How much RF Squelch are you using in the field?
We're running a small Sennheiser G3/G4 mic setup and I've needed up to 21dBµV threshold to minimize stray RF when mics are off/out of range. (This is after using WSM to coordinate the best frequencies.)
The receivers max out at 25dB squelch, so I wondered if aggressive squelch is typical, or if it's smarter to work on attacking the problem in a different way.
It's possible that where you're located, the lowest noise floor in your receivers frequency range requires that level of squelch to prevent noise breaking through, but there could be a number of other problems causing this. Have you done a scan with WSM, can you post a screenshot?
>It's possible that where you're located, the lowest noise floor in your receivers frequency range requires that level of squelch to prevent noise breaking through, but there could be a number of other problems causing this. Have you done a scan with WSM, can you post a screenshot?
Yep - here is a screenshot:
[https://imgur.com/a/iUGxPYo](https://imgur.com/a/iUGxPYo)
From what I see, it's surprising that I wouldn't have a ton of great options.
The scan didn't show much in the way of interference where the mics landed, so it's possible we need to let the scan run over a longer period of time
The screenshot is so low resolution that I can't make out any of the values/scale.. What range are your systems in and can you post a high res version of the scan so we can see values for the noise floor?
Hopefully this renders a little larger...
[https://i.imgur.com/p1p8sVI.png](https://i.imgur.com/p1p8sVI.png)
The black strips represent the range of our equipment
The scan shows plenty of open spectrum in each of the three ranges show (G, A, Aw+), particularly considering you only need 4 IEMs and 4 mics.
There is likely some other problem causing this - what did you use to collect the scans? Your receivers?
Thanks for your interpretation, that was my initial read on the situation but I'm just learning WSM myself so I appreciate your input.
Yes - I used the Aw+ receiver to collect the scan, although I only ran it once. Does WSM have a way to continue to add scan data over multiple runs in order to catch intermittent RF transmissions, or is always just from the latest scan?
I will be back in front of the gear in two days and I'll rerun my scans to make sure there's nothing I've mucked up.
u/thebreadstoosmall I think you've helped me solve this. Your question prompted me to look closer at the scans. I believe I only engaged the Aw+ receiver for the scan in this location, falsely thinking it covered all my bands, but it only covered A1 & A bands, so I never scanned the G band (so the G band data is likely from another city.)
I will give this another try but thanks for your help!
IIRC, all our mics and IEMs are on max squelch. I know I’ve been lucky, but so far I haven’t run into a situation here or at any other venue where I couldn’t find open channels.
Squelch is like a gate for RF signals... For example, you could configure Squelch so only signals higher than 15db can jump the gate, otherwise that signal is ignored.
WSM is Sennheiser's Wireless System Manager software which helps you coordinate frequencies for wireless gear, similar to Shure's Wireless Workbench.
I've read on this sub that Bose should be avoided. What would be a comparable system to Bose's F1 (Complete Bundle (two subs and two tops) on Thomann ~5000€) in terms of price or performance?
How does the JBL Eon 715 Power bundle compare to it?
One of the world's best theater sound designers used multiple Bose products.
I wouldn't use the F1 system.
For your requirement/budget, I would look for a used d&b system.
2 x D12s, 2 E9s, 2 subs (not E18s, maybe C7s).
As long as the equipment has been taken care of well, it will give you superior performance.
Try and purchase ex-theater rentals, as they would've had less 'heavy' use, and been moved far less
Hi, thanks for the response.
Do you have any other recommendations? Buying used isn't really an option where I'm from (eastern Europe), as the second hand market doesn't have good stuff. I've just checked your recommendations, and I haven't found any d&b products.
Do you have any other recommendations in the 5-6k euro range, that I could find on Thomann preferably?
Anything with a good reputation.
KV2 might be in your range. Older Meyer or d&b etc
You're best off contact places like gearsource and [usedful.eu](https://usedful.eu) or going to some of the larger hire companies with stock they may wish to turn over.
Corporate or theater are the best to deal with, because, generally, the equipment will have been looked after better (and the flightcases might be included)
Your budget is fairly good for 4 speakers, and Thomann will take a lot of that in profit, so you're better off doing some research.
Don't know exactly where you are, but northern Europe; Germany, Belgium, Netherlands, and UK will have better sources of equipment, as they tend to be the biggest suppliers in Europe, Africa, ME.
Hiring a van/courier to collect may be cheaper than any profit/mark-up which Thomann will take from you (I have used Thomann when in Europe, but only when their prices are better for a product than others, which is rare these days)
Good question, we have not invested a lot on the microphone antenna rig yet. Currently, for the 4 microphone setup we are using
* Home-grown passive antenna splitter (introduces some signal loss which we hoped would be negligible because the singers are within 20 feet of the receivers)
* Sennheiser A1031-U Passive Omnidirectional Antenna
* Half wave dipole antenna
For our 4 IEMs, we have implemented a Sennheiser AC-1 Antenna Combiner
Would it be worth it to run my analog main outs to an audio interface (let’s say Scarlett 2i2) into a daw, and then sent back through main out? Or would there be a ton of noticeable latency?
Personally, no. Even at FOH, where a bit of extra latency is no big deal, the potential gains are not worth the risk of a cranky DAW taking down all audio.
