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Welcome to the LIVE SOUND MEGATHREAD! We have a thread for recording and a thread for musicians but no real, cohesive thread specifically dedicated to my love; live sound. I know I'm not the only one around here who does live sound professionally either. Hopefully, this thread will help bring some more of them out of the wood work. I'm hoping this can help engineers and musicians alike better understand the working relationship between bands and "sound guys" or even some helpful hints for musicians to improve their live performances from a technical stand point. We'll take questions large or small. Anyway, whether you're a acoustic bar duo or an arena rock group, we can help to answer questions relating to things about LIVE sound. I can help provide some recommendations about gear that I see or that I've used personally but I also have a network of people at my disposal that may have used something that I haven't. I must admit thought, that most of my current experience is on larger scale, professional-grade equipment. Some terms: - FOH - Front of House: Where the portion of the show that the audience hears is mixed from. Generally smack dab, right in the center of the room (who am I kidding, this never happens). Don't ask this person for monitor changes if there's a dedicated monitor person on stage. THEY ARE NOT THE DJ, STOP ASKING. - Monitor World: Most often Stage Left where the monitor desk and monitor engineer sit. Can also be stage right. - Monitor Engineer: Your best friend or worst enemy. At larger shows, the monitor engineer is the audio, deck-commander. He/she interfaces with the band to make sure they get what they need in their monitors on stage. They usually mic instruments and place the wedges (monitors). They call the soundcheck and usually run any power needed on stage. Rarely will the FOH engineer come out unless there's a real serious problem (or they’re bored). Never during a show (unless serious problem). If you need to hear more or less of something on stage, find this person! We're very accommodating (within reason). - Systems Engineer/Tech: Person responsible for the set up, flying and operation of the PA (FOH audio) system. On larger shows, there may be a systems engineer, stage right PA tech and stage left PA tech. On smaller shows, one person generally does all of this and mixes FOH. - Monitor Tech: similiar to a PA tech or systems engineer. Is knowledgeable of all equipment being used by the monitor engineer and on stage. Can also be an RF (radio frequency) technician. The RF tech manages all of the wireless equipment to ensure that there is minimal (ideally none) interference between wireless devices. Larger shows can have up to 50 channels (or more) of wireless! - Patch person: Again, used on larger shows and festivals, this person takes care of patching any stage boxes, running microphone cables and initial placing of microphones on stage. Assists monitor engineer during changeovers (changing from one act on stage to the next) to ensure on time start. This person must be on top of their game as a patching mistake can seriously gently caress up a line or sound check. - Stage hand: The people who make it all possible. Without stage hands, no one would be there to help load or unload gear and assist in the multitude of tasks required of a major production. Although some may specialize in particular field, the best of these people know a little about everything. They build stages, push boxes, load and unload trucks, run cables, hang lights, they do it all under the direction of the technical personnel or stage or production management. - Stage Manager: Person responsible for all happenings on stage. They work with both artists and technical personnel to ensure that a performance starts and ends on time without a hitch. Generally, they also manage the stage hands. - Production Manager: The big kahuna on site at a venue. They are responsible for all technical departments, site management, safety and anything else relating to the production of an event or performance. Requires extreme organization and knowledge of all moving parts. There is quite often more than one. Each venue will have a production manager and each band or artist will also have one. When something isn't the way it should be, these two will often whip out their dicks and have a cock fight until the loser concedes and something is changed. - Tour Manager: Sometimes also the production manger but for large shows, they're two different people. This