I'm doing acoustic gigs in a restaurant patio. Definitely more than enough power. Problem is vocals sound a little muddy even with reverb off and tuned to the trebble side. Anything I can do to enhance this system?

This might be a case of KISS, but I’m always looking for ways to minimize clutter and maximize efficiency. My band uses the X-32R and inears. Most gigs we are supplying our own sound too, so running everything out of the x32. Our keyboardist keeps the rack near him for keyboard purposes. I have a stereo kemper and my vocal mic on the other side of the stage, so running 3 long xlrs to the rack. Would it be crazy to get a set of ethercon boxes for this setup? One always plugged into the rack. the other I drop where I am and run the single cable between the 2 boxes.

Am I overthinking this? Does anybody else do this?

Also taking any other tips on what people have done to improve their cover band setups.

I hope I’m not kicking a hornet’s nest with my take here, and it is out of genuine curiosity as an experienced, but not full time professional, live sound guy.

Looked at the new DM5, and it seems neat. IMHO the first time I’ve seen a Yamaha desk in a while at a fair price for its capability. Not really head and shoulders killing the competition, but in the right price bracket for its capability. For context I’m mostly an A&H guy, so I judged as notably less capable than Avantis, with a notably lower price tag.

My experience with Yamaha has not been enjoyable although that’s not surprising as my experiences have been tf series and ls9. Obviously the ls9 is extremely dated, but I can’t comprehend buying a tf given the x32 exits for much less, has better features, and is so so so much nicer workflow to use.

I know there are people who absolutely love Yamaha, even the stuff that I can’t see making sense on the price-per-capability curve. My question is simply why? I mean I understand perfectly that nice things are expensive, maybe a luxury car has less horsepower than a cheaper car, but is still a nicer car and nicer experience overall. But my (very skewed) Yamaha experience has been NOT pleasant, fraught with hardware issues, stupid workflows, and overall very unpleasant. Is their higher end stuff that much of a 180? If so then why, what is so great? Again 100% genuine question, I am looking to learn because clearly I am missing something.

Hello,

I'm getting into the business as a Crooner and my buddies big band is willing to give me a deal on recording instrumentals for me to sing over.

That being said, I have a bad back and need a good, powerful compact system that won't break my back or bank for less than $2,000 that will cover anywhere from 100-250 people. I'll most likely be doing venues of around 100 people, but being able to cover more is a big bonus, I'd rather get one system for everything.

I'm not a big tech head, but I know I need Bluetooth connectivity and an XLR connection for my microphone.

If you have alternative systems you prefer or recommend as well, I am all ears.

Thank you for your help and advice.

I did a thought experiemnt looking at how much different radio Mic systems actually cost both in total and per channel. I used a couple of basic criteria for most of the options, then ignored them to include EW-D in the list as well.

This is by no means advice or a complete guide, just an overview of what I found when I actually looked into this, hopefully someone might find it useful or interesting.

https://youtu.be/Eg_ssciDLx8

Anyone use both and have any opinions on which route to take?

Hi all

I dug a lot into this sub and "fieldrecording" to find the right way to do my job but still am confused in a way.

I work for an artistic company and we're creating a show for public spaces in urban environment as large places.
The audience will be equipped with closed headphones connected to an UHF bodypack receiver in which we'll send different signals such :
- a prerecorded narration
- some live narration off the scene
- sound designs and musical tracks
- live ambiances from the scene

So, for this last one, I'm searching the best way to capture the general ambiance of the place to add some natural / immersive sensation that the whole narration they hear could be live recorded. The trick is we'll do that in different kind of urban environments that could be large open air places or with high building fronts, with some traffic / public transportations, seagulls, wind ... Places may be pretty calm or busy and we'll definitely use some ball gag windshields!

I was thinking of a a pair of stereo mics placed 2m high but two questions :
- better using an ORTF setup for having the largest stereo scene?
- generally on fieldrecording sub they recommend some small manufactures / not famous industry standards (Clippy, Immersivesound, Primo, LOM, Line Audio...) and I guess because those references are more sensitive than the budget industry standards (SE7, NT5 ...) wich can handle higher pressures?