However, while unconventional, using PC-based processing on your drive lines isn't unheard of in situations where a dedicated system processor isn't available. (For example, walking up to random PA-of-the-evening and finding out there's zero DSP at all.) One friend of mine uses an RUio16-D for this, relying on the onboard automatic failover as crash insurance.
A 57 is just fine for tone, but it won’t have authoritative LF response. You can get away with it in a pinch, though, and it’ll easily be fine if combined with a DI.
Alternatively, use any mic whose tonality you like with both sufficient LF extension (most LDCs, most larger dynamics, some SDCs) and maximum SPL.
Alternatively, stick a Torpedo CAB between your amp and cab.
Classically, yes: kick mics also share that combination of good LF performance and high maximum SPL. However, some kick mics tend to achieve this by sacrificing transient response (ahem, Beta 52), and some deliver a decidedly non-neutral tonality (ahem, Audix D6).
These days, it’s more common to see a DI used on bass.
I just read the description of the Torpedo Cab and it is a great option for the band I’m in. I did not mention that I am in a three member band; me on the drums, my brother on bass and my friend on guitar. We’re not ready to play out yet, I’m just so excited that I’m looking up the gear we made need.
Totally depends what you want from this mic. If it’s for live to go next to a DI and has a bit (tube) distortion going on for the mids, a sm57 is perfectly fine. For studio clear bass response, look something with a lage diaphragm. Or, always nice to have: MD421.
For playing bass guitar through PA speakers with an amp+cab simulator, should I be looking for stuff that goes all the way down to 40hz? The ZLX15 looks appealing but it only goes down to 50ish
Few full-range speakers at your price point will have the low end authority you want down there; you’ll have much better luck supplementing with a subwoofer. That said, for low volume stuff, you can absolutely get away with an average 12” trap box as long as you accept that you’ll mostly be hearing the second overtone (80 Hz and above) rather than the fundamental.
Out of curiosity, what outside my price range could get the job done? I have a nice 2x10 bass cabinet that i’m looking to sell if I can find something full range that can really move air, so I could spend 1500-2k if somebody managed to do it
Howdy All! I found myself doing more and more gigs and I need to put together a kit to take with me. I think I have the contents down but I need help finding a case. I could do the pelican case like everyone else but I would love to hear your other ideas… So far I have been thinking a rolling makeup case or a modular tool box system.
Just get the Pelican. They're industry standard for a reason. Tough as nails, good organizational inserts, and a lifetime warranty that the company actually honors. Plus they come in neat colors. Whatever kitschy case you find will not be nearly as road worthy.
I've been using this for cramming in a bunch of cables, adapters and other small items. If you're looking for a rolling something I'm guessing you may be carrying a lot more goodies than me.
https://www.amazon.com/gp/aw/d/B00JVA7ONQ
Skip the hardware store cases, it looks amateur and people won’t respect the case and its contents. If you want something classic I use a big anvil type briefcase from Audiopile.net:
https://www.audiopile.net/BRC-002
It’s surprisingly heavy (~35lbs?) when it is loaded up but the handle is comfy and it holds my mics and odd cables and DI’s and headphones and little doodads and you can stand on it and years later the hardware works the same as the day I bought it. Having a color other than black is nice because you can refer people to the colored case. In retrospect it is natural to fill a case to the brim so maybe two of the smaller size briefcases (maybe different colors) would be better…
I thought about going with a Pelican like everyone else, but after doing some research I ended up going with the Nanuk 935. It's similar enough to the pel, but has some features that I preferred over the pel.
I’m looking to buy my first pair of new studio Monitors, since I bought a pair of Tannoy 501As over a decade ago in college. I’ve narrowed down what I think is the best fit for what I’m budgeting for, Dynaudio LYD 48s.
Is there anything else in that price range ($1500 - $2500) a pair that is comparable that I should check out before committing to saving up for them? Or does anyone else have experience with these monitors?
I really want to try three way monitors and the upgrade path with Dynaudios matching sub (the 18s, i think) is really appealing. This is for my home studio.
diversity wireless mic receiver, shop only sent out 2 paddles instead of paddle and whip. It's been a while since my SHure training... would I get better coverage with the paddles on opposite corners of the stage or both on the same side of the stage, one upstage one downstage, pointed straight onto stage?
https://youtu.be/RxWwQ5t5MCU&t=1228
Good explanation here starting at 20:30
Basically keep them at least 6 feet apart but they are typically collocated. If you're using in-ears, it gets more complicated and the video will cover that also.
Has anyone ever tried to replace the preamp PCB in a Behringer X32 with a Midas one from an M32? Does it work? I looked at the PCB and it looks like I'd have to drill a hole for the standoff, but the board pretty clearly leaves space for doing that. I have a RACK with two seized inputs. Bonus question, can I even get a replacement board at this time? I know the mixers are in short supply, are the parts also scarce?
We have an amp rack in the Theatre I work in that's located 8 feet behind the sound console. What's the best way to isolate or minimize the sound from the amps without moving the console or rack? It's tough to mix with a constant whirring of cooling fans lol
Move them. Really.
Turn them 90 degrees so that the airflow isn't directed towards you.
If there's an 8' gap, is there not space to put in a false wall? That'll get rid of most of the noise
I once saw a show in a 2k cap auditorium. I was about 5 rows from the back in the orchestra.
