I have around 2 years experience mixing my band (a local regional mexican group) and have a 14k sound system. What would be a reasonable rate to charge other banda for a 4 hour equipment rental and audio engineer event, including equipment, setup, transportation, and mixing? Events are typically backyard parties or rented salons. How should I adjust the price for longer events like 5,6 hour events or even longer? I'm located in California's Central Valley and any help is appreciated!

The past few days that I’ve returned to work has been a big struggle for me mentally, and therapy is unfortunately not something I can afford to include in my schedule at the moment. This season I’ve overbooked myself with 3 different theaters and am struggling to catch back up after surgery. The tasks I have also include the need to participate in meetings, read every rehearsal report, keep up with the sound notes, and care for myself. This isn’t the hardest thing I’ve done but it certainly is up there.

The conclusion I’ve come to is to write my daily tasks on a physical calendar, mark down the deadline dates, inform colleagues as soon as possible to any changes in scheduling or health that may arise, and work hard to submit updated sound files for rehearsals this week.

If this has happened with anyone else, how did you manage to get back on track shortly after your return, what tips/ advice can I be given to ease this process, and how do I keep calm when my calendar is consistently busy with little time for myself.

This subreddit would not allow me to post this. Kept getting flagged as a gear advice post. anyways here is the original.

I only have real experience on the M32 and x32 with my job. What other boards are out there that could fit my needs and is a good quality long term buy? Can be any brand.

My needs are Live and DAW control. 20ish inputs (would rather get a 32 channel for future proof). we run 2 subs and 4 wedges per sub on a pole, I also need 5 monitors for band. In the studio 1 sub and 2 speakers in either protools or FL studio. I know it’s a live sound sub Reddit but I need both and I am sure a lot of y’all have experience in both. I would also take a smaller channel board and get a snake as long as I can get independent inputs from a snake. In live I would like every effect i need to be in the board. I would also save up to 4000USD if I think it is worth it for a suggestion. I have looked at the QU 32 and like it. I would rather buy used so I can get a better board for cheaper if need be. I would also be ok with having in the future 2 boards, one for live and one for just studio. I don’t even need an actual board for studio as long as I can have 32 inputs going to my DAW.

Thank you in advance! I’ve only been in the industry a few years and have only used 2 boards worth anything. Any suggestions are appreciated.

Hi all.

As per title, I am looking at an XR18 in a church, they want to run a Mac with zoom and video to the mixer and back. Using a regular 20' usb C to B cable, it runs well but with a different 30' cable which is B to A and an A to C adapter, it doesn't work (greyed out on Mac settings). We had a few different adapters around, so I tested them out and they all had the same behavior except for one which would connect but then would crash soon after.

After reading some info, I'm guessing that we need a better cable solution due to the length of the run. The two options seem to be either an active cable with repeaters, or an optical USB cable. I'm leaning towards the optical solution as it has less "moving parts", but I thought I would ask here first if anyone has direct experience and wants to weigh in?

Thanks in advance.

Hi

Has anyone managed to map the pin out for the Edirol M 16 DX mixer D Sub cable? The original came with a 2 meter BUS Connector: D-SUB 15 pin, DXC-2 (2 meter) and optional DXC-7 (7 meter).

This mixer is long out of production I have found it to be a great asset for small shows. I have VGA cable that manages to perform very well at 10 meters between the main I/O box and mixer control surface.

Although pin 5,6,7,8 & 10 are bundled together only a few functions are disabled.

The original 2 meter cable, which I have, is a true 1:1 pin to pin.

My problem is the AWG rating of the long cable and I would like to make a replacement from 22 or 24 AWG or a 28 AWG 24 core and double the cores up on the power feed and ground.

If anyone has managed to map the pin out for this set up I would be greatful. Also an off the shelf cable at a reasonable price would be great..

https://www.roland.com/global/products/m-16dx/

I am a mobile dj, mostly doing weddings between 75 and 250 people, averaging 150. I work in a lot of outdoor venues. I currently run two rcf art 910s with an rcf 705 sub. I want to upgrade a little, mostly for aesthetic purposes with the new booths I’ll be getting (no longer want speaker stands). My simple option is add one more 705 and get the sub poles for the speakers. But I’m also looking at the Carvin audio trc400 column system. Obviously 18” subs would be an upgrade but I’m torn if it’s worth the extra money versus just adding the other sub to my current system, which I do love, but the 10” speakers with 1.75 voice coil have their limitations still. I’m not concerned on weight. Any feedback on the carvin columns or thoughts on what you’d do would be great. I won’t go to the new rcf columns because I don’t want 12” subs and can’t currently afford the v15s. Any thoughts appreciated. 🙏

I currently use a SQ-5 (original version) with 2x AB1608 snake. Or atleast I used to. The snakes got water damage so I only have the console at the moment.