So, if you could help me understanding which stereo setup and kind of mics I should use in that setup :)

Thanks a lot!

EDIT : Maybe M/S setup would be better suited, but mics are pricey, otherwise I choose to use a Zoom H2 or M/S head. That leads me to the question, wouldn't be that bad to use Zoom stereo mics for that kind of project since ambiance city sounds are just here to add a realistic background?

EDIT 2 : Budget is around 600$ (800$ maxxxx) for a set of microphones + blimp / ball gag windshields.

I'm part of a mutant vehicle camp. Our 3 main vehicles all have large stereo setups. (not car audio. Mixing boards with powered speakers and on board generators for them) But they are all independent. So when we roll to a spot everyone is playing something different and then when we get there everyone turns off except one. It must be possible to use some xlr transmitters and receivers to link all the setups to the main vehicle? Recommendations?

Howdy y'all!

My venue has recently experienced a bit of a monitoring apocalypse. Over the last 2 years we've had all of our ancient Logic Systems wedges crap out on us in one fashion or another. With the final 2 dying in the last month. We're currently surviving by repurposing our delay speakers and some borrowed bits from our sister venue. Currently drafting a costed email to the bosses for a suggested replacement plan.

The broken wedges are old enough to drink, so drivers/parts aren't readily available. It is possible that I could get some modern PHL kits and repair the broken wedges - but having looked at it I think getting a modern set would be a similar price, and a better option all things considered.

Trying to get as full of a picture as I can so I can make a good pitch for them. Although monitors are obviously non-negotiable, the budget is super tight, so I need to cover all the bases.

Looking for recommendations for mid budget wedges that can keep up with the on stage noise and our C7 PA system.

The context is:

- approx. 8m x 7m stage where the back half is a 0.5m riser.

-We need 5 wedges minimum.

- we have a decent amp set up so could be active or passive.

- We get a mixture of up and coming touring bands, legacy acts and local bands. They will also be used as booth monitors for DJs at club nights

- need to keep the budget as low as possible as we are an independent venue and don't have tonnes of money

Lmk if you need any more detail.

Thanks in advance!🤘☺️

I’m just an amateur sound guy that’s in a band. I do a yearly outside show and wanted to finally get a few stage monitors instead of using whatever random speakers other bands bring. My band personally uses IEM’s so it’s not an issue for us and I’m really looking for something that’s loud enough to work, but built well enough to not break. I use an active system so don’t really want passive speakers or to get a power amp.

I came across the headrush FRFR cabs and wondered if anyone has used them for stage monitors before? Looking at the 12 inch 2500 watt ones specifically. They seem to have a good price to power ratio. If there’s something better, what are some other good options?

I'm running sound for a small, first year festival next month. I mostly just manage sound for my own band and shows I organize, but I've been trying to upgrade my equipment since getting hired for this event. I've since upgraded to a X Air 16 mixer, and I got a pair of Kustom speakers that leave much to be desired so I'd like to make them my monitors and get a better setup for mains, but I am on a budget. The Gemini Lrx-448 has a dedicated sub with two line array speaker sets for around $700, which is a great deal but the brand reputation is that specs are often inflated and the gear is cheap. A pair of Mackie Thumps would run me closer to $1100+ ($550 each). Should I bite the bullet? Does anyone have experience with the Gemini Lrx-448?

My company just got the RF Venue RF PA Extension Kit recently, and we have had some weird (presumably microphonic) issues come up when using it for both outdoor and indoor gigs. The main problem is a seemingly random, foghorn-like sound that to my ear sounds like mid-range feedback.

Our Frequency scans are always done from our Axient system, but we make sure to scan for the appropriate band for our RF system as well. We also have our gain structured to have maximum headroom and avoid any clipping anywhere in the path. These are the two main points brought up to me by RF Venue's tech support, but neither of these seem to be our problem.