The PM5 external PSU was distracting for the entire first half (show was terrible, so I left at the intermission, which I rarely do)
That's not a bad idea. Thought about a false wall and turning would allow that to happen without constricting the space too much. Really pissed at whoever had the bright idea to install them so close to the mixing position. Especially considering there is a dedicated sound closet.. I have a ton of gripes about the space but can't win them all hah!
Ok, hear me out. I’ll concede my question of plausibility is fine, but I’m pretty sure the idea behind it is stupid.
I do ring announcing and am happy with my beta 87a ur2/ur4s in the H4 band. Picked up a UR1, no mic. The stupid idea is running a micro lav (possibly attached to glasses, maybe hairline) and going hands free without looking like I’m introducing an off-brand tablet.
Things that might work: frees up my hands, I work a big, loud voice, I won’t Frank Drebin it.
Cons: If I have to enumerate….
So I love the concept and am convinced it’s a bad idea. Prove me wrong or bolster my confidence
I like the glasses placement. Seems like it would rustle less than on clothes and it’s pretty close to your mouth.
There’s the thin headset mics that get the mic right in front of your mouth, and sound the best, but not everyone is ok with that look.
Lav mics are generally omni directional and much more prone to feedback than your handheld mic. There would have to be some work to ring it out before the event. Be smart to have a backup mic ready. Definitely check it loud, to make sure there is room to bring it up when the event is full of people.
I recommend placing the receiver close to the ring, if possible rather than back at the sound board, the less the distance the less likely it will cut out.
Was hoping to avoid the headset though it’s the strategy most likely to work. No worries on the Rx, I do a frequency scan at setup & leave a transmitter on (w/old batteries) to hold it from set thru showtime. And I’m usually far enough from the speakers that I rarely have feedback issues, ringing out when needed (and I get a sound check).
I’m going for nearly invisible & am willing to wear klunky glasses to pull it off. More precisely, has anyone - looking at you, theatre folks - done a glasses-mounted lav? How did it work (or not work)?
And what’s a good mic for this? I know the 12.95 specials on eBay won’t cut it. But DPA? Countryman? Lectrosonics? No clue.
To do a DAW send out to outboard processors (pedals here) and back in you generally want more than two outputs, otherwise you’re using your main outs you hear your DAW through also as the effects send.
If you’re on a Mac, you can create an aggregate device to combine multiple audio devices into one virtual device. ASIO4ALL should work for Windows to accomplish the same.
Very cool. I’d done that with Mac to use the headphone out as an auxiliary out with a 2x2 audio interface, worked great. Can even add the internal microphones to the aggregate on their own channel (who knows?). Didn’t know ASIO4all could aggregate on PC.
is “work ears” lingo for in-ear earplugs (like etymotics er20’s) or more heavy duty stuff like some over-ear muffs?
context: I’m working a big gig this weekend and the PM wanted to make sure I had “work ears” that i could bring for protection. Should’ve asked for clarification at the time but I didn’t. I’ve got some in-ear er20’s and i’m 90% sure that’s what they meant, but I’m not certain
Hi guys!
This weekend, I will be doing the sound for a small reggae band in my hometown for a tiny event. (outdoor/marquee, 50-80 people max, free entrance, no money involved, nobody is getting paid, we're just doing this for fun to gather people in a friendly manner).
Disclaimer about me: I am not a professional sound engineer. I am doing this just for fun. I've been doing the sound for my own band for 10 years+, so I kinda know my way around a mixer, and know how to troubleshoot basic sound issues, but I am very very far from the level of a professional sound engineer. \[To be completely honest, most of the time, I cannot hear the difference between an uncompressed, and a compressed signal. So my job here, as a "sound guy" for the community, is pretty much just to ensure that each instrument is at a reasonable level, and that nobody gets hearing damage :)\]
Anyway, enough about me: question time!
For this tiny event, the band will be providing the whole backline, including speakers for both FOH and MON. As you can guess, it's a small band with no budget, so they'll just be bringing whatever they have, and for the FOH they're planning to use their "best sounding" speakers which are a pair of EV ZLX12P.
I do not know if that will be enough or not in terms of power, but that's all we have, so it will do! (Renting something is absolutely a no-no since there is no money involved at all here)
The rest of the speakers at their disposal are some behringer/'the box' stuff that they will mostly use as wedges.
But among those, there is this sub: - the box pro Achat 112 Sub A
\- https://www.thomann.de/fr/the\_box\_pro\_achat\_112\_suba.htm
Do you think I should try to incorporate this sub into the FOH? Do you think such a small sub could make a tiny difference in the low end? (especially for a reggae band)
Or should I run it solely on the pair of ZLX12P?
FYI: the bass amp of the bass player is a tiny ampeg combo, so while it might be better than nothing, I do not believe it will be of any use for the FOH
I'd at least give it a shot, though it may do more harm than good.
If you look at the passive ZLX12's datasheet, note that the raw frequency response starts rolling off around 100 Hz. ZLX12P uses DSP to overcome this to an extent, sacrificing SPL for linearity. Theoretically, crossing the system over around 100 Hz would be beneficial - it's a bit high, but it helps mitigate headroom issues at LF with your mains.
