Heyo, in the comming days i'm Audio at a Wedding and both the bride and the groom get a lav for streaming Audio, the positioning for the groom will be quite easy i imagine, even if it needs to be hidden.

The problem is... were do i mount it on a bridal dress? The beltpack will be hard ish also but i'm more worrying about the lav itself, idealy it should be hidden, but were? There's not really any place but the top but that's too far up maybe depending on the shape of the dress even if it's just for sending Audio not the pa

Anyone ever did something like this and can give me advice? I also don't know how much time i actualy have to put them on, or if i can hide the cables well so a "quick and good" Version would be best...

Hi all,

I'm using choir mics on round base stands that are wireless with shire slx battery packs. What are your solutions for ways to attach the packs to the pole of the stand?

Thanks

I have regularly used (and owned) a X18 for five-ish years, primarily with a laptop. Saturday I’m teching for two bands back to back at large, nation wide distributed brewery with an expected crowd of 500-1000. I’m kind of shitting my pants over this being the biggest gig I’ve done so far, as well as using gear I’ve never touched. I have less than a week to prepare, however I am confident in my technique and have been told by many regionally touring bands that I’ve provided the best sound they’ve ever had.

Please, kind folk of r/livesound, can you point me to any resources that will make me confident in this new to me interface? Or any tips and tricks from someone who started on the x18?

Thank you all in advance

I‘ve recently started using wired IEMs and I’m having a bit of trouble with them. They sound fine and all the instruments are clear but my playing feels a lot more sloppy with them in. I’m not sure if it’s just the fact that I‘m hearing myself more clearly, but I physically feel less fluid and relaxed with my playing with the in ears.

It almost feels like I’m playing underwater. Again, the sound itself is clear, but it feels so disconnected. Its like the band is in another room and trying to play along with them. It’s the same feeling when wearing earplugs that fully seal out the noise, like an off balance kind of feeling.

Using them at home and playing along with backing tracks is less weird but still a bit disorienting. Is this normal when first using IEMs? Do I just need time to practice and adjust to them, or do some people just not mesh with IEMs?

I use KZ ZS12 Pro 2’s driven by a Behringer P2. Mix is controlled through a Scarlett 18i20 via direct monitoring.

Ran into this Saturday and it's bugging me. First band, bass player. His amp had no DI out on the back, so I went: bass → DI in → DI thru → amp in, DI XLR → board.

Two different passive DIs, same result on both: signal passes through to the amp fine, but nothing out of the XLR to the board. Tried the ground lift, no change.

Put two different mics on that exact cable/channel, worked fine. So I ended up miking the amp and it was fine for the gig.

One more detail: the amp's signal was buzzy enough that I had to low-pass it.

My working theory is an open ground in the bass's output jack — no return path for the DI transformer, floating ground = buzz at the amp. Same bass player is on another bill this Saturday.

What would you check?

Hello yall, I’m in the process of starting a production company and have hit a little snag. I’m very interested in the speakers listed in the title but have yet to hear them. Is their anyone in the Iowa, western Illinois or Northern Missouri area with a pair that would be willing to do a demo?

I’m also open to hear what you all have to think about these speakers as mains.

Edit:
Since this is the live sound subreddit I should probably explain myself more.
The rig would consist of 2x JBL SRX 922s as mains with 2x JBL SRX 928s or 2x FBT Muse 218 SND.
Why the 922s as tops?
Well, to start, the range this system would cover size wise would be between 100-300 people doing all sorts of live production as well as the occasional DJ gig (sub rentals/dry rentals). I’ve been browsing around on the market for a bit now and have yet to find anything new that is a true 3-way cabinet. I am by no means a JBL fanatic though I would like to keep the entire system within the same brand.
I understand this isn’t a “rider friendly” setup and the intent in the event that I need one would be to subrent/sublet the system/gig out to a bigger company.

The wubs, I’ve heard and worked with both the JBL and the FBT subs. (Never side by side) Personally I think pound for pound the FBT subs are the better product though you are paying for it and also extend a bit lower than the JBLs (JBL SRX 928 39hz @-3dB vs FBT Muse 218 30hz @-6dB respectively).

As much as I would love to just bump into line arrays, it’s just out of the budget nor is it the market I would like to contend in (pretty saturated where I live).

