I've just bought a Behringer Wing, never used that specific desk before but I'm familiar with x/m32 and some yamaha desks. Got a few days where my venue is empty and I can play around so I'm opening the floor to build a kind of checklist of things you need to know how to do on a new desk, this is what I've got so far:

* route and patch a mic/usb/dante/aux lead to get sound coming out of a speaker

* set up talk back mic

* label channels

* set up groups/dcas/buses/matrixes for processing

* add fx as an insert and as a group

* eq/gate/comp settings

* graphic eq

* save scenes/states and recall

What other jobs do people try to learn when picking up a new desk?

Doing community theatre musical and our lead actress does most of her dialog and some songs with a very light voice, so I set my gain to that, but during the big numbers she can really belt it and I think it's overloading the mics. I got a compressor on her (aggressive at 5:1) but I keep clipping. Mixing on x32 with SLXD and Pyle hairline mic. Any help would be appreciated.

Is there a way to strap all that without getting through tie-lines ? Since there is only one S-link hole per device and brains being in the mixers i don't see how...

Currently i would use Dante with Mon as primary desk as i have the Dange cards but could i daisy chain the foh desk through the mon desk, without tie lines, using a S-link extension card ?

Thanks

I have 3 ew-dx 2ch units, I recently bought sennheiser's ew-d splitter to go into the fourth spot it my rack. I want to do a D Series passthrough connector out the back of my rack to the paddles. I know you should always use 50ohm bnc cable, but I can only find 75ohm D Series passthrough connectors, do they make 50ohm ones or does it not matter as it is rated to 75ohms. I am a bit confused.

I’ve worked as a Music Director and Sound Designer in Regional Theatres for many years now, would love to know the tech timeline from the sound team in opening a Broadway show. Particularly things like:

-What’s your tech process like? How much time do you get with the actors to finesse your programming?

-What’s the process of programming the consoles? How much is the original A1 involved in this? Not looking for specifics on how to program a console at all, just the timeline and logistics of how a Broadway team gets it done.

-At what point do subs begin getting trained?

-How do you handle understudies and swings?

I’ve worked in a lot of different theatres, and every one has their own tech process, so I was curious if there was any type of standardization (knowing that every show is completely different) across the tech process of Broadway shows.

Thanks!

Hi, I am currently having an issue with recording/routing live audio to my drums and was wondering if someone could point me in the right direction to correct the issue. Whenever I hit a drum, primarily noticable on the snare, I have this boomy, decay trail that I do not want. I have attached an example of what I mean. If anyone has any ideas, I'm all ears. Thanks!

EDIT: Made sure to check everything on the mixer was turned off, but had forgotten to check Ableton. I had a plugin running that was causing the issue. Thanks for all the help. I'll try my best not to make stupid mistakes in the future, but no promises.

Brian's IEMs didn't seem to be working right in Madison. Any word on what happened?

One of my antennas is emitting an audible buzz (from the antenna itself, not through the mics) and the RF overload light comes on if I power up even 1 transmitter, even if I don't have a mic plugged into it. Seems like it's defective or damaged. Anyone else encounter this? Thanks!

Rekordbox External Mixer Mode is set so Deck 1 L/R goes to physical Output 1 and Deck 2 L/R goes to Output 2. I want those to enter separate Spirit channels. For Speaker 1, I want an independent Deck 1 and Deck 2 level; for Speaker 2, I want another independent Deck 1 and Deck 2 level. Can this console provide those four independently adjustable send levels, and are they controlled with aux rotary sends or long faders? Also would I have to use and aggregate device inside of reckord box??? Any thoughts help ya know.

Does anyone have a source to replace the crossover in a MACKIE C300z v1?

(I have found the current version but that will not fit or work in the first gen C300z/SRM450 v1 Italian.

Need the exact replacement part info and a source with stock if you can provide it.

Thank you.

For any of y’all sending client feedback surveys after a job, are you using a web service or some other automated platform? I’m a freelancer in Atlanta and don’t get any complaints, but it seems like a nice move to present more professionally with bigger corporate clients.

Thanks!

I was watching the Dallas Taylor episode of Hamilton where the FOH engineer states he delays the actors in the PA to make the voices feel more natural and like they are coming from the stage rather than speakers. https://www.youtube.com/watch?v=8FBM2q50_bw This got me thinking down the rabbit hole of time aligning a band on a large stage. Would it be worth it to delay the drums when they are 20-25 feet (or more) from the main PA, as well as all the other instruments and vocals based on their distance? Would they sound more natural and fuller? I am not in a position to trial-and-error this so I wanted to get your thoughts on the matter.

Cheers!

Show sounded amazing. I dabble in home studio recording but this looks like I’m reading a foreign language looking at this. It would be a dream to me to ask these guys what is going on here. All I see is an EQ that is heavily pulled down on the high end. Would love for someone to explain to me what going on 🙂

Hey,

So I am coordinating my largest count show SK far with sound base.