person deals more with the artists and the overall tour in general. Collecting payment, dealing with a venue, booking hotels, flights, meals, keeping the artist happy, buying things that the tour may need, and other logistics. Usually has a few PA's (production assistants - attractive, young girls) working under them to alleviate some of the workload. - Promotor: The person who generally is responsible for putting on the event. Also the person who usually pays you. Don't piss this person off, especially if you haven't been paid. - Doors: Time when they let patrons into a venue. - Load in: Time when equipment is taken in to a venue. Musicians, sound companies and other departments will usually have staggered load in times as to prevent overlap. You can't set a stage if it isn't there! DON'T BE LATE FOR THIS. - Load out: Time when equipment is taken out of a venue. A very organized and chaotic event. As a general rule of thumb, load out usually takes about half as long as load in but quite often less than half. - Line Check: A quick test of microphone lines to ensure signal present and in the correct place. Does not need musicians. - SOUND CHECK: The time for MUSICIANS and sound engineers to go through each input to ensure proper function AND sonic goal. During this time, the monitor engineer also works with the band to mix in their monitors on stage so that they can hear what they want and for the FOH engineer to mix performers so that the first song is ready to go. DO NOT SKIP SOUND CHECK AND COMPLAIN ABOUT AUDIO ISSUES OR EXPECT PERFECTION. ANY RESPECTABLE VENUE WILL SCHEDULE TIME FOR THIS. DO NOT BE LATE FOR SOUND CHECK. At a festival, things happen VERY quickly. Being prompt and on time and ready to go for your sound check block will aid in success. If you show up late or with 5 minutes left before you're scheduled to play, the show will go on. Your first song becomes your sound check and if you're only playing for 15 or 20 minutes, that's a huge chunk of your time when nobody is ready. I understand there are extenuating circumstances. That's live production and we all have to roll with it. Most engineers are very good at achieving success in the face of adversity. It sucks and it's stressful but it's our job. Nothing will piss us off faster and send my apathy through the roof more than a band that's unprepared or unprofessional. I gently caress up, I'm human. I will own up to my mistakes and apologize. Help us help you. - Changeover: Transitioning on stage from one act to the next. At a festival, it's organized chaos! https://www.youtube.com/watch?v=vJh7AZ5YhE8 - Deck: Another word for the surface of a stage. Can also be used to referred to the ground. Yeah, context can be tricky. - Stage Left/Right, Upstage/Downstage: You have to think of it as being on stage and looking into the audience. Another helpful thing to remember is back in the old times, stages used to slope down from the back (hence up and down stage).  - Stage Plot: A drawing that shows the position of each band member and instrument in relation to where they are on stage.  - Input List: To be used in conjunction with a stage plot. May or may not be on the same sheet of paper. Contains a list of instruments/persons needing microphones or direct boxes. (This list does NOT correspond to the plot above)  *A quick note. When playing a venue where someone else is running your sound, please have these ready for them. Preferably in advance and UP TO DATE. - Rider: An outrageous list of demands by a band before they will play a show (ex: A Brandy glass filled with brown M&Ms). Can also contain technical information and requirements such as: WE DON'T CARRY MICS OR DIs, WE CARRY EVERYTHING or EAW SUCKSSSS, DON’T PROVIDE. - Advance: When production personnel and artist personnel reach out to each other and communicate as to what is expected. They will go over the rider again to make sure that certain equipment is provided or compromises are made. This is done --wait for it, IN ADVANCE (usually weeks or months). No one likes walking into a show with surprises if they can be dealt with beforehand. This is how good "roadies" make their way to the top because of resourcefulness when things go bad or not as planned. "Oh, you didn't bring your Midas Pro X like your rider says? Well poo poo, we don't have one in house so, I guess we'll have to rent one and get it to the middle of nowhere in 3 hours before your soundcheck on a Saturday afternoon." (You don't want to know how much this costs). *Pro tip: If you can send an accurate