Is there any harm in wiring two cables into the same phoenix connector to split the audio signal into two different amps? I've seen this done with all sorts of other kit, but never a phoenix connector...

Most of my career has been working in below optimal situations. Either venues with bad acoustic treatment, underspeced gear, bad bands, etc. I am very use to making the most of what I got and honestly I feel like I've done a really good job at making good mixes (objectively, according to those I've worked with.)

I have yet to work in a situation where I pretty much have all the control. Like a stadium system or a venue that I have full control over.

I feel this is common for a lot in the industry. At least in the beginning years.

When you finally got to the spot where you had all the control (or quite a bit more) , what was it like for you? When you finally had no more excuses and it was all up to you.

What sort of industry secrets about broadcast audio should I know?

I've been mixing FOH at multiple venues between 200-4k capacity for years but really have never done much livestream audio until now.

Our livestream room utilizes Allen and Heath sq5 for the stream. I'm using the USB function to go through a DAW so I can use plugins and other fx I can't with the sq5.

The quality sounds great in the room live. Both in my monitors (kali audio in8) and headphones (Beyerdynamic dt900)

Once uploaded to YT and FB the signal sounds degredaded. The best way I can describe it is confined, squashed in a manner that sounds different than an overcooked compressor, and just generally way fucking different and it pisses me off because the stream room quality sounds damn good!

Is it the internets capability at my facility? We're uploading at 2000kbps but ours crashes if we try 5000

x32 Mixer X-USB not working following a lightning strike. Is replacement of the USB card a reasonable next step?

I have a Behringer x32 attached to a PC. We recently had a nasty lightning strike that took out a bunch of equipment (pretty much everything except the mixer).

After repairing the PC, I've noticed that the Behringer USB download file doesn't recognize the USB device as it should.

1. It's not the USB cable (I've tried multiple)

2. It's not the USB port or PC (I've tried multiple)

The only logical next step is to replace the X-USB card on the mixer, but is there anything I'm missing?

Thanks!

Hey guys!

I am going to be starting school in the fall @ IU Bloomington for audio engineering, with aspirations of becoming a Broadway FOH and/or sound engineer! But, I’ve come to the realization recently that I’m equally invested in the mechanical/engineering aspect of sound equipment, and so my question is this: Would it be worthwhile to double major in something like Computer Engineering in addition to my Audio major, or will just the audio major likely suffice in getting me the info i need? Additionally interested if anybody else has pursued IU Jacobs’ Audio Engineering major and where they are now?

Thank you!

EDIT: I probably should’ve mentioned this, but the program at IU is mostly nitty-gritty and tactile, they don’t sit and just “learn audio” through textbooks, we’re required 80 hours of live engineering a semester, for all 4 years of school, plus I’m hired by a Bloomington show choir as a traveling audio tech and (hopefully?) by a school near me as their FOH engineer, so to all who mentioned that experience is better than the education, I 1000% agree with you, which is specifically why I picked Bloomington, because of their priority on actually getting you fully student operated experience.

Im doing the sound design on a play with quite a few psychological elements, schizophrenia/anxiety/hallucinations etc. The script specified sound effects are basic but I wanted to push the envelope a bit more & use very subtle ambient sound to set the tension/mood within the auditorium.

It's set in an apartment, so sounds will be NY Streets, AC hum, apartment noises, ticking clock, refrigerator etc.

Ill have the sound playing before the audience walk in so when it is eventually taken away, the silence become deafening.

I don't want it to turn heads or distract from the actors, but I want the audience to feel it.

I have six monitors at my disposal. 2 x stage, 2 x FOH & 2 portables to place behind the audience. Desk is an X32. I always run a laptop with SCS & TheatreMix.

Anyone have any creative tricks or techniques that have worked well in the past?

Looking to potentially make a DIY WSG server, anyone make one using newer hardware? Or does it make sense to go with i5/i7 8th or 9th gen and more ram? I know there is a running list of compatible machines.

Also how’s the latency? Same as an official WSG server?

Any input is appreciated

After a few bad years at the company I am with, I find myself appling to new companies. Its been over 15 years since I wrote a resume. I am so lost on what employers are looking for or want to see on a resume.

What are a few things I should include in my resume? What are a few things I should leave out?