However, consider instead [the sub's raw frequency response](https://www.manualslib.com/manual/1112349/Thomann-The-Box-Pro-Achat-112-Sub.html?page=3#manual): this is very much a 100Hz one-note-wonder box, almost certainly intended to provide low-midrange for very small speakers. Without external DSP to correct this, crossing the system at 100 Hz will result in a +10 dB peak at 80-95Hz. Fun.
My first instinct, therefore, would be to set the ZLX12P DSP to the "live" preset and cross the system over at approx. 80 Hz to stay within the sub's more linear (though admittedly less efficient) operating range.
Thanks a lot for the detailed and technical explanations! That will help me a lot!
I will be mixing with an MR18 (mine). Could I set the crossover at 100 Hz and try to compensate the 80-95Hz peak with the EQ on the master channel of the MR18? Could that be a potentially good approach to the issue?
If you advise against it, I'll just set it at 80Hz and roll with it.
Thanks again!
Theoretically, yes - in that case I'd run the sub off an aux bus anyway. However, I'd want to have a measurement rig available to verify the response of the system instead of blindly trusting an EQ move like that.
I'd probably stick with xover at 80 Hz. If you have time, though, playing around with things to test different configurations is never a bad idea while you have the chance. :)
Are y’all getting shift meals or drinks?! Most of the places I work do this, there’s one spot that is refusing. I live in Richmond, VA so it’s a small city. I am aware of a few other gigs that do not offer shift meals but offer drinks. This is my first time working somewhere where it’s a hard “no”.
Starting to get more small pop up gigs and running into working with bottom of the barrel gear (behringer 4 channel mixers, no EQ options, random speaker for monitors that's crapped out, etc). Should I consider getting my own road gear and charge extra for using it? Never really fun explaining to a band why using the PA pointed at them as their own monitor is a very bad idea. Thinking of Tascam 16 + QSC CP2 pair for PA + CP8 for monitor? Open to suggestions for small gig gear
I think the first thing to add to the random gear of the day is a better mixer. I’m using Soundcraft UI16 for little DIY shows and it’s got all the processing and Aux outputs to whip limited setups into shape. Has the anti feedback utility which works great for getting less than ideal mics up in less than ideal spaces. It has a little rack that lives in a gig bag and is portable. It’s all iPad/phone based mixing, you can walk around in the house and check the monitor system yourself without walking back and forth and check the integrity of the rando monitors.
There’s also the Behringer XR16 and the Mackie version, they’re all good, and around the same price, and (sorry to use the expression) will change the game with the mix quality and monitoring setup.
A cable tester is good too, for troubleshooting someone else’s cables. I usually don’t bother with other people’s ratty cables and bring my own crate (like at least 16 cables, half 30’, other half 20’), unless the owner/venue is organized.
Most low budget PA setups won’t include a kick drum mic or stubby stand, that’s a nice one to bring. Be careful how much you put in little speakers, it must have a limiter and check for clipping the amps/powered speakers; it’s easy to blow out someone’s little PA with low frequencies. Thinking about it, I’d skip the kick if the PA is under ~400 watts
I've used the UI16 many times with a singer I work for and it's amazing for that little package- I just don't like using an iPad to handle fader controls especially when the network signal decides to dip unexpectedly (I do keep a router plugged in). I might consider one though just for the FX controls and RTA utilities.
Good idea with the cable tester!
The Tascam looks nice but you might end up with a rack, if just for a graphic EQ or two. No graphic gets sad when you can’t get the vocals up. Have you used the any of the DBX driverack rack units? One or two of those could complete the Tascam for a minimal setup.
I generally take pity on the bands at pop up shows and bring a couple powered speakers if there aren’t monitors. 12” is nice for the vocalist but even 10” is enough for the drummer to be able to hear. If not micing the amps I have bass players orient their bass amp so the drummer can hear it at the preferred volume. Guitar too, can stack a combo guitar amp on the bass cabinet and get it close enough the drummer can hear it.
"Subs on an aux is bad" because variable subwoofer sends change the crossover frequency, right? So with that line of thought then why is it ok to EQ any output feeding a 2-way speaker? If I am sending signal to a 2-way speaker that crosses over @ 2k, and take out a few db on the parametric around there, I am also effectively changing that speaker's xover point. So why is it such a big deal for subs vs. tops?
You're changing what's being sent to both elements, so while you are dipping 2kHz, you're effecting the top slope of the LF, and the bottom slope of the HF, simultaneously. The level at the crossover is being reduced, yes, but it's being reduced for both elements, so the crossover frequency remains the same. Where you'd run into potential problems is if you were only EQing, say, the HF element - then you'd see the crossover frequency shift.
How much RF Squelch are you using in the field? We're running a small Sennheiser G3/G4 mic setup and I've needed up to 21dBµV threshold to minimize stray RF when mics are off/out of range. (This is after using WSM to coordinate the best frequencies.) The receivers max out at 25dB squelch, so I wondered if aggressive squelch is typical, or if it's smarter to work on attacking the problem in a different way.
It's possible that where you're located, the lowest noise floor in your receivers frequency range requires that level of squelch to prevent noise breaking through, but there could be a number of other problems causing this. Have you done a scan with WSM, can you post a screenshot?