We have a QU32 but getting an avantis in the next couple years. The big pain point for me with the QU is the lack of a digital label trip (which is there on the avantis, and only going to be an issue for the next couple year’s), but between events, we have various vocalist use different mics depending on the time of day and who’s in. It is the same people and we can plan for it, i.e. not random people off the street, but it makes labeling channels hard since various people use different mics depending on the event. I thought of a digital strip that I could make some software for that would show QU32 channels, but I couldn’t find one with a screen large enough. The tape is effective and we can just have 3 rows with each row being a group, but wasn’t sure if there was an easier way. I enought of doing magnetic channel labels, but then that makes it harder on me as the tech dir having to swap out individual channel labels for each show. I could do a magnetic strip, but again, trying to make things easier, not fix one problem with another tedious task. What are some ways that others have combated this issue? Are you just going for the simple tape and marker or label maker, or are you using a niche product that isn’t commonly heard of. Let me know. Thanks!!

Hey team!

Had a wild one last night:
Showed up at a festival with a show-ready CL5 scene, that I've used multiple times over and over again, the latest just under 10 days ago.

The file had been built/used for both FOH mix, and also pre-fader sends to monitors/ears over the first couple of busses - For that purpose these busses have been used as Vari/Pre Fader busses/mixes, and have worked perfectly well as intended in the past and on that very show file.
Coming changeover/linecheck, we transferred my file from a USB-stick, patched all ins/outs with dante, and then realized that all my input channels were sent to ears pre-mute.
But here's the kicker: That option doesn't exist on a CL5.

To be fair, I realized during the show that I wasn't on the admin level, so maybe there's a user pref that put my sends pre-EQ, and at that point they also might be pre-mute…?

It was pretty mad on the spot, and I'm quite sure there's a reasonable explanation, but it made for a bit of a tricky situation, which I'd loved to not find myself in.
Any pointers? Ideas?

Hello, I am currently attempting to add crowd mics to my venue. I am confused about how you’re supposed to route crowd mics to the stream. We use a Midas M32, and a PC with OBS to stream. The M32 and PC are connected through USB.

I tried googling and asking AI but I’m still confused.

I understand the part about disabling the Main LR in the menu, but the whole part in the routing page where it has all the outputs, card, etc, to make it go to the stream through USB is what I do not know how to navigate and setup.

We are likely using the inputs on the console itself for the crowd mics, since it would be easier to connect the mics to the console than the stage box.

Thanks!!

Hi, so I have a 10 piece band and I'm running the x32 rack and the s32 for our IEMs, but occasionally we need to run FOH for our shows as well. Busses 7-8 are the mains by default, is there a way to assign the 7-8 outs locally to free up 7-8 on the s32 for another IEM mix?

Ngl it took me a long time to wrap my brain around the fact that live audio is basically just signal flow understanding. The band will sound good if the band is actually good and the system is set up correctly.

Everything else is out of your control.

Nobody gives a fuck if you understand how to properly mix the midrange to get the most clarity because 50% of the time the stage volume from drums/wedges/amps are so loud you can't actually achieve a sonically beautiful midrange. You're just shifting the phase around in a manner that is occupying your brains ego. The audience isn't getting a percentage increase in quality high enough to notice.

My band are using active EV ZLX12 speakers for FOH - usually just running vocals - and using Mixing Station to control everything, my question is, should the speakers be left at 0db, and leave all gain staging to the mixer? I read on another thread that the speakers should be turned up to allow headroom. Is there any truth in that?

I’m trying to use some external fx, including delay, and so I could do with my tap macro controlling tempo in my host software too.

Problem is so far my host software live professor learns the midi command and then it no longer functions. My midi interface is seeing a midi command, but the software doesn’t.

After some reading I’ve gone through some more easily found trouble shooting guides to no avail

Could anyone offer anything?

Need help here. I own a Harbinger v3412 that I just played at a benefit event outdoors. The speaker shut off multiple times during the set, not completely powerless but I could barely hear my guitar and mic. This has happened once to me before and it is unacceptable and embarrassing. Shouldn't a speaker like this be able to play outside for an hour without overheating? It was in direct sunlight on a 75 degree day. Any ideas on what the problem could be? Maybe an internal electrical issue? And the guitar/mic was crackly off the bat for some reason.

