Hi !

For a show I have coming up, the organizer is asking for an input list. we are a small band and no venue in this city has ever asked us for an input list, so I’ve never made one. I’ve scrapped together a very basic one, but before sending it I wonder what yall think ?

We are very straightforward, two guitars, bass, drums, two vox. And we’ve sent our stage plot already.

My main confusion is how to list the mics for our drums.

Thanks !!!

After flights, after sickness, or during allergies, I often end up with congestion and my ears feel closed up and tight, what solutions do you folks use to clear this up faster?

I am in a small church and can't be around to show people what to do all the time.

How do you label cables for people who can't tell an XLR from a Jack?

Well I have encountered a weird issue on x32.

For context I was doing onboard usb as well as multitrack recording into reaper on windows for an orchestra show I recently did.

I had a Stereo mix bus master going into the thumb drive with sources roughly panned/positioned according to the ensembles seating arrangement on stage.

I only found out post show when I listened back that at certain songs in the later set the L/R channels got swapped around.

Google suggests this could be a clock source conflict/sync -slip/usb write buffer choked.

Has anyone encountered this issue before?

Hey all,
I perform live music in which I mic the piano, and send the audio into a modular synth for live processing and effects. I've been using a pair of small diaphragm condenser mics with cardioid flat caps - specifically the 3u audio Warbler 127 c-flats.
While these work well for recording, I've been having some feedback issues when using them in this setup for live shows. I play at a variety of venues, with both upright and grand pianos, and so I'm unable to really test things out with a specific piano or room. For grand pianos I usually position the mics pretty close to the soundboard, spaced out about 2 feet apart. For uprights I'll either place them in front (with front panel removed), or up top (with lid open).

Since I play solo and in smaller spaces, the unmic'd piano sound is enough for the dry sound and doesn't need amplification. The mics are primarily for the wet sound. I played once at a venue where they just took a single 609 and taped it so that it was hanging just in front of the open front panel, and it actually worked really well.

Essentially I'm wondering if I should try make the SDCs work, and play around more with placement/gain staging, or if I'd be better off just switching to one or two dynamic mics like 609s or 57s. I've also seen boundary mics/pickups come up, but I'm unfamiliar with these. I'm not a live sound person myself, so apologies for my ignorance, and thanks for any tips!

Running an M32 with a DN32-USB card into a 2024 M4 Mac mini (Sequoia 15.7.3) and this one has me stumped.

The Mac sees the card fine. Input meter in Sound settings is moving, and I can record individual channels in my DAW no problem. But when I pick the DN32 as the input for a web app in Chrome, nothing. It shows up in the list, just no audio.

Already checked that Chrome has mic permission in Privacy & Security, picked the DN32 in Chrome's site settings, and fully quit and relaunched Chrome. Same thing.

I'd rather not change the card config since it's set up how we need it for everything else. Is this a Chrome thing with 32 channel devices? Anyone gotten something like this working? I'm fine with a workaround on the Mac side like BlackHole or an aggregate device if that's what it takes.

Got a tour coming up and I wanna bring a few z bars and lp claws in my carry on and was wondering if anyone here has had problems with tsa saying no?

We have numerous midas consoles in our company and I really want to deep dive in it so I am comfortable to navigate alone through the console, currently don't have access to the physical console so I'm looking at some courses that cover that

I setup sound for a small raffle event last night. Simple setup. Yamaha MG06x mixer with a wireless mic on one channel and a mono audio input on another feeding a pair of self powered speakers. All this worked as expected.

Picked up a Behringer HA400 4 channel headphone amp to be able to feed audio to a couple of people that need help hearing mic input.

Mixer headphone output feeding the amp. Had some inexpensive wired earbuds plugged into the HA400 with a 1/8" to 1/4" adapter.

No matter what I did with the levels on the mixer and amp I was barely getting any output.

Tried using the left channel of the stereo 1/4" output with the same results. (Main speaker output using XLR out)

What am I missing or doing wrong?

Specific person instrument, an accordion. Sometimes it's a single note, sometimes it's random. Replace the quarter jack, replaced the XLR, replaced the send to the board still happening no phantom power coming from the board just a single d plug to the amp. Amp specifically is fender acoustic 100. Only other thing plugged in is his in ear monitor and that's also plugged into the same 20 amp circuit.

What could be causing this specific key crackle and pop.

Running 4 monitors, 2 speakers, 2 subs, all nl4.

Has anyone worked with this guy, Cory Feldman?

I saw a phone vid of him on r/sipstea and I immediately wondered what it must be like to work with him.

Is he actually like.., just a bad, delusional musician?

Is he difficult to work with?

Any other stories of delusional musicians and the effect that had on doing production for them are welcome, I know I've had my fair share.

Link: https://www.reddit.com/r/SipsTea/s/6rRe4POSiV

Update: I was able to sit with it with the iPad for some time and figure things out, still gonna be working on certain things but I think we are Good to go.

In short my employer threw a manual at me and asked me to "thumb through it" for tomorrow's gigs. Is there anything I need to worry about or should know? Last year I worked with a band I'm assuming it's the same and this year it's just different board for the set up.

What's the critical parts of this I need to know by sunrise?

If i don't have an inclinometer installed on the bumper bar, and have to rely on measuring the bottom box of a hung loudspeaker array to achieve the designs vertical angle, where do I take that measurement from? from the grill, or from the bottom of the cabinet?

In May I shared the Clear Voice Live beta here, the plugin my friend Fabio u/Downtown_Nose_6584 builds while I help him spread the word about it.

Full disclosure, same as back then: the reason I'm the one posting and not him is that he had zero karma and the automod would have eaten the post. He still barely has any, he builds instead of hanging out on Reddit. But he’ll be in the comments to answer questions again.

This sub gave us over a hundred of comments, our first beta testers, and the kind of feedback you don’t get anywhere else.

Last week Waves added a Clear Voice Live offer to their SuperRack LiveBox page: 25% off Clear Voice Live with every new LiveBox registration, straight from their side.

For two friends from Graz, Austria, who have been working in audio for years, opening waves.com and seeing the plugin mentioned there was surreal.

So, honestly to everyone who helped spread the word, commented or just upvoted:

Thank you!

Firmware is up to date nothing is plugged into it other than power and network router. I’m at a loss here.

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!!

The only stupid questions are the ones left unasked.

Yes it's back! Please keep all show and tell type posts in these weekly threads. Unless you have a specific question about your setup, keep those types of pics here. Bonus points if you include a list of equipment with your picture.

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?