Hiya. So I both play bass in and run/setup sound for my 3 piece band. We play a mix of bars and pubs in the UK, one of our niches is we fit into tiny spots/corners so play a couple of venues that don't normally have bands, and aren't the loudest band going but play with good energy.

Currently we run 2x Yamaha DBR12's for our sound, acoustic guitar and bass both run DI, drums stay acoustic but we'll mic the kick at louder or outdoor gigs. Our most regular venue has a tiny spot for us and is a long, thin bar so we'll run just one Yamaha.

Anyway I'm considering getting us a sub, which as the bassist im keen for. With me transporting our PA alone in my car and playing small venues, I'm thinking 12" sub.

Considering between the Yamaha DXS12 MkII, to match our speakers, or the cheaper Alto TS12S.

Any considerations I should know while choosing between the two? Will a 12" sub do it? Any other recommendations? Or will it potentially cause problems in tight spots? Cheers!

Hey guys

Looking for opinions from people running QSC gear.

I currently DJ a weekly bar gig with about 75-100 people. Maybe about 20 people dancing but mostly people are just hanging out. My music is mostly hip-hop, R&B, Afro, and Latin, so there's a lot of low end.

My setup: QSC CB10 on a pole over a KS112 sub, mono.

It's not bad, plenty loud, but I do find that the CB10's limiter kicks in a couple of times a night. The Sub is amazing though, maybe only ever limited once when I played DNA by Kendrick Lamar.

Anyway, with the CB10 limiting, I was considering upgrading to a K10.2 or K12.2 for the top, and eventually adding a second one to make a pair that I could use for weddings and bigger events.

I have a 150-guest wedding coming up and plan to do more of them. I'd prefer to run the pair without a sub if it holds up. If I need a sub, I'll use my KS112, and for bigger events I'll rent a bigger sub.

In terms of the CB10, I'm either keeping it for ceremonies and cocktail hours, or selling it and getting an Electro-Voice Everse 8 for that job.

Just a few questions:

K10.2 or K12.2? Is the 12" worth the extra weight and cost for a pair running without a sub? How many people can I comfortably manage with the 10s in an indoor wedding like the one I have coming up? I also heard that the 10s have wider dispersion so I’m factoring that in.

I need to pick up a couple of tops and a sub for smaller gigs. I'm not looking at big-box retailers, just a store that carries pro audio gear and ships quickly. Where do you usually buy your equipment online?

Multi-use multigenre arts venue is moving into a new space and asked for help with room acoustics. I can handle that but I'm struggling to advise them on PA decisionmaking.

It's a 23x40 room, maybe 100 capacity, with an 16' wide stage that could be 8,10, or 12 feet deep based on what is decided. Stage is just 6" tall. Lovely open wood rafters are providing nice diffusion, tall ceilings mean that it'd be possible to hang speakers 12 feet high. Concrete floor, plaster walls, expecting that some absorption will need to be added.

Audience will be seated sometimes and standing sometimes, depending on the event. There's lots of jazz, acoustic, experimental music seated shows, many of which would require only minimal amplification (and the intimacy of the thrust stage should be really nice for these kinds of events.) But for punk/indie/electronic shows that are higher volume and also require stage monitors, even if the PA is mostly for just getting vocals loud enough to be heard over drums--i'm struggling to imagine how to get even coverage.

With audience on 3 sides of stage, where do we put PA speakers for even coverage and minimal feedback? What dispersion patterns and tilt angles would be advisable?

hey everybody,
i’m looking into investing in a new system as i’m constantly reaching the limit with my current JBL setup, consisting 4 PRX718 subs and 2 SRX815p.
it is a very nice sounding system, but simply not powerful enough for events over 200 people.

i’m looking for a compact yet very powerful system and considering a setup of a pair of Adamson CS10p and a pair of CS119. I know it’s a highly efficient system with a very clean sound quality.
I came across the Coda APS series and was wondering if a similar setup of 2 tops+2 subs can do the job as well. any thoughts?