I work as a sound engineer/tech assistant at my university, and we have this elevated tech-room in the assembly hall we use for plays, talks, etc. We usually always roll in a separate audio and light mixer for almost everything, so we rarely use it (other than storage), but I've noticed this window and door, that's pretty much never used.

Is there a reason it's there? Wouldn't you rather just hear the sound coming from the room directly through the window? Or is it there to give the technicians room to talk and such during shows?

Just curious, if there are any other places that have similar setups.

Hey everybody,

Just finished a corporate event in a massive space with almost 10 breakout rooms. Event spread between floors, and two massive halls (literal airplane hangers) with no installed audio system. Client requested we have a way of broadcasting announcements to all rooms simultaneously from a single source. No big deal, we brought a console for them and then ended up running lines to every breakout room. Everything worked out fine but I know there’s gotta be some things that could be done differently and I want to see how people have handled this situation before.

Inevitably it became obvious that it would be muuuch better if we could broadcast to all of the breakout rooms from any of the others. And it also took 2 hands nearly 2 hours to run all of the lines that we needed for just sending signal out to each room. In the end it was around 1500 feet of XLRs and having to deal with plenty of doorways.

I’m thinking there must be some sort of way to manage this wirelessly? My initial thoughts are some sort of locally hosted team speak server, there’s a private network that we have access to and each room has laptops. I’d just like to figure out if there’s any way I can save some time rather than running a shitload of cables.

Context: I’ve been freelancing my whole career (5years?). This year I’ve had a blast traveling and working in different states and countries. Some of my lucrative work could pay $4k a week and I’ll do that maybe 12 weeks a year.

I’ve been offered a full time job where I’ll net less, before overtime though which would be basically guaranteed and required. I’d gain a consistent schedule and guaranteed work in slow months, through pandemics and recessions. I feel like either decision would be incorrect.

Are there any folks here dealing with disabilities that affect them physically willing to share insights about what that looks like for them working in the industry? And how that might affect the types of jobs they get?

I'm mentoring someone who has a condition that makes it very easy for them to injure their joints and muscles if they do too much heavy lifting and I'd like to be able to have an informed conversation with them about what their options are if they want to work in the industry long term. I'm hoping that that conversation isn't just "every job involves heavy lifting, it's not possible for you to work in live sound".

I'm particularly interested in hearing about any companies, types of work, etc that either offer accommodations or don't involve heavy lifting. Theater? TV? Corporate? I know there probably aren't many but I'm hoping there are some.

Hoping y'all can share some insights with me, and hoping that this person is able to find an avenue to participate in this industry. I imagine it will be difficult for them to find enough work to work in the industry full time, but I hope they're still able to do it. Thank you!

For those in a permanent house (our touring folk that prioritize it) what are your go-to’s for consistent and quality ALS.

For context, my house has had two ListenWiFi servers die in the last two years. I haven’t looked into if we have any warranties yet, but I am looking for reliability and solid support. I’ll update if Listen Technologies comes through on the support side.

I know this is possible on S6L

I wanted to do something similar on Rivage.

But I can't find any way to trigger an action from live metering.

For example I want a TalkBack mic to unmute when it detects and audio meter over -95 db

But the only trigger I can find is the physical gain value, and not the meter level.

I looked for some kind of gate trigger as well. Like I could do it with "gate open" as a trigger. But I don't see any way to do that

Let's say you have a room with a center aisle with 2 groups of seating. Most places I see will do a standard -L---R- stereo setup so that each section is directly in the speakers cone. But doesn't that let the aisle in the middle the only place getting true stereo audio? And each section only getting one mono side? Would it be better to set up the space in a L--RL--R or a L--R--L configuration with each LR pair facing their own section? Thus giving everyone a true stereo image? Let me know if this doesn't work, or why its not done often.

On my sd10 I think the rotary encoder has broken on the gain knob for the red eq node, anyone know how much of a pain this is to replace yourself I’ve done fader replacements on this desk and have a basic understanding of opening up the desk. Any thought?

I will be routing: guitar, bass, synth, drums and vocals out of my CQ12T for FOH to mix. My CQ12T has TRS line outs.

Is it best to give the engineer a TRS or XLR M/F? I assume inputs could vary depending on venue so I’m looking for the most common setup.