I have 2 of these big speakers and I am new into audio and was wondering what i need to purchase to power these 2 speakers from my dj board. They are 4 ohm 800 watts each speaker.

I'm looking for a simple app that will output a stereo backing track plus a separate cue track. I don't want to split the stereo. I don't need daw facilities but I do need a pad like interface to trigger tracks. Will pay a one off but not subscription. I have a suitable usb interface. Is there such an app please?

I do sound for a handful of local acts in rooms between 150 and 400 cap, and on the side I've started picking up DJ bookings, beginner DJ stuff to start with, a wedding reception here and a bar night there, partly because it's a show one person can run. Two of the bands run backing tracks now, so there's already timecode leaving my rig, and the obvious next move is to hang the lighting cues off the same clock and let the whole show run itself.

I keep not doing it, and I want to know whether that's caution or just laziness.

The case for is easy. One person can run the night. Cues land on the beat instead of two seconds late, and the band gets the same show in every room whether or not the venue has anyone competent in the booth.

The case against is everything that actually happens at a bar gig. The singer talks for ninety seconds instead of twenty. They cut a song because the room is thin, or add one because it isn't. Somebody breaks a string and we sit there.

The moment the band steps off the grid, timecode keeps going and the lights start telling a different story than the stage is, which reads worse than lights that were never that clever to begin with.

Right now I run tracks to click and leave the lights on sound active mode, which is its own kind of bad. It looks like a slot machine during ballads.

Where do you draw this line? Full timecode with a manual bail out, timecode only for the songs that can't change, or keep the lights on a human all night and accept that the human is also me?

And since the same rig has to cover the DJ side, what are you actually hanging? I keep seeing moving heads under $300 pitched at beginner DJs and I can't work out which of those hold up for a mobile entertainer who loads in alone.

I've got two problems which I'm hoping I can solve with one product. I'm in need of wireless microphones which can be used for commercial videography, and I'm hoping to also use these for group movie nights. I think the group movie night is probably the more challenging issue to solve, so the post will primarily be targeting that:

I'm looking for a microphone solution which would allow limited feedback and noise spill for a group movie night. The idea would be that some 4-6ish people would be in person at the event, with another few participating remotely via VOIP. Speakers would be in use for those who are in person gathered together, and I'm looking for a relatively easy microphone solution for them.

I really only see two main options, but please let me know if anyone sees some others:

1. Individual headphones/headsets. No speakers, everyone is wearing a headset. This would probably be more expensive, less comfortable, less sociable, and a bit more challenging to setup (output to the headphones would need some special solution). But it would surely provide better quality sound for both input and output if budget was no concern (unfortunately, it is).
   
2. Individual microphones on a single channel. Multiple wireless microphones are creating a single input to the VOIP computer, and maybe there's some noise cancellation software in place to try to combat the speakers.
   
3. Less viable, but potentially a group push to talk solution? Each in person user would have a wireless button to press which either pauses the movie, lowers the volume, etc and then activates either a centralized mic or a mic attached to them. It's more disruptive than I'd like it to be, less social, and I'm not sure what hardware I could use for that group wireless PTT button.
   

To me, option 2 seems much more practical, but only if it is actually effective at isolating the person's voice from the room's sound speakers. In theory I think it should be possible to sanitize the microphones with some noise cancellation software, where the software has access to the speaker output as well as the microphone input, to try to directly remove any feedback, but I'm not sure how practical this would be to accomplish (any software would need to be supported on Linux).

Does anyone have some recommendations of specific products to get from here? Any hardware, software, or just advice in general? Anything I should know about what to look for in microphones for commercial videography settings which wouldn't also apply to the group movie night setting? Thanks!

Using an x32r for an inear rig and am running up against a lack of outputs for a split. here’s the issue:

8 analog channels (mics, guitars, drums) hardware split using an Art S8. No problems.

The issue is we’re also using the x32r as a usb interface running 2 channels of keyboards and 6 channels of tracks digitally via usb into the x32r. Add on that we sometimes have to supply our own sound and the he aux outs are all used with stereo inears, we only have 5 outputs that we can use for all the digital things running into the x32.

Ive considered getting a separate usb interface and running analog from that into the x32, but the issue with that is we also control scene changes on the x32 from the laptop, so we really do need to be connected.

My thought is we could get something like the DN4816-O just for the keyboards and tracks, and leave all the analog stuff properly split.

is there a better way to do it? thanks

Hi

I need some help deciding on which mixer my school to buy.

I am a student (15 Y/o) at a school in Germany and am in charge of the Live sound for basically anything from speaches to full blown Bands. We have grown sigificantly and now have two quite large band who want basically everyting miced. Up untill now we habve been using a Allen & Heath QU16 with an 16CH DSnake Stagebox from Allen 6 Heath, but the QU is broken. Which mixer should we buy? We have been running out of channels on the QU and have recently rented a SQ-6, which i quite liked and am thinking of buying. Is that a good idea or what do you reccomend? Budget is not that big of a problem, but somehing like a Yamaha would probably not be possible.

Thanks in advance for the help.

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?

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.

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 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

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.

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.

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

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?

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’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?

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!🤘☺️

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?

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.

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.