stage plot, input list, and your technical rider to the sound persons (or lighting or whoever needs it) before you play, they will love you long time. - Monitor (aka a wedge): A small speaker placed in front of a musician to allow them to hear themselves or others. - In-Ear Monitors/IEMs/Ears: Ear buds that usually connect to a wireless pack (unless you're a drummer) that also serve to allow a musician to hear themselves. A+++ highly recommended because they help to prevent hearing damage and cut down on stage volume. Your lovely iphone ear buds, beats by dre or anything not specifically designed for this application will suck major rear end and will have me judging very hard. These can be found for as little as $100 (Shure Se215) or into the thousands for custom 400,000 driver JH models. - RTA (real-time analyzer): A device that should only be used to determine frequencies. Helpful in finding feedback. Has no place in initial system tuning (this is a pretty complex subject). - Backline: Anything relating to instruments. Drums, keyboards, Guitars, Guitar and Bass Amps. - Dimmer Beach: A dumpster fire upstage right. gently caress that place. It's full of big, stupid cables for lights and other cables with 5 pins. Who needs that? - "Lampie" (aka Lighting Guy): A big, dumb, idiot who shines light in your eyes and takes 9 hours to hang one piece of truss and 4 movers. Usually places obstacles on stage that should be kicked out of the way. Sound Guy's sworn enemy. Can be found at FOH next to sound guy or in Dimmer Beach. - "Vidiot" (aka Video Guy): Worse than a lampie. Takes all your audio power, runs his video cables in with your audio cables and also takes 12 hours to hang a screen and a projector. No known practical use. Good questions: How much PA do I need and what speakers or monitors are best for [application]? What kind of mixer would you recommend for [application]? How do I set up an effects processor? How do I run monitors from the same console as FOH? How do you mic "XYZ instrument" and which mic should I use? I keep getting feedback, help! I'm playing my first gig where I don't have to do my own sound, what can I expect? VERY General EQ techniques for instruments or system tuning. I can now also answer any questions about rock and roll touring, being on a bus, etc. Fire away. Bad questions: I need to upgrade my car stereo. What should I get? Anything "home theater" related. Guitar, bass or other backline questions (unless it's about micing or getting it to a mixer. Sorry, I'm not a musician but there are plenty of people here who are  ). What compressor settings or EQ do you use on a snare drum? - this is a "bad" question because it can vary so widely and is extremely subjective. There are a lot of resources online and in the recording thread about specific dynamics processing and the more "artful" side of mixing but I'm a man of science. What is [artist] like? I don't like answering these because they're usually boring, I have so many encounters that it all sort of blends together. If we're talking about a specific show, I may happen to remember something about someone. Also, I'm based in the Good reads: There's a great book that I picked up a little later in my career by Jim Yakabuski: https://www.amazon.com/Leonard-Prof...s=jim+yakabuski It has some fantastic tips and tricks from a seasoned, touring professional. By the time I read it, I had discovered much of it on my own through experience but it was still a great read. Bob McCarthy's book on system design. This is the holy bible on systems engineering. I have read this thing cover to cover multiple times and still reference it quite often: https://www.amazon.com/Sound-System...ds=bob+mccarthy Yamaha Sound Reinforcement Handbook: https://www.amazon.com/Sound-Reinfo...cement+handbook A blurb about the author. I've been doing live sound professionally for Jan 2018 Update: Been touring on the road for a major US sound company so I can answer questions about that side now as well. July 2022 Update: Made it through the unemployment portion of the pandemic. Still out touring and doing major shows and festivals. Currently on the road for the next three months with a popular US rock band. If anyone has any other specific questions for me about my career, I'll try to answer them. Some quick pictures I've taken: (it goes to 11)  Festival FOH. 2 Grand MA 2s (lighting) and audio consoles behind those.  Best Stage plot ever. I was seriously given this at a large festival. It worked!  Digidesign (now Avid) D-SHow, monitor world set up. 