I have:

11x channels of psm1000g10
14x channels of psm1000h22
20x channels of wisycom mtk952

11x channels of ad4q in g57
8x channels of ad4q in g57+

I have hit a road block and have as much as I can added but it's not nearly enough. There are 3 bands playing the stage. So would the next move be making a zone for each band and making sure everything not being used is not transmitting during their performance time(which it should be off anyways since it's not go ng to be used)

If that's the route to go then the host mics should be added to each zone to coordinate around that correct?

Thanks for the help.

Edit: I have also tried the more freq profile and still not enough

Hi all, are there any online courses for live sound that anyone knows are available that will help cover the basics?

I’m in a covers band, we’re playing pubs and small venues. I like the set up but I want to be able to trouble shoot quicker and get to the cause of live sound issues, to minimise my stress when performing.

I know ideally we’ll have a sound engineer but the smaller gigs we just can’t afford that, so hopefully one day we’ll get to that point but right now it isn’t realistic.

We have xair mixer currently.

I'm a solo artist and I have a gig coming up where I plan on using backing tracks, as I do not have a band. What is the best way to do this?

I'll be singing and playing guitar, but all of the bass, drums, synths, etc are on the backing tracks. Should I bounce all tracks of each song to one file and just play each one from my phone/computer? All of my songs are already properly mixed, so there shouldn't be any issue with levels. Or, would it be better to use a program like Ableton so I can control each track's levels? I just don't know how I'd control it since I'll be performing at the same time.

I'm pretty new to this, so any advice is appreciated.

I work in a small(ish) nightclub in a big city. The hours are consistent and the commute is great. Over the past several months the scope of my responsibilities has expanded far beyond the initial reasons I was hired, and part of this includes managing vendor relationships. We’re an independently-owned operation and as such most if not all of my coworkers/staff are from hospitality backgrounds, not production, and thus don’t have anywhere near the ties to this world that I do… As you can imagine, this has created more friction than I think has been fully realized.

I’ve spent an inordinate amount of time cleaning up the half-assed mess left by the original integrator/installer, and I’ve done this by assembling an all-star team from some of the biggest productions + event companies around, names the more seasoned among you will surely know and love. Basically, I hired NASA to build a bottle rocket.

The issue is, in spite of all this, ownership has been conditioned to be so heavily reliant on him (OG integrator) they refuse to stand up to him in any meaningful way and continue patronizing his small potatoes biz, undermining my persistent attempts at retrieving stolen equipment, even after years of continual financial drama, inconsistent communication, and incomplete repairs, much of which preceded my hiring… This culminated in him verbally accosting and attempting to fight me on the job after I called out his thieving behavior to his face.

I am considered a high-value employee and the higher-ups as well as ownership are extremely bullish on me, but I’m finding the abuse and flagrant disrespect from management, talent and entitled VIP clients increasingly difficult to tolerate. While not a beginner to this field, this would be the first major “canvas” I have true autonomy to paint on, and we’re already in the middle of a big system redesign. What would you do?

The World Cup final was yesterday. I wasn’t there. I was sitting at home like 1.5B other people. One thing that was immediately noticeable was the many banana shaped shadows on the pitch. It looked terrible. Now, we know they couldn’t really do ‘all’ carts because the pitch is larger than an american football field. It wouldn’t be feasible to deploy them.
But did we win because audio was important enough to accept that 1.5B (or more) people were allowed to ‘really’ notice it, or did we lose because we didn’t have the tools to hide the speaker deployment at the biggest sporting event in the world?

Recently upgraded to an A&H Avantis board, love it so far. Downloaded the app so the A2 could do monitors on stage.

WTF is with the double tap BS? Why can't I just select the Mix I want and add to it? I shouldn't need to watch a freaking YouTube video to understand how to navigate you're app.

Should I expect similar functionality on the SQ6 and SQ5 and our QU16?

(Also, why doesn't the Avantis have multi-track recording built in but the SQ series does? How does that make sense?)

Long story short, I'm getting the Avantis license for Mixing Station and going that route.

Im the only guitarist in my band, and i am currently playing two tones to each side (not hard panned) live every gig.

Our setup is all our instruments going to a XR18 then to our IEM and a LR+Sub out to FOH, pretty usual stuff, but im using my LR really as a LR, one amp and one IR to each output

A friend told me that im overkilling it and i should play mono, and it made me start doubting if it really makes a difference.

We have a soundtech and she said either is fine, its up to me to decide what i want

Any advice on that?

I have an X32 and use a custom stereo Matrix as my engineer monitor. The Matrix contains:
- Main L/R
- MD comms
- Tech comms

I currently route that Matrix to Aux 5/6 and set Monitor Source = Aux 5/6, so at FOH I can hear my engineer mix in the headphones.

I’d like to start mixing wirelessly from an iPad while walking the room using a wireless IEM system.
My problem is that if I simply send the Matrix to a pair of outputs for the wireless transmitter, I lose the ability for Solo/PFL to be heard in the IEMs. If I use the Monitor outputs instead, I lose my custom engineer mix.

Is there a way on the X32 to have a wireless IEM hear my engineer mix during normal operation, but have Solo/PFL automatically override it just like the headphone output does?

Wondering if there’s any method of doing a mix select in CC? E.g fx sends, groups etc - can I press mix select in CC and it becomes the active mix on the console where I can add a vocal the fx send?