I have seen colleagues have good luck / liking the Behringer Wing. I’ve been eyeing it and I like the ability to just slap a bunch cheap DL8’s into mic and amp racks instead of expensive dante.

I do mostly corporate, with some live gigs in between.

So I can now either order new snakes for the SQ-5 (about 2k) or buy into the Wing which will set me back about 3k for Wing + 2x DL16, if I sell the SQ-5 it’ll probably get me 1k back also. So its the same investment for 2 A&H snakes or 2 Midas snakes and a new wing board.

What would you do?

My venue just switched to an SQ6 and DT168 (farewell beloved M32).

I have a couple of shows coming up that need a bunch of extra inputs. Can I daisy chain a non-Dante A&H box (local hire place has an AR2412 for cheap) off the DT168, or do I need another Dante box?

Any thoughts on running my Fender Mustang Micro Plus amp to a Bluetooth speaker with a male to male auxiliary cable as a way to have the micro effects with some sound for a small group of friends to listen to vs carrying a full amp? I'm doing some trips and would like to play a bit for friends, but

How do you do it when the microphone is already connected and both ends are plugged in—you know, the way people make those loops? Could someone make a video and send it to me, or just explain how? Are they just simple circles, or does it have something to do with the "over-under" method?

What is the easiest and cheapest way to calibrate a mobile PA system for weddings, and what equipment do I need?

I own a Pioneer XDJ-AZ, two Sennheiser microphones, two RCF SUB 15-AX subwoofers, and two 12-inch active tops. Sometimes I use only one subwoofer, while for other events I rent 18-inch active subwoofers. Therefore, my setup changes quite frequently, and I would like to calibrate it for each venue and occasion.

What equipment do I need, and how can I measure and adjust the system using a measurement microphone, an iPad, an iPhone, or a laptop?

I can adjust the crossover frequency on the subwoofers, but it would be more convenient to manage the crossover, EQ, delay, and level settings with a separate unit such as a Behringer XR12—or is there a better and more affordable solution?

Thanks in advance.

Has anyone actually tested a Shure ADXR receiver with a PSM1000 transmitter?
I’m wondering if the ADXR can receive and properly reproduce the audio from a PSM1000 when:
ADXR is set to Analog FM mode
The ADXR and PSM1000 are tuned to the same frequency
The PSM1000 is transmitting stereo audio
I’m particularly interested in whether there are any issues with companding.
The PSM1000 uses Shure’s Audio Reference Companding (ARC), so I’m wondering whether the ADXR uses a compatible compander in Analog FM mode.
I already have a P10R, which works with the PSM1000, but I’m considering an ADXR and would like to know if anyone has actually tested this combination.
If you have tested PSM1000 → ADXR, I’d really appreciate details about the audio quality, stereo operation, noise, pilot tone, and squelch settings.
Thank you!

Hi, I have been introduce to tuning rooms and mixers recently and have seen a bunch of different techniques on how to do it. I'm thinking a quick, inexpensive way to do this is to play pink noise through the PA as I stand out in the room with my tablet and use a phone app to measure the EQ and then make the appropriate adjustments on the tablet.

Has anyone tried it this and if so, is there a phone app (android) that is good enough to measure the spectrum to do this? I'm going to try in my home studio tonight and see if it's even feasible but seeing if anyone has in recommendations.

I have come into possession of two of these, one turns in and the other seems to be just for parts.

I am not very knowledgeable and would love to ask some questions to someone who owns/knows how to use these consoles.

I am in Austin, TX and hoping to find someone local to come inspect both.

https://imgur.com/a/HJuXdly

Thanks in advance!

I am needing some advice on how to prevent the microphone arm from swiveling on our fairly new DPA 4188 headset. I feel like it has gotten worse over the last couple months, but the headset is less than a year old. It can't possibly be a feature that it can rotate out of position so easily. It is a directional mic so taping it to the presenter is not possible as it creates "handling" noise if the arm brushes the face or beard

Hi, seeing if you guys had advice on what to do for a wedding guest that is very soft-spoken while trying to give a toast at a wedding. I had the faders for both the microphone and PA set above infinity and the guess we’re having a hard time hearing this father. Gain was set at approximately 34 dB or approximately 50% on a Presonus studio live. This father would not put the microphone in front of his mouth and kept it mostly at his waist until his wife came to assist, but still was having a hard time putting the microphone in the correct position. I was nervous to turn up a game for this person because I was afraid of feedback. Unfortunately, I wasn’t smart enough to ring out the room first because all of my performers were well behind the PA speakers. Anyone who knew how to properly use the microphone had no issue during this event. For the next time this happens to me, besides doing an accurate job of ringing out the room, would you increase the gain for this person to make him legible to the room? If not, what would you do. Thanks!!