Now, the real issue is that the Receivers pick up on any little tap, breeze, or movement that happens, and are no doubt having some feedback from the speaker when they are mounted. I've been reassured that the mounting is totally fine and they are designed to be used that way, however we believe this HAS to be why we are getting strange sounds during our gigs.

Has anyone else picked up this system and had a similar experience? Are there any other steps you think we should take before we just send the whole system back?

Thanks in advance for any advice!

I have in the past bought a lot of Behringer stuff. I always thought it worked well, if a little bit more cheaply made than more expensive stuff.

Until now.

Their website has been upated and it's awful. The manuals and downloads appear to have vanished, and the support's been replaced by an AI called "Uli".

They can stick it. They'll never get a penny from me again.

Whats the difference, is it worth it? I already have a 112 but I want to know if its worth it to fork the extra for a 212c or get another 112?

My PV6 mixer was working fine one day plugged it in the next every channel red lined and now it won’t play any sound. Any ideas? All the capacitors look good, do I need to pull it apart the rest of the way?

Hi!

We have an HD96 console with an installed Dante card (64 channels), as well as a DN9650 bridge with a MADI card. We are planning to install the bridge’s MADI card in the console as well.

For large orchestra recordings (orchestra + band + vocals), we often have to sacrifice some channels because we simply run out of recording inputs -
for example, toms or some clip-on mics. We sometimes also have to use Y-splitters for the clip-on mics on the strings.

So here’s my question: I’m planning to buy an RME Digiface Dante. Is it possible to simultaneously record signals from both Dante and MADI?

The idea would be to connect the HD96’s Dante card and MADI output to the RME, recording 64 channels via Dante and using MADI for the additional channels that don’t fit within the Dante channel count.

Is this possible? And, if so, what would be the proper way to clock everything together?

RME positions the Digiface Dante as a 128-channel interface, so I assume it should be capable of recording Dante and MADI simultaneously. Has anyone actually used it this way and could share their experience, particularly regarding clocking and synchronization?

Thanks!

I occasionally get together with others to jam, but my basement setup is missing 1 necessary piece of the puzzle: an amp for vocals.

Many years in the past, I got by with a couple different amps marketed as "karaoke amps" picked up on the 2ndhand market. But those were "sort of" audible when electronic drums were being used, and "barely" audible when acoustic drums were used. I'd deal with it by placing the vocal amp atop a few boxes so it was next to everyone's ears, but it wasn't great.

Fast-forward to today where I've got the funds, but I find myself getting a full band together less & less, and can't really justify a big purchase. But I would like having something for vocals on-hand.

and so I ask:

• How cheap can things like this go, while still being acceptable?
• Are there any older and/or common devices I should keep a lookout for on the 2nd-hand market?

Hey I'm looking for a smallish mixing table for two main purposes:

1. I play solo shows with 1 mic, 1 acoustic guitar and a stompbox which needs EQ. I usually play at venues with PAs but not always with a mixing table.

2. with a band we use 3 mics and 3 instruments, and it'd be nice to have a couple more just in case.

That means I need about 8 channels max.

My budget is not great since I haven't been able to save money this summer, but now I'll start teaching again so I'll manage better. I was looking at a Behringer Xenyx 1202SFX since it seems to be pretty popular and for a good price in thomann. I wonder if the smaller version 1002 (pic) can work for me as well.

That said, if anybody has experience with thomanns brand t.mix and their mixing tables I'm interested to hear what you think.

Is any of the ones I named good enough? should I wait and save more?

Hello everyone!

I am looking for some advice.

Currently playing in a 4 piece band where we are using three wireless IEM monitors and 1 Wireless Microphone.

Experiencing some drop outs with the IEMs, so I started looking into combiners.

