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Hey live sound thread! Stagehand/board op/amateur recording engineer sounding off. I've been considering a bizarro signal run for an improvised studio and wonder if y'all got some thoughts, it's sort of lighting-and-sound at the same time. Long intro: I'm making preparations to run a small live music livestream and want to do something potentially stupid, but I'm not sure whether it's stupid or not. Because of space constraints when we built the studio, it's got an engineering bay about 50 feet away from my band room, connected by a couple USB webcams and a 16 channel XLR snake running to the board/interface I use to record. The only problem is the space is dim as hell because we don't have very powerful lights. I've got one ADJ Colorstrip hanging above the drumset, and aside from that it's just a bunch of rope lights because the band I co-own the studio with like it dim. I need more lights and my boss happens to have some older LED par cans he wants to get rid of. Assuming I pick 'em up, I'll probably want to find a cheap DMX controller to be able to manage their settings from afar. I had to move a bunch of stuff out of the way and move it back to get the XLR snakes in and I don't really want to run any more cables. I've got a few free channels and since 3-pin DMX is basically XLR run in reverse, would I be able to run a DMX through my snake without negatively impacting my sound? I'm figuring the answer's no and I'll just need to bite the bullet and run it the hard way, but hope springs eternal, yanno? TLDR: can you run DMX signal through an XLR snake without hurting the sound?
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Dec 7, 2017 05:51
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| # ¿ May 3, 2024 19:55 |
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Thanks for the advice! I'll take the time to do it right and have a separate DMX run. New question: if you're too cheap for in ear monitors what's a good around the ear headphone for people with glasses? I've tried like every variation of Sony MDR but they all start to hurt after an hour or two. I like the sound of my Beyerdynamic 990, but it's open backed so there's a lot of leakage and they weigh enough that your neck starts to kink after a while.
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Dec 16, 2017 23:22
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Another random-rear end q but have any of y'all used a gaffgun before? The idea seems really nice.
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Jan 21, 2018 03:04
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i am kiss u now posted:The only thing that I would questing on that Allen and Heath would be that it seems like 2 of the aux sends are fixed on "post fade" and it doesn't have any built in effects. I tried looking into some of the Mackie stuff quick but it's a bit more expensive for the VLZ (and doesn't have built in effects) and the ProFX series doesn't have enough aux sends. I know you already had one but this Soundcraft might be a little closer to what you're shooting for: http://www.guitarcenter.com/Soundcraft/Signature-22MTK-22-Channel-Multi-Track-Mixer.gc It appears to have 3 prefade auxes, 2 fx send which can also be post-fade auxes and enough channels to do what you want. Ideally, you want something that works and fits your needs and budget but also have a little room and flexibility to provide for the future so you're not running out and buying near gear every year. I use a Signature 22 on the reg and it's a pretty decent board but one thing that you want to be aware of is that its subgroups and aux sends only go out through 1/4" cable, so if you made need some 1/4" -> XLR adapters if you're using those for monitor outs. I have a similar-range Mackie VLZ board and I'll say that the Signature 22 is definitely a better board with more routing options but it's probably like $100 or so more expensive.
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Feb 4, 2018 10:21
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What area are you in? You might consider contacting an A/V company; some of them sell their old/worn gear off for below MSRP. I'll just add that I've been using a lot of K10s and 10.2s recently and they really put out a lot of noise for their size; you might be able to get away with two 10s and a K sub for the kick. Not sure how much/if that'd save you anything though. VVV:   bro
Grand Prize Winner fucked around with this message at 22:44 on Feb 19, 2018 |
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Feb 17, 2018 22:39
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A quick google search showed me this Sennheiser dynamic but I have no idea how good it is. Loos like it's designed to clip onto the bell of a woodwind/horn so it might work well if you like to kinda dance around while you play. https://en-us.sennheiser.com/instrument-microphone-saxophones-trumpets-drums-wind-instruments-congas-percussion-e-608
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Feb 28, 2018 03:56
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MockingQuantum posted:I know this is probably a long shot, but anybody in here ever mixed a musical on a Behringer X32? I'm programming one for a show I'm designing and I'm trying to cheat in dumb ways, I figure there's probably a correct approach with this board (just using DCAs and snippets) but I refuse to use it unless it's the only option. I've been using an X32 Producer for a couple years, and AFAIK preamp gain is the only attenuation control. If you end up finding out otherwise let me know. Gonna re-read the manual now to see if I've forgotten.