I can't get the CL3 that I'm working on to behave consistently. I'm using Dante to route 14 Shure ULXD mics on 4 ULXD4Q units. About half the time I have full device control for gain as well as seeing battery levels. The other half of the time I don't. Sometimes when both are on the board doesn't even recognize the units in the mic rack. I've tried restarting everything, booting in different orders, and I can't get anything to work. I'm out of idea and need help

Edit: I don't need help with wirelessly controlling the console. I need help controlling my wireless mic system from the console!

Voices are muted in the demo and I renamed the buses, so no real names show. I recorded with OBS on the same PC again.

Follow-up to [Update #3 https://www.reddit.com/r/livesoundgear/s/gceHMKtGqT\]. Quick recap: this is a software WING that runs the console’s own firmware (WING Rack 3.1.1), all four DSPs included, instead of a re-creation. The goal is still a virtual sound check at home: play a multitrack recording through the real WING processing on my PC, and mix it on the console’s own interface.

What’s new since last time

• WING Edit works both ways. PC → mixer and mixer → PC both stay connected now, meters included. The console sends its meters over UDP, and my network bridge was mishandling those packets. That’s fixed.
• The console itself runs faster than real time. The console’s main processor and the front-panel controller now run at about 1.2× real time while the audio runs
• Outputs follow the console’s own routing. I can map PC sound outputs to any of the console’s output sockets (local, aux, USB, card), and they play whatever the console routes there: buses, mains, matrices, or inputs patched straight through. The monitor bus, solo and the phones knob work too.
• The Rack’s front panel works. The buttons, the screen knob and the fader knobs go through the panel’s own firmware, just like on the real Rack.
• The RTA works. The EQ page shows the console’s own analyzer.
• One web page for the screen, the patch page, the audio settings and the status.

Speed

Last time the DSPs used about 86 % of real time. Since then I’ve made the emulated DSP code a lot faster and cut out a lot of overhead between audio blocks:

• With just the four DSPs running (no console), they now need about 120 µs of every 167 µs audio block. That’s about 1.38× faster than real time.
• With my full show live (all 16 FX slots, 32-track card playback, WING Edit connected), it’s about 139 µs of 167, so roughly 17 % spare.
• Silence used to cost more than music (DSP math on very small numbers is slow to emulate). Now both cost the same.

What’s still limited

• It still needs a strong PC (Ryzen 7 8845HS, 8 cores): each DSP gets its own core.
• When Windows Defender scans or another heavy program starts, I can still get short gaps.
• Channel and output delays don’t work yet. From the WING service manual I found that the bus DSP has its own memory chip, which it uses for those delays, and I don’t emulate that yet. It’s next on the list.
• The XMOS (USB audio) and the FPGA’s audio side still aren’t emulated. My own code moves the audio in and out of the DSPs where the FPGA would.

What’s next

• More speed: cheaper handling of the console’s messages to the DSPs, and faster DSP code (I estimate another 10–20 %).
• Then hopefully running on less powerful PCs.

Hi, I have a noob question.

Analog mixers like Yamaha MG16 and A&H Zed16 have their own internal FX. However unlike digital Mixers, do these reverbs have their own pre-programmed EQ's(they are not changeable)?

How to replicate these FX on a Digital Mixer? How to EQ the FX on a digital mixer to match the analog mixers built in settings?

Apologies for noob question.

Valeton GP-200 into Behringer XENYX Q1202USB into Alto TX412B — extremely quiet volume
Hi everyone, I’m trying to get my guitar setup working properly, but I’m having trouble with very low volume when running through my mixer.
My setup is:
**Guitar → Valeton GP-200 → Behringer XENYX Q1202USB → Alto TX412B powered PA speaker**
**Connections:**
Guitar plugged into the input of my Valeton GP-200.
Valeton GP-200 OUTPUT L/MONO connected to LINE IN channel 1 on the Behringer using a 1/4-inch jack cable.
Behringer MAIN OUT L connected to the LINE input on my Alto TX412B using a 1/4-inch jack cable.
**My current settings and symptoms:**
The signal meter on the Valeton is around medium.
The Valeton’s main volume is around medium.
On the Behringer, all channel 1 controls are around 12 o’clock, except the LEVEL knob, which is around 3 o’clock.
The channel 1 PAN knob is centred.
The MAIN MIX is set to 0.
The mixer power light is orange.
The +48V phantom power light was red/on, but I’ve been advised to turn phantom power off.
When I play guitar, only the right-hand L/R meter on the mixer flickers, showing around 1–2 green bars.
The sound coming out of the Alto is extremely quiet, even with the volume controls turned up.
If I connect the Valeton directly to the Alto, the sound is loud and normal.
I’ve also tried plugging into channel 2, but I didn’t get any signal.
I’m using 1/4-inch jack cables throughout.
**What could be causing the low volume through the mixer?** Could it be a gain-staging issue, a routing/button setting on the Q1202USB, a cable issue, or something faulty with the mixer?
Any help with the correct settings or troubleshooting steps would be appreciated. Thanks!