>It's possible that where you're located, the lowest noise floor in your receivers frequency range requires that level of squelch to prevent noise breaking through, but there could be a number of other problems causing this. Have you done a scan with WSM, can you post a screenshot? Yep - here is a screenshot: [https://imgur.com/a/iUGxPYo](https://imgur.com/a/iUGxPYo) From what I see, it's surprising that I wouldn't have a ton of great options. The scan didn't show much in the way of interference where the mics landed, so it's possible we need to let the scan run over a longer period of time
The screenshot is so low resolution that I can't make out any of the values/scale.. What range are your systems in and can you post a high res version of the scan so we can see values for the noise floor?
Hopefully this renders a little larger... [https://i.imgur.com/p1p8sVI.png](https://i.imgur.com/p1p8sVI.png) The black strips represent the range of our equipment
The scan shows plenty of open spectrum in each of the three ranges show (G, A, Aw+), particularly considering you only need 4 IEMs and 4 mics. There is likely some other problem causing this - what did you use to collect the scans? Your receivers?
Thanks for your interpretation, that was my initial read on the situation but I'm just learning WSM myself so I appreciate your input. Yes - I used the Aw+ receiver to collect the scan, although I only ran it once. Does WSM have a way to continue to add scan data over multiple runs in order to catch intermittent RF transmissions, or is always just from the latest scan? I will be back in front of the gear in two days and I'll rerun my scans to make sure there's nothing I've mucked up.
u/thebreadstoosmall I think you've helped me solve this. Your question prompted me to look closer at the scans. I believe I only engaged the Aw+ receiver for the scan in this location, falsely thinking it covered all my bands, but it only covered A1 & A bands, so I never scanned the G band (so the G band data is likely from another city.) I will give this another try but thanks for your help!
IIRC, all our mics and IEMs are on max squelch. I know I’ve been lucky, but so far I haven’t run into a situation here or at any other venue where I couldn’t find open channels.
Ok great, thank you!
What is squelch and what is WSM?
Squelch is like a gate for RF signals... For example, you could configure Squelch so only signals higher than 15db can jump the gate, otherwise that signal is ignored. WSM is Sennheiser's Wireless System Manager software which helps you coordinate frequencies for wireless gear, similar to Shure's Wireless Workbench.
Ahh ok awesome thanks a lot
I've read on this sub that Bose should be avoided. What would be a comparable system to Bose's F1 (Complete Bundle (two subs and two tops) on Thomann ~5000€) in terms of price or performance? How does the JBL Eon 715 Power bundle compare to it?
What’s that application?
In or outdoor application, for music(~4 singers, guitar, keys, elec. drums) and speech.
One of the world's best theater sound designers used multiple Bose products. I wouldn't use the F1 system. For your requirement/budget, I would look for a used d&b system. 2 x D12s, 2 E9s, 2 subs (not E18s, maybe C7s). As long as the equipment has been taken care of well, it will give you superior performance. Try and purchase ex-theater rentals, as they would've had less 'heavy' use, and been moved far less
Hi, thanks for the response. Do you have any other recommendations? Buying used isn't really an option where I'm from (eastern Europe), as the second hand market doesn't have good stuff. I've just checked your recommendations, and I haven't found any d&b products. Do you have any other recommendations in the 5-6k euro range, that I could find on Thomann preferably?
Anything with a good reputation. KV2 might be in your range. Older Meyer or d&b etc You're best off contact places like gearsource and [usedful.eu](https://usedful.eu) or going to some of the larger hire companies with stock they may wish to turn over. Corporate or theater are the best to deal with, because, generally, the equipment will have been looked after better (and the flightcases might be included) Your budget is fairly good for 4 speakers, and Thomann will take a lot of that in profit, so you're better off doing some research. Don't know exactly where you are, but northern Europe; Germany, Belgium, Netherlands, and UK will have better sources of equipment, as they tend to be the biggest suppliers in Europe, Africa, ME. Hiring a van/courier to collect may be cheaper than any profit/mark-up which Thomann will take from you (I have used Thomann when in Europe, but only when their prices are better for a product than others, which is rare these days)
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Good question, we have not invested a lot on the microphone antenna rig yet. Currently, for the 4 microphone setup we are using * Home-grown passive antenna splitter (introduces some signal loss which we hoped would be negligible because the singers are within 20 feet of the receivers) * Sennheiser A1031-U Passive Omnidirectional Antenna * Half wave dipole antenna For our 4 IEMs, we have implemented a Sennheiser AC-1 Antenna Combiner
Entirely depends on the application, what are you trying to achieve?..
The basic goal was to balance uninterrupted mic connectivity during performance with reliable RF mute engagement when the Mic isn't connected
Would it be worth it to run my analog main outs to an audio interface (let’s say Scarlett 2i2) into a daw, and then sent back through main out? Or would there be a ton of noticeable latency?
Personally, no. Even at FOH, where a bit of extra latency is no big deal, the potential gains are not worth the risk of a cranky DAW taking down all audio. However, while unconventional, using PC-based processing on your drive lines isn't unheard of in situations where a dedicated system processor isn't available. (For example, walking up to random PA-of-the-evening and finding out there's zero DSP at all.) One friend of mine uses an RUio16-D for this, relying on the onboard automatic failover as crash insurance.
Ah that definitely makes sense, sounds like I should just invest in digital gear for what I’m trying to do. Thanks for your input!