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Apr 6, 2018 04:57
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Mastigophoran posted:
quote:Phantom Power and XLR quote:How should the keyboard be integrated? Something like this, but from a UK store: https://www.sweetwater.com/store/detail/KT108--behringer-ultratone-kt108-15w-8-inch-keyboard-amp It won't be great but it'll be within a small budget and enough for the keyboardist to hear himself (and for the band to hear the keyboard, if you get it positioned right). quote:Do we (really) need a monitor solution? What made calling difficult? From what I could tell in the video you posted it seemed like most of the band was clustered fairly close together and not playing super-loud music, so you could probably get away without monitoring in most situations. I'd say you definitely want to have both of those speakers sending out sound to the audience though. For monitoring I'd recommend an active wedge instead of bothering with a separate amp/speaker arrangement. That'll simplify logistics for you a fair bit, and it'll cost the same or a little less than separate components. This assumes your mixer has a line or mic level outs somewhere on it, which I can't speak to without seeing the thing. A speaker like that retails for ~$400 for a semi-decent one in the US and if you look up A/V rental (hire?) houses you could probably rent one to test it out one night for a fifth to tenth of that cost. My employer will occasionally agree to discount the rental cost from the retail price if a client decides they like something enough to buy it, but that's going to vary by company.
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Apr 6, 2018 07:41
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Hope I'm thinking of the K12s and not the K12.2s here but you should have an option on the back to completely drop the low end while you're practicing, something to the effect of a switch labeled "Ext. Sub" which basically turns the low-end off and assumes you'll be looped into a sub. e: just striking out in the dark here but is anyone in the LA area looking to get rid of some active wedges? I'm looking for "get these things out of my garage, please" type pricing and don't care overmuch about quality because they'll be better than nothing. slightly broken would even be fine, I need to practice my soldering. Grand Prize Winner fucked around with this message at 04:36 on May 17, 2018 |
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May 17, 2018 04:30
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Has anyone here had a chance to mess around with QSC KLA-12s yet? We got a couple in at work and are not entirely satisfied. As a stacked pair they sound OK when you crank their gain to +5 or so, but when we used a single speaker and set the "Array size" knob to 1 the sound really sucked compared to the JBL VRX we were comparing it to. We're moving away from JBL and Harman in general now, so continuing to rely on the VRX system we have is a no-go. Anyone know a way to make these things not suck?
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Jun 2, 2018 03:35
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If you had to run a temporary, all-weather PA, how would you do it? I live and work in LA but am considering a move to a place where they actually get weather. The company I work for uses active speakers for everything and our weather solution is just to use the active speakers and hope the water doesn't gently caress 'em up, and to avoid working in actual downpours (the one real rainstorm we worked in killed three KLAs and two VRXs. That may be unavoidable where I'm going so what's the solution? Just use passives and keep the power amps racked in a weatherproof box?
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Mar 6, 2019 21:36
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Has anyone here replaced a fader on a Mackie mixer? My friend's CFX16MKII got a fader post snapped off by a drunk at a show. It looks like this:  The closest I've been able to find is this: https://www.fullcompass.com/prod/014281-mackie-130-031-00-mono-fader-for-mackie-mixers It lists the same resistance but the numbers after that seem to be some kind of manufacturing code and definitely don't match. But if the arrangement of the solder points and the resistance are the same then I'm good, right? Full Compass lists it as being compatible with the CFX12 and CFX12mkii, which are pretty much the same board with fewer channels. Hoping it's good for the 16 channel variant, too.