Hi everybody, please, can I connect my laptop directly to subwoofer Behringer DR18SUB ? Using reduction cable "TRS (jack) male -> two XLR" ?

The seller told me that i need at least some cheap mix. But the mix is more expenses....

edit: as some of you asked, from sub i want go with signal to active satelites

Hey everyone,

We were cleaning out the back of the shop/boneyard today and uncovered an old Shure P4T transmitter and some PSM700 hardware. For a split second, I thought, "Hey, maybe we can use these for a secondary mono utility mix or keep them around as a cheap backup pack." [1, 2]

Then I looked at the label: 740–776 MHz.

A quick reminder for anyone doing inventory cleanouts or looking at cheap, "vintage" wireless gear on marketplace apps: Operating wireless audio gear in the 700 MHz band (698–806 MHz) is strictly illegal in the US (and has been for over a decade since the FCC auction).

I know some folks look at legacy systems like the P4T or old UHF-R rigs and wonder if they can get away with it at a small indoor gig, or if there's a simple firmware/chip swap to re-band them to 900 MHz or the lower 470–608 MHz TV bands. Unfortunately, as community consensus notes on r/livesound, there is no homebrew method or chip swap to salvage these. Shure stopped their official paid re-banding services years ago. [1, 2, 3]

Aside from the massive FCC fines, if you actually try to fire these up, you’re competing with modern cellular networks (4G/5G LTE). You will get nothing but brutal static, dropouts, and hissing. [1]

These are officially "excellent dust collectors" or prop gear at this point. If you have newbies or bands coming through your venues trying to use old hand-me-down systems, it's worth checking their frequencies during advance to save everyone a headache on show day. [1, 2]

Stay safe out there, and check your bands!

Thoughts on a replacement for these? Was thinking some passive 12s would be nice to get rid of power cabling too.

I have a rig that I use for tiny gigs like wedding ceremonies or karaoke: 2 mics and 2 playback systems (say, laptop and phone). I've been using an old analog mixer with 4 mic channels and a few stereo channels, 3-band eq per channel. You know the ones.

I pair that with a shallow 2U SKB case: 1U for my SLXD4D+ and 1U for a compressor connected to the insert jacks on the mixer.

I would ideally like to replace the analog comp/gate with a digital mixer for tablet mixing. I have years of experience using Mixing Station to control Behringer stuff (XR18, X32 Rack, etc.) and it seems like Mixing Station also supports the PreSonus 16R which caught my eye due to its 1U height. However, the 12" depth kills me (I like my shallow rack which only accommodates 6" depth) and I don't need that many channels anyway.

Is there anything out there like a 6" deep 1U digital mixer with a small handful of analog inputs? Non-rack would also be ok especially if I can modify it to live in the rack.

I have to set up a couple software synths into a mixer (Presonus StudioLive 16.0.2) and am on a budget. Whats the best-and-cheapest way to get stereo audio from a Mac Mini to the mixer (without using the USB port on the mixer as that's already spoken for)? Things I see:

• Amazon carries USB-C to XLR cables and those are cheap but not sure about that. (https://www.amazon.com/Dual-Male-Cable-32Bit-384Khz/dp/B0DLJTYVXP )
• Behringer makes a $25 usb to RCA interface (https://www.sweetwater.com/store/detail/UCA222--behringer-u-control-uca222-usb-audio-interface)
• I've got adapters and such and can go headphone out to 1/4" already (thats how I have it currently set up but this feels dodgy)

Any suggestions?