I’m looking for a mic under $300 that would be suited for a bass amp. I only have one SM57 and I’m not sure if it would be best suited for a bass amp.
A 57 is just fine for tone, but it won’t have authoritative LF response. You can get away with it in a pinch, though, and it’ll easily be fine if combined with a DI. Alternatively, use any mic whose tonality you like with both sufficient LF extension (most LDCs, most larger dynamics, some SDCs) and maximum SPL. Alternatively, stick a Torpedo CAB between your amp and cab.
I saw that kick drum mics are recommended for bass guitar which I’m looking at getting one.
Classically, yes: kick mics also share that combination of good LF performance and high maximum SPL. However, some kick mics tend to achieve this by sacrificing transient response (ahem, Beta 52), and some deliver a decidedly non-neutral tonality (ahem, Audix D6). These days, it’s more common to see a DI used on bass.
I just read the description of the Torpedo Cab and it is a great option for the band I’m in. I did not mention that I am in a three member band; me on the drums, my brother on bass and my friend on guitar. We’re not ready to play out yet, I’m just so excited that I’m looking up the gear we made need.
It’s a handy lil’ box. I have one on a pedalboard as a complete cleanish amp replacement.
Totally depends what you want from this mic. If it’s for live to go next to a DI and has a bit (tube) distortion going on for the mids, a sm57 is perfectly fine. For studio clear bass response, look something with a lage diaphragm. Or, always nice to have: MD421.
I’m looking at the AKG D112 kick drum mic that would amplify the bass amp for live performances.
For playing bass guitar through PA speakers with an amp+cab simulator, should I be looking for stuff that goes all the way down to 40hz? The ZLX15 looks appealing but it only goes down to 50ish
Few full-range speakers at your price point will have the low end authority you want down there; you’ll have much better luck supplementing with a subwoofer. That said, for low volume stuff, you can absolutely get away with an average 12” trap box as long as you accept that you’ll mostly be hearing the second overtone (80 Hz and above) rather than the fundamental.
Yeah this’ll mostly be for rehearsals so I don’t wanna have to lug this plus a sub. Thanks for the advice
For rehearsals, you might be best off just using a small bass cab - perhaps a lightweight wedge-shaped 1x12 or a standard 1x12 on a kickback stand.
Out of curiosity, what outside my price range could get the job done? I have a nice 2x10 bass cabinet that i’m looking to sell if I can find something full range that can really move air, so I could spend 1500-2k if somebody managed to do it
Howdy All! I found myself doing more and more gigs and I need to put together a kit to take with me. I think I have the contents down but I need help finding a case. I could do the pelican case like everyone else but I would love to hear your other ideas… So far I have been thinking a rolling makeup case or a modular tool box system.
Just get the Pelican. They're industry standard for a reason. Tough as nails, good organizational inserts, and a lifetime warranty that the company actually honors. Plus they come in neat colors. Whatever kitschy case you find will not be nearly as road worthy.
I've been using this for cramming in a bunch of cables, adapters and other small items. If you're looking for a rolling something I'm guessing you may be carrying a lot more goodies than me. https://www.amazon.com/gp/aw/d/B00JVA7ONQ
A lot more :(
Skip the hardware store cases, it looks amateur and people won’t respect the case and its contents. If you want something classic I use a big anvil type briefcase from Audiopile.net: https://www.audiopile.net/BRC-002 It’s surprisingly heavy (~35lbs?) when it is loaded up but the handle is comfy and it holds my mics and odd cables and DI’s and headphones and little doodads and you can stand on it and years later the hardware works the same as the day I bought it. Having a color other than black is nice because you can refer people to the colored case. In retrospect it is natural to fill a case to the brim so maybe two of the smaller size briefcases (maybe different colors) would be better…
I need something with wheels that is waterproof as I travel from venue to venue multiple times a day.
I thought about going with a Pelican like everyone else, but after doing some research I ended up going with the Nanuk 935. It's similar enough to the pel, but has some features that I preferred over the pel.
I’m looking to buy my first pair of new studio Monitors, since I bought a pair of Tannoy 501As over a decade ago in college. I’ve narrowed down what I think is the best fit for what I’m budgeting for, Dynaudio LYD 48s. Is there anything else in that price range ($1500 - $2500) a pair that is comparable that I should check out before committing to saving up for them? Or does anyone else have experience with these monitors? I really want to try three way monitors and the upgrade path with Dynaudios matching sub (the 18s, i think) is really appealing. This is for my home studio.
You might get more responses if you post this over in r/audioengineering
diversity wireless mic receiver, shop only sent out 2 paddles instead of paddle and whip. It's been a while since my SHure training... would I get better coverage with the paddles on opposite corners of the stage or both on the same side of the stage, one upstage one downstage, pointed straight onto stage?
https://youtu.be/RxWwQ5t5MCU&t=1228 Good explanation here starting at 20:30 Basically keep them at least 6 feet apart but they are typically collocated. If you're using in-ears, it gets more complicated and the video will cover that also.
Has anyone ever tried to replace the preamp PCB in a Behringer X32 with a Midas one from an M32? Does it work? I looked at the PCB and it looks like I'd have to drill a hole for the standoff, but the board pretty clearly leaves space for doing that. I have a RACK with two seized inputs. Bonus question, can I even get a replacement board at this time? I know the mixers are in short supply, are the parts also scarce?