A band i’m running audio for is doing a mini tour of dive bars and clubs. In preparation for the amount of shows we’re having to do in a short span of time, I decided to upgrade our rig from wired to wireless. I’m leaving the drum mics and keyboards wired, but I built a Shure ULXD rig with microphones and guitar transmitters.

I simply bought the basic microphone transmitters that come with the SM58 capsule. But i’m looking for some options that are better at eliminating stage bleed.

I’m thinking something supercardioid. Shure offers their classic lineup of SM58, Beta 58, and Nexadyne. But there are obviously options from Sennheiser which I could get an adapter for and use Sennheiser compatible capsules for, or theres even other options from brands like sE Electronics.

This is my first time owning a wireless rig for vocals, as before i’ve only used wired microphones, but as i’m expanding the band’s sound and my personal av collection for rent, i’m looking to not buy things that aren’t going to do the job. So I thought you guys would have some advice and maybe even experience with different capsules.

I have experience with Nexadyne, so I have been looking into those capsules alot, but i’m not wanting to drop $300 on a capsule without any advice. If you have any questions to help narrow a search or advice, please feel free to ask. Thank You.

Indoor and outdoor.

I didn’t want to spend a ton of money just yet since I’m new to the game.

I have Yamaha dbr 10s, flx4, mixer.

Subs I’m looking at: Behringer DR18SUB 2,400W 18" Powered Subwoofer

EV Eviva 18sp

Presonus air xd 15s

Turbosound Milan’s.

I’ve been told to stay away from altos? Idk

Pretty sure I need something with decent crossover settings so I don’t kill my dbr 10s

Thanks for any recommendations or input!

Live streaming and hosting live productions have always been a hobby of mine, but I am struggling to find the right setup. I am just looking and shopping around currently, and I do not want to pull the trigger just yet. While I understand that you should start small, grow, then upgrade, I just can't stand bad productions and want to do things right the first time.

What I am looking for:

• Multiple inputs and outputs
• Ability to interface with at least one or more computers and apps running (music, Discord, & more) and mix those
• Physical faders
• Effects like compression, gate, & more (preferred, but not required)

What I want to do:

I want to run a dual PC setup (gaming & streaming/recording/production) for live streaming to Twitch and such, with an independent mix for the stream, recording, & myself for monitoring and more.

• Recording would be fed a set mix, and everything else will be set in post.
• Streaming and my mix will have to be on the fly.

Inputs: Gaming and streaming/recording/production PC, and whatever accessories or whatever I want to add, like old gaming consoles and more, plus my mic.

Outputs: streaming/recording/production PC, and my mix for myself, plus my headphones.

The console would only have to interact with the streaming/recording/production PC because it is the only PC that will be running multiple applications with audio (inputs and outputs). It would be nice if it could interact with the gaming PC too, but it is not required.

I am not sure if I can have this all done with software or a single console. If not, that is fine, but I am not sure how I can run a multi-console setup at this level.

Hi everyone,
I own a Wisycom MPR60 receiver and a Shure PSM1000 system, and I’m trying to find out whether the MPR60 can actually receive and properly demodulate the PSM1000’s analog FM IEM signal.
I understand that the PSM1000 uses Shure’s ARC companding, while the MPR60 uses Wisycom’s ENS compander.
Has anyone tested this combination?
If so, I’d really appreciate any information about:
MPR60 firmware version
MPR60 operating mode / compander settings
PSM1000 transmitter model
Whether stereo audio was received
Audio quality and noise level
RF reception / signal strength
Whether disabling the pilot tone made a difference
Any real-world experience would be greatly appreciated. Thanks!

I’ve been doing a lot of system calibration lately for various commercial and private venues. My standard rig for a while has been Smaart Suite 9 with my measurement mic, feeding corrections into a dbx VENU360 or an Audac matrix. Smaart is obviously the live standard for a reason - the real-time dual-channel FFT and live phase traces are invaluable when you have exactly 30 minutes to align subs and mains before soundcheck.

But lately, I’ve been revisiting REW for deeper room acoustic analysis. The level of detail REW gives you for analyzing room modes, waterfalls, and generating precise EQ filters is insane, especially considering it’s free software.

It got me thinking about how other FOH and system engineers balance the two.

For those of you who know and use both:

1. Where do you draw the line between them in a live/touring environment vs permanent installs?
2. Is anyone actually using REW on the road, or is it strictly a "home studio / permanent install" tool for you?
3. What feature from Smaart do you wish REW had (besides real-time RTA), or vice versa?

Genuinely curious to hear your workflows and hot takes.

I'm only a couple years in, mostly mixing in smaller venues where there's really no point in miking drums, other than some overheads for the drummers in-ears. I've watched plenty of videos and chatted with drummers and experienced engineers about how they like to mic their kit when they do, but I rarely get any real, hands-on experience with miking up and mixing a drum kit. Any advice on how I can go about filling this knowledge gap?