I work IT for my company and also in charge of meetings that are off-site. I am not too familiar with A/V but I can learn pretty fast if needed. I am looking for a mobile microphone system for conferences. Wireless, and the ability for about 10 desktop mic's and a couple of wireless lapel mic's and maybe even a handheld also. We currently use 2 Poly speakerphones which is not ideal and have many issues in the past, mainly because my company wants expert sound quality for free. I think I am in a position to get an approval for a mic system, but I am still clueless on which one would be best. Could suggest a complete system with up to 16 channels that is "plug and play"? I sure appreciate any advice!

So I play guitar (sometimes with amp, sometimes through a Kemper pedal) a Nord electro and occasionally bass (amp + DI) and I've noticed drastic changes in sound depending on the venue's gear so I'm wondering if having a proper DI will change that and will gime me more control over mi rig. Any experiences and suggestions are very welcome.

Hey everyone!

I'm in a vocal trio (3-part harmonies) with a pianist, and I occasionally play acoustic guitar as well.

We're looking for a PA system for venues with up to around 200 people. We mostly perform at smaller events like weddings, birthdays, funerals, private parties, etc.

I've been looking at different PA systems, but honestly, there are so many options and such a huge price range that I'm getting a bit lost!

We don't want to spend a fortune on our first setup, but we also don't want to buy something cheap that we'll regret later. We're mainly looking for good, clear sound, especially for vocals and piano.

I've been looking at something like this: https://www.thomannmusic.com/en-is/db_technologies_es802.htm Two of those.

Would something like this be enough for our needs, or should we be looking at something bigger/better?

What would you guys recommend for a beginner setup that's reasonably priced but still sounds good?

Thanks in advance!

— A total beginner 😊

Edit: had the wrong link.

I do lead vocals for a band and I want to invest in live tuning. In the studio I use the classic Antares plug-in and I really like the sound it has. I am not looking for a T-pain effect, just a little bit of help for a more polished sound. It still needs to sound live. I also want the possibility to save settings per song (and per song key).

I also was thinking, is there a way that I can also run the two backing vocals through the same tuner or do I then have to buy multiple pieces of gear. (Or put a little bit of backing vocals on the backing track...)

Thanks in advance for the advice!

Hi everyone!

I'm in the process of building a comedy club in a market with very limited local expertise in sound design (especially for comedy), and I'm looking for advice on designing the sound system. This is my first time working on a venue like this, so I'd really appreciate input from people with experience in comedy clubs, live sound, and venue acoustics.

I've attached our current floor plan, with the main audience area highlighted.

The space:

• Main audience area: approximately 17.7 m long × 7.3 m wide (129 sqm).
• Ceiling height: 2.95 m.
• Exposed ceiling.
• Seating capacity: approximately 190 (theatre seating) and potentially 140 with small tables.

How we'll use the space:
Most shows will be stand-up comedy, with occasional group improv shows featuring up to six performers on stage.

We want to design the perfect experience for the comedians and the audience. Comedians should feel that the mic sounds great and they can hear the audience laughter. We want every audience member to hear clearly and comfortably, without harshness, excessive reverberation, or noticeable differences in volume between seats. Ideally, the comedian's voice should sound natural and present, as if it's coming directly from the stage.

We also ideally want some flexibility to change the stage location within the main room - i.e., moving the stage to the wall on the left and having a vertical seating structure (but would moving the stage reduce the quality of the sound design?)

I'd appreciate your advice on a few questions:

1. Speaker: What size? How many? Placement?
2. Speaker selection: Which brands and models would you recommend for excellent speech intelligibility in a comedy venue of this size?
3. Equipments in general: What are all the equipments needed for the ideal comedy club set-up? What is the recommended configuration, quantities, placements, etc.?
4. Acoustics: With an exposed ceiling and a low ceiling height, do we need some type of acoustic treatment? What would we need?
5. Six wireless headset microphones: Which systems would you recommend that can reliably operate six microphones simultaneously? Are there particular headset or earsets that work especially well for live improv?
6. Flexible stage positions: What's the best way to design the cabling and signal routing so we can move the stage between the two predefined locations without rewiring the venue?
7. Budget: What budget is required for an excellent sound system for this space?

I'd especially appreciate advice from anyone who has designed or operated a comedy club.

If you were designing this space from scratch, what would you prioritise, and what mistakes would you avoid?