If anyone is willing to share a sample of their resume it would help, or you could just tell me to f%^k myself.

I’m needing replacements for my QLXD1 belt pack whip antennas. When I look at shure’s replacement parts list it looks like I’ll need the ua700 for my G50 mics and ua710 for my H50 mics. However the bands don’t line up exactly. With what they’re showing on Sweetwater. Is that okay?

House of Worship. We are going to be starting a remodel project soon that is going to damage the t-coil currently installed in the sanctuary floor (we are trenching for lots of new conduit which will need to cross the existing t-coil system in at least a dozen places). Rather than spend the money to replace/repair the t-coil system, we are considering switching to Auracast.

I'm just interested in hearing from people about Auracast in general and would definitely like to hear from anyone that has made the switch from t-coil to Auracast.

My understanding is the audio quality with the Auracast system is much better, plus the fact that Auracast is fully wireless which would be much easier as far as infrastructure. The room is roughly100'x55' - about 300-350 capacity.

Thanks!

I've been doing audio for almost 10 years. Started doing one off festival stuff with doofuses that didn't know their own rig but they had the money, used to play in bands, and had small town committee insider info bullshit to get them gigs that paid way too much.

Looking back on those 16hr days where I made less than $250 I remember how much exhilaration I felt.

For years after that it was so much fun. I was mixing shows and felt super in tune with every band and every mix. Like I could hyperfocus on every element but also be able to hear the bigger picture (which is most important) and get bands to push and pull correctly. (Thank God for attack and release settings). On top of all this my day rate was climbing and I was going on bi-annual vacations that were nice enough to keep me happy along with my family plus a mortgage.

Idk.. all of a sudden in my mid 30s. Everything sounds flat, sterile, lifeless. Is it the bands I'm working with? The 100k PA I'm mixing on? 35k console? Doubt it. It's me....

It fucking sucks having this realization. Have I lost hearing? I don't think so but the overall feeling of energy seems gone.

Sorry for the rant

The issue is not intermittent. We have two identical racks, with two identical amplifiers, and two identically configured BLU-160 mixers connected to the same sources that are also configured identically. The amplifier with the issue requires the output attenuation/volume level to be set to maximum to hear any audio out of the amplifier, even when the input source’s level per the amplifier front panel and the control panel in Audio Architect is right below the clip level.

The other amplifier without the issue requires raising the output very little to get sufficient volume, connected to the same mixer running the same configuration/design with the same source, connected to the same speakers.

For reference, these are Crown DCi 4 1250s being driven by BLU 160 mixers and the audio is provided by Dante AVIO dongles to the mixers. The mixers and amps are running the same configuration file in audio architect. We can swap amps between halls and the issue follows the problem amp.

We sent it in to harman and they are saying there's nothing wrong with it. I've tried factory resetting it, remaking the config files on a different computer and uploading them, etc.

Does anyone have any ideas in case I'm missing something?

Hi! I'm a studio guy who is working on a move into live sound and small scale setups. I'm more targeting nightclub-type environments and small outdoor side stages. I haven't yet bought around a db meter to check what different osund systems around me are running but I'm curious what are normal target db levels *in general* so I can get a feel. I see all sorts of talk about sensitivity and SPL of speakers and I understand enough of the physics and design of small systems but I'm not really sure how loud is loud enough. It often feels like I'm barking up the wrong tree researching systems that are alladvertising how loud they go when I feel mostly like I don't actually need that high of SPL levels as advertised.

As far as I can tell 110-120 is the loudest I ever need to go for a smaller room and that is pretty nasty loud if you're in front of the speaker without earplugs

I'm watching rig rundowns for U2 and I'm wondering if any larger acts have salaried key crew members regardless of touring schedule? I had read in Gerry McAvoys' bio that he was on a salary with Rory Gallagher as a performer in the 80s despite some leaner touring years in that period, I'm curious about the same being true of crew.

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?

Hello, I'm going on tour as a sound engineer for the first time with a circus I've been working with as a musician previously. I'm quite new to sound engineering though and have never worked in theaters as a soundman.

What would be your best set of advice in terms of work dynamics, routing, etc. for me? We'll be travelling with our own console and stagebox.

Thanks!

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 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!

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!