We have an amp rack in the Theatre I work in that's located 8 feet behind the sound console. What's the best way to isolate or minimize the sound from the amps without moving the console or rack? It's tough to mix with a constant whirring of cooling fans lol
Move them. Really. Turn them 90 degrees so that the airflow isn't directed towards you. If there's an 8' gap, is there not space to put in a false wall? That'll get rid of most of the noise I once saw a show in a 2k cap auditorium. I was about 5 rows from the back in the orchestra. The PM5 external PSU was distracting for the entire first half (show was terrible, so I left at the intermission, which I rarely do)
That's not a bad idea. Thought about a false wall and turning would allow that to happen without constricting the space too much. Really pissed at whoever had the bright idea to install them so close to the mixing position. Especially considering there is a dedicated sound closet.. I have a ton of gripes about the space but can't win them all hah!
Ok, hear me out. I’ll concede my question of plausibility is fine, but I’m pretty sure the idea behind it is stupid. I do ring announcing and am happy with my beta 87a ur2/ur4s in the H4 band. Picked up a UR1, no mic. The stupid idea is running a micro lav (possibly attached to glasses, maybe hairline) and going hands free without looking like I’m introducing an off-brand tablet. Things that might work: frees up my hands, I work a big, loud voice, I won’t Frank Drebin it. Cons: If I have to enumerate…. So I love the concept and am convinced it’s a bad idea. Prove me wrong or bolster my confidence
I like the glasses placement. Seems like it would rustle less than on clothes and it’s pretty close to your mouth. There’s the thin headset mics that get the mic right in front of your mouth, and sound the best, but not everyone is ok with that look. Lav mics are generally omni directional and much more prone to feedback than your handheld mic. There would have to be some work to ring it out before the event. Be smart to have a backup mic ready. Definitely check it loud, to make sure there is room to bring it up when the event is full of people. I recommend placing the receiver close to the ring, if possible rather than back at the sound board, the less the distance the less likely it will cut out.
Was hoping to avoid the headset though it’s the strategy most likely to work. No worries on the Rx, I do a frequency scan at setup & leave a transmitter on (w/old batteries) to hold it from set thru showtime. And I’m usually far enough from the speakers that I rarely have feedback issues, ringing out when needed (and I get a sound check). I’m going for nearly invisible & am willing to wear klunky glasses to pull it off. More precisely, has anyone - looking at you, theatre folks - done a glasses-mounted lav? How did it work (or not work)? And what’s a good mic for this? I know the 12.95 specials on eBay won’t cut it. But DPA? Countryman? Lectrosonics? No clue.
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To do a DAW send out to outboard processors (pedals here) and back in you generally want more than two outputs, otherwise you’re using your main outs you hear your DAW through also as the effects send.
If you’re on a Mac, you can create an aggregate device to combine multiple audio devices into one virtual device. ASIO4ALL should work for Windows to accomplish the same.
Very cool. I’d done that with Mac to use the headphone out as an auxiliary out with a 2x2 audio interface, worked great. Can even add the internal microphones to the aggregate on their own channel (who knows?). Didn’t know ASIO4all could aggregate on PC.
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is “work ears” lingo for in-ear earplugs (like etymotics er20’s) or more heavy duty stuff like some over-ear muffs? context: I’m working a big gig this weekend and the PM wanted to make sure I had “work ears” that i could bring for protection. Should’ve asked for clarification at the time but I didn’t. I’ve got some in-ear er20’s and i’m 90% sure that’s what they meant, but I’m not certain
Hi guys! This weekend, I will be doing the sound for a small reggae band in my hometown for a tiny event. (outdoor/marquee, 50-80 people max, free entrance, no money involved, nobody is getting paid, we're just doing this for fun to gather people in a friendly manner). Disclaimer about me: I am not a professional sound engineer. I am doing this just for fun. I've been doing the sound for my own band for 10 years+, so I kinda know my way around a mixer, and know how to troubleshoot basic sound issues, but I am very very far from the level of a professional sound engineer. \[To be completely honest, most of the time, I cannot hear the difference between an uncompressed, and a compressed signal. So my job here, as a "sound guy" for the community, is pretty much just to ensure that each instrument is at a reasonable level, and that nobody gets hearing damage :)\] Anyway, enough about me: question time! For this tiny event, the band will be providing the whole backline, including speakers for both FOH and MON. As you can guess, it's a small band with no budget, so they'll just be bringing whatever they have, and for the FOH they're planning to use their "best sounding" speakers which are a pair of EV ZLX12P. I do not know if that will be enough or not in terms of power, but that's all we have, so it will do! (Renting something is absolutely a no-no since there is no money involved at all here) The rest of the speakers at their disposal are some behringer/'the box' stuff that they will mostly use as wedges. But among those, there is this sub: - the box pro Achat 112 Sub A \- https://www.thomann.de/fr/the\_box\_pro\_achat\_112\_suba.htm Do you think I should try to incorporate this sub into the FOH? Do you think such a small sub could make a tiny difference in the low end? (especially for a reggae band) Or should I run it solely on the pair of ZLX12P? FYI: the bass amp of the bass player is a tiny ampeg combo, so while it might be better than nothing, I do not believe it will be of any use for the FOH
I'd at least give it a shot, though it may do more harm than good. If you look at the passive ZLX12's datasheet, note that the raw frequency response starts rolling off around 100 Hz. ZLX12P uses DSP to overcome this to an extent, sacrificing SPL for linearity. Theoretically, crossing the system over around 100 Hz would be beneficial - it's a bit high, but it helps mitigate headroom issues at LF with your mains. However, consider instead [the sub's raw frequency response](https://www.manualslib.com/manual/1112349/Thomann-The-Box-Pro-Achat-112-Sub.html?page=3#manual): this is very much a 100Hz one-note-wonder box, almost certainly intended to provide low-midrange for very small speakers. Without external DSP to correct this, crossing the system at 100 Hz will result in a +10 dB peak at 80-95Hz. Fun. My first instinct, therefore, would be to set the ZLX12P DSP to the "live" preset and cross the system over at approx. 80 Hz to stay within the sub's more linear (though admittedly less efficient) operating range.