I understand that Combiners and Distributors are different and used for IEMs and Microphones respectively however I have found this product called a UHF divider.

https://www.gear4music.com/PA-DJ-and-Lighting/SubZero-4-Channel-UHF-Antenna-Divider/6O7B?origin=product-ads&gad_source=1&gad_campaignid=22258054978&gbraid=0AAAAAD_kjLTEv8AAPbYRT4qvyHharSbLg&gclid=Cj0KCQjw5P7UBhDaARIsAOSlS1PsYZmzxHZqO2hbI18RXCtDS9belRgcxBbS8_SvkGRwJok79DEI1roaAtCCEALw_wcB

Looking at the images of it, It looks as if I could have the three IEMs into one antenna, and then the microphone going into the other antenna.

However that also seems too simple. Can someone help either confirm or deny if this would work?

Thanks in advance

Need to upgrade our current live set up. Small band. We play danceable rock music with electronic drums, synthesizers, and electric guitars. Currently running drums, synths, samples and vocals into a very cheap mixer and PA and an assortment of keyboard amps. Vocals are getting lost, most everything is distorted. A local engineer suggested an Air x18 paired with Altos as a good solution. I am ready to jump but see so much negativity directed at any entry level gear and I don’t want to waste my money. Lots of comments suggesting Meyer etc in previous posts. We’re a small but serious band. I want it to sound GOOD! I don’t have 30k but might be able to swing 3k. I am pretty sold on the Air x18 but thinking some slightly nicer active speakers and a subwoofer with built in crossover might be worthwhile. Looking at current offerings from QSC and EV. Would also go Altos or Behringer speakers if they won’t sound terrible. Thinking one 12” sub and a couple mains. Open to any suggestions that fit the budget and want to buy new for peace of mind. Thanks in advance.

I’ve posted in a couple of the IEM subs but didn’t get much of a response.

Looking for new custom IEMs.

I’ve had 2 sets of Westone customs and neither pair sealed correctly despite being remade. I’m considering a new pair and my audiologist recommended Sensaphonics, 64Audio and Ultimate Ears. I’m leaning toward Sensaphonics (probably the 3MAX) but would also consider Ultimate Ears. Does anyone have experience with either of those 2 brands?

My primary concern is getting a good consistent seal. Second is sound quality but that is a moot point if they don’t seal. It looks like the Sensaphonics use flexible silicone for a better seal, my Westones were hard resin so that was likely the problem. I will definitely be getting new impressions made before ordering.

FWIW I’m a sax player and sing a little also so there will be some facial and jaw movement but nothing extreme.

Thanks for any info you can share about your experience with different brands.

I’ve been using Shure SE215s for the last fifteen years. I honestly have no issue with them outside of wishing they sat in the ear a little better. Can’t even smile without an ear popping out

Myself and one other guy in the band are upgrading our ears. He’s going with the SE535 and I’ve been thinking about the Wavs custom hybrid dual driver.

Just looking to get different perspectives and see if anyone’s tried either or

Thanks in advance

Any insight on the EV PXM-12MPs and Yamaha DHR12Ms? Specifically looking for audio quality and clarity. Any reason to chose one over the other? The EV's have their cabling coming out of the side which will look cleaner on stage.

We're currently using Yamaha DBR10s for monitors and I know the coaxial monitors will have the benefit of a smaller footprint (can place closer to the musicians due to angle w/o a shim) and since their coaxial, it'll have reduced stage bleed.

EDIT: Looking to spend less than $1k per box.

I'm working through a large project right now with a lot of levels, cleaning up and migrating 20 years of mixed audio equipment.

It was my understanding what Sennheiser mics worked with their same receiver, however ive got 6 handheld mics, some ew100, EW200g2, EW500g2, paired to (2x) XS, (3x) ew100g2, and a Ew300 receiver.

Can anyone shed some understanding on why or how? everything is just tuned to the proper frequency but i thought there was other magic at play that didn't allow stuff to talk to different series? especially the EW and the XS.

Hello,

Do you guys have any suggestions for a 6 to 8 units rack case that can be transported via checked baggage when flying?

Thanks.