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May 9, 2019 23:19
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I'd add that for the movie night thing you may eventually want more low frequency, for rumbles/explosions/etc. Something like this would probably serve you well, but A. get the speakers first and use 'em for a while and B. if and when you do get a sub, try to pick one up on craigslist or your local facebook ads or whatever, you can probably knock a couple hundo off the end price that way. Dirt Road Junglist posted:Sound On Sounds says the CFXxxMKII series came in 12–, 16– and 20–channel versions, and it looks like both the legs and the resistance on the fader in the photo match the one on Full Compass. I mean, if nothing else, it's a cheap part. The Science Goy posted:Full Compass does a lot of local repair work, so their compatibility stuff should be pretty accurate. You may be able to contact them by phone or email if you want additional info. The part turned out to work perfectly, even if my amateur-hour soldering was a little ugly. Thanks! E: Just picked up a pair of headphones and the packing material resembled a mask of bizarre and frightening aspect. Don't know where to post this so enjoy: 
Grand Prize Winner fucked around with this message at 07:59 on Jun 14, 2019 |
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Jun 10, 2019 23:49
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You do not want to plug speaker-level signal into a line-in socket on an active speaker. Once you've messed around with it and got levels you like, take a pen or a sharpie and mark them on the mixer and then you won't have to futz with the settings too much. I'd advise against getting a passive sub because that amp won't be powerful enough to drive one. The insert channel on the system you've got needs a stereo splitter. Once you've got that in place, one channel is going to act as an in and the other is going to act as an out. Left should be in, right should be out, check pages 9 and 10 of the manual: http://www.mochamayas.com/Booking_files/ProfileOne_OwnersManual_DEC2005.pdf Just make sure whatever active sub you pick up has a quarter-inch in (or get a 1/4" TS to XLR-M adapter) or RCA ins.
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Jun 14, 2019 18:50
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Huh. I think you've been looking at home theatre subs, and it looks like some of them (all of them?) will do what you're talking about. Never seen that feature on live sound subwoofers before, and I've been working with those for six years now. If the sub you get has a labeled high-level input you're probably fine using it. If it only has line ins then you'll want to use the insert out, which I believe from reading the circuit diagram is controlled by the master volume control. If you're going to be moving this system around a lot I'd suggest getting a live sound sub rather than a home theatre sub, just because they've often got built in handholds and tend to be built fairly rugged to survive getting manhandled around a bunch. On the other hand a cheap home theatre sub would probably be cheaper.
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Jun 16, 2019 05:23
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Has anyone here used a Presonus Studiolive 24.4.2, particularly its FX section? I need to mix a play and they have a bit with a live announcer who wants MONSTER TRUCK SHOW REVERB. I've just about figured out how to select an effect but literally do not have time to play with them between now and opening to really experiment with the sounds so if you've got an opinion what kind of reverb I should use I'd love to hear it. Also does anyone have advice on dealing with a time crunch? I'll have 30 minutes to set up 13 vocal mics and 3 DIs (guitar, bass, keyboard) and a laptop for audio cues, the PA speakers, the board, the table that it's on, all the cabling and a six-channel audio recorder followed immediately by run followed by 45 minutes to strike, every night of the run. The cast and band have agreed to help me set up but the cast are mostly untrained. What can I safely delegate? I'm figuring I can have the band set up their mics and DIs while the cast put put the speakers on poles and e3: and drat, I forgot the wedges! e: on second thought no, I should not let them touch the mixer e2: does anyone know whether or not the aforementioned board's aux outputs are balanced or unbalanced? e4: 30 minutes from entering the building to curtain still feels insane to me. at least we're loading our stuff into a storage locker on-site and not a truck. that would truly suck. Grand Prize Winner fucked around with this message at 11:38 on Aug 14, 2019 |
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Aug 14, 2019 09:48
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Delay may have been better. I ended up going with a small hall verb and just played with the decay until I got something I liked. It was for 2 seconds out of an hour long play so it wasn't too big a deal. Lessons learned:
Random thought/question: are there any decent wireless systems whose receivers can run off phantom power instead of a wall wart? Seems like something that should exist but I can't find any or even evidence that it's ever been tried.
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Aug 28, 2019 06:42
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| # ¿ May 3, 2024 19:55 |
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Has anyone here worked for VTS in LA? They just put out a contractor call here. I've got a part-time AV job that sometimes gives me 60-hour weeks but more frequently lands me at around 10-20. Looking to keep more active in the new year since my creative stuff is kinda fizzling.
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Dec 21, 2019 05:36
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