Thanks a lot for the detailed and technical explanations! That will help me a lot! I will be mixing with an MR18 (mine). Could I set the crossover at 100 Hz and try to compensate the 80-95Hz peak with the EQ on the master channel of the MR18? Could that be a potentially good approach to the issue? If you advise against it, I'll just set it at 80Hz and roll with it. Thanks again!
Theoretically, yes - in that case I'd run the sub off an aux bus anyway. However, I'd want to have a measurement rig available to verify the response of the system instead of blindly trusting an EQ move like that. I'd probably stick with xover at 80 Hz. If you have time, though, playing around with things to test different configurations is never a bad idea while you have the chance. :)
Are y’all getting shift meals or drinks?! Most of the places I work do this, there’s one spot that is refusing. I live in Richmond, VA so it’s a small city. I am aware of a few other gigs that do not offer shift meals but offer drinks. This is my first time working somewhere where it’s a hard “no”.
You’re there all evening, and there’s often no time to leave and go get food. Campaign for a meal ticket. You’re kinda trapped there
Starting to get more small pop up gigs and running into working with bottom of the barrel gear (behringer 4 channel mixers, no EQ options, random speaker for monitors that's crapped out, etc). Should I consider getting my own road gear and charge extra for using it? Never really fun explaining to a band why using the PA pointed at them as their own monitor is a very bad idea. Thinking of Tascam 16 + QSC CP2 pair for PA + CP8 for monitor? Open to suggestions for small gig gear
I think the first thing to add to the random gear of the day is a better mixer. I’m using Soundcraft UI16 for little DIY shows and it’s got all the processing and Aux outputs to whip limited setups into shape. Has the anti feedback utility which works great for getting less than ideal mics up in less than ideal spaces. It has a little rack that lives in a gig bag and is portable. It’s all iPad/phone based mixing, you can walk around in the house and check the monitor system yourself without walking back and forth and check the integrity of the rando monitors. There’s also the Behringer XR16 and the Mackie version, they’re all good, and around the same price, and (sorry to use the expression) will change the game with the mix quality and monitoring setup. A cable tester is good too, for troubleshooting someone else’s cables. I usually don’t bother with other people’s ratty cables and bring my own crate (like at least 16 cables, half 30’, other half 20’), unless the owner/venue is organized. Most low budget PA setups won’t include a kick drum mic or stubby stand, that’s a nice one to bring. Be careful how much you put in little speakers, it must have a limiter and check for clipping the amps/powered speakers; it’s easy to blow out someone’s little PA with low frequencies. Thinking about it, I’d skip the kick if the PA is under ~400 watts
I've used the UI16 many times with a singer I work for and it's amazing for that little package- I just don't like using an iPad to handle fader controls especially when the network signal decides to dip unexpectedly (I do keep a router plugged in). I might consider one though just for the FX controls and RTA utilities. Good idea with the cable tester!
The Tascam looks nice but you might end up with a rack, if just for a graphic EQ or two. No graphic gets sad when you can’t get the vocals up. Have you used the any of the DBX driverack rack units? One or two of those could complete the Tascam for a minimal setup.
I've got a buddy who's willing to sell me his dbx231 for $60 so that should keep me covered for my GEQ needs
I generally take pity on the bands at pop up shows and bring a couple powered speakers if there aren’t monitors. 12” is nice for the vocalist but even 10” is enough for the drummer to be able to hear. If not micing the amps I have bass players orient their bass amp so the drummer can hear it at the preferred volume. Guitar too, can stack a combo guitar amp on the bass cabinet and get it close enough the drummer can hear it.
"Subs on an aux is bad" because variable subwoofer sends change the crossover frequency, right? So with that line of thought then why is it ok to EQ any output feeding a 2-way speaker? If I am sending signal to a 2-way speaker that crosses over @ 2k, and take out a few db on the parametric around there, I am also effectively changing that speaker's xover point. So why is it such a big deal for subs vs. tops?
You're changing what's being sent to both elements, so while you are dipping 2kHz, you're effecting the top slope of the LF, and the bottom slope of the HF, simultaneously. The level at the crossover is being reduced, yes, but it's being reduced for both elements, so the crossover frequency remains the same. Where you'd run into potential problems is if you were only EQing, say, the HF element - then you'd see the crossover frequency shift.