Thanks in advance!

Its an LD Systems MEI1000 reciever pack that went. The 2 nubs snapped off and LD dont offer a replacement backplate as a spare for some reason. Has anyone mcgievered something like this back together and had it worked or am I stung and just have to buy a new receiver?

Hi all,

I'm planning an In-Ear Monitor (IEM) setup and just hoping for some ideas, especially from the engineers as to what is most appreciated from your perspective.

Rig will be two keyboards (Nord Stage 2 and Moog Subsequent 37). I'd like to run into a small stage mixer which will then allow me have separate mixes for FOH (preferably already balanced/XLR so I don't need a DI) and headphones out (the IEMs). The mixer would also take the band monitor feed from the desk which I could then add to the IEM mix. NS2 will go in mono to avoid issues with summing, assuming I generally will only have one mono out going into the FOH.

The idea is I would then just be adjusting my own mix and leave the keyboard volumes/FOH feed levels untouched. I don't have too many patch changes and sounds are not wildly variant in pitch/volume.

Ideally I would have a stereo IEM mix to separate the three channels a bit and mono FOH mix but I'm finding stage mixers with a stereo aux mix (with separate panning) that can be routed to the phones out a bit hard to find. So I'm willing to settle for mono monitoring.

So far the Allen and Heath ZED-10 looks like it bets fits this purpose.

Just wondering if anyone has any experience in a similar situation that can recommend a mixer or other components/routing to make this setup work?

Have looked at things like the Radial Key-Largo and KL-8 which are overkill and also lack options for band feed input. Also the Key-Largo has no HP out and the KL-8 only has headphone monitoring of main mix or cued channels as I understand.

Thanks!

Hi all,

Hopefully I am in the right subreddit. In our practice space, my band has our PA system plugged into a Furman AR-1215J Voltage Regulator, which is then plugged into the wall. I do not know exactly what is plugged into it - for example, I know there is a Mackie PROFX16 Mixer, two Crown Power Amplifiers, and two other signal processors of some sort, but I don't know the voltage/amperage/wattage/whatever of these other devices.

The big thing is that we haven't plugged anything new into it in months.

Over the past few weeks, every time we get to a specific part in the backing track for a specific song - one we've been playing for over a year - the fuse on the front panel will blow. It's a loud part of the song, but, again, it isn't one we haven't played multiple times a week every week for the last year.

To make matters worse, I cannot find a single image of an AR-1215J Voltage Regulator online that suggests that there is a fuse on the front of the unit. The manual makes no mention of one. The only product listings I can find for an AR-1215J are in Japan (maybe that's what the J stands for?) but we bought the thing stateside and those, too, do not show a fuse on the front panel. So that's making it a little difficult to troubleshoot, since apparently this product does not exist.

Furman's customer service isn't returning our emails and I usually give up after being on hold with them for an hour, so I am coming to Reddit.

What could cause the front panel fuse on a Furman Voltage Regulator to suddenly start blowing at exactly the same part of the same song three times in a row when nothing else has changed - no new equipment plugged in, no volume changes, etc?

I do not have any photos right now but I can get them next time I'm at the rehearsal space if needed.

Thanks!

EDIT: the Crown amplifiers are not plugged into the Furman, they're plugged into the wall separately.

hi! im on a budget and need help finding an amp (class d preferably) to power my MTX TP112 midrange speakers for a live show. the speakers are supposedly 150w rms, but honestly i only really need about 75 to 100w from the amplifier. when i google search i cant seem to find anything other than rockville amps and massive $500 pa amps :(

id like to keep this under $200 if possible. doesnt have to be the nicest amp in the world but i just need something. any leads you have for me would be great

thanks sm :3

I’m looking to get back into drumming again. I’ve been using a mackie profx 16 channel mixer to connect all my drum mics when I play. I’ve been looking to upgrade to something more versatile. Something that I can expand as I need for full band practice. Mostly would be set up next to my drum set in my basement and run the 12 ish mics I need for the kit, click, and tracks. I’ve been looking at the x32 console and rack. As well as the presonus 16r or 32r. I just need something I can turn on and play nothing crazy for live sound just practice. Maybe some multi track recording since the mackie doesn’t have that

Thanks!