i am kiss u now fucked around with this message at 04:35 on Jul 14, 2022 |
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May 12, 2017 07:01
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HOLD SPACE FOR EVENT
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May 12, 2017 07:03
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The X32R is a great fit for a small band. I've seen many a band (even some national tours) use the X32 for their monitor desk. While I've only used the X32 once, I have used the M32 a few times and the software is basically the same. The M32 just has better preamps and faders and a few other features that make it a bit more "professional" and rugged. A few things you may like about the X32R for one, it's rack mountable. If you're considering investing in an IEM system, getting a small, portable rack (with some wheels ideally) enables you to place all of the transmitters in a single location with an antenna combiner and all the other accessories you guys might need. Second, with the X32R though, you'll definitely need an Ipad or two since it seems the front interface is pretty limited. I think the idea is really for each band member, or most band members, to have one to control their own mixes. The only downside is that I think you're limited to 8 outs but if there's 4 of you and you use mono in-ears, you'll have enough to do a L/R and even sub out as well. Unfortunately, I can't really speak to the automation functions but the one thing I did notice about the X and M32s is that they have a ton of configurability. More than most people really need but that flexibility is also what makes them popular. Another nice feature is that since the X32 is pretty common amongst smaller venues, if you were playing a space that had their own and you didn't want to haul your set up around, you could just save the file to USB and slap it into where ever you go. If your looking for ease of use, portability and consistency, I don't see any real downside to this sort of configuration. Hopefully someone more versed with the operation of the actual X32R can provide a bit more information.
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May 16, 2017 20:34
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NumbersAndNoise posted:Would folks here be able recommend a cheap PA setup for a rock band micing violin and vocals for house shows in garages, living rooms, and cafes? Or any advice for buying used? Need to be heard over a drummer. Is under $300 realistic? $300 or less is quite unrealistic imo unless someone else knows of anything below "bargain." You can probably find some used qsc k12's for a few hundred dollars. Maybe $200-$300 each. Those or the new turbosound iq12 or iq15.
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Aug 4, 2017 22:41
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Unfortunately, I cannot speak to Union work. I will freelance as a supplemental worker on a few union calls but other than that, I have no idea on how that system really works. From my perspective, and someone can correct me if I'm wrong, most of the union "sound people" I've seen, do a lot of babysitting road guys, work in theater, broadway or television, or do smaller club type gigs that anyone else with experience can do. That's just me though. I don't live in NY or LA.Fredflonston posted:I have question that risks me sounding incredibly noobile but - These are good questions and pretty easy to answer but I think there are other people out there who are probably wondering the same thing as you so, don't be shy. As for your question about Tascam I/O, XLR is the preferred method. Anytime you're going to be patching into our split or stage boxes, they're XLR. Generally, most consoles can be padded or have a gain structure that allows for them to receive a line level output even into an XLR input connector. If not, they can always just tell you to turn the outputs down. If you really want people to love you and have a bit of money, you can buy an 8 channel DI that knocks it down to mic level and then just get a short (3'-6') 8 channel 1/4" to XLR snake. Something like this https://www.showmecables.com/8-chan...SABEgKAvfD_BwE. You can even use that snake without the DI. It makes our lives so much easier because we generally don't carry these unless someone requests them in advance. If you're feeling ambitious and love soldering, you can also buy (or acquire) some 22 gauge, audio "signal" cable, some male XLR connectors and male 1/4" connectors and make your own! It helps you understand better how some of this works and allows for your to repair it if something breaks. One other thing to note quick about just the drum tracks, some bars/clubs/coffee shops/opium dens may not have enough inputs to accommodate all the drums channels and you'll be forced to just give them a "left and right (L/R)" mixdown. Know how to do this and be prepared for it. In your rider or advance, give them a "wish list" and then be willing to make certain concessions if need be. It's absolutely doable and I have worked with many a band that have used something like that setup. As separate of the drum tracks as you can get helps but you don't have to go overboard. You don't need an isolation split for what you're doing because if the house has separate FOH and Monitor desks, they'll have one. You'll just patch into their stage boxes/split. You can do those wacky vocal effects if you want, just give anyone who is mixing you a heads up of that's what you're doing. Again, it shouldn't cause any "gain-related issues." You're essentially running a vocal effects processor which I generally loathe because the effects sound like garbage and they forget to turn them off between songs and a whole host of other drudgeries. They may ask you to "Y" the input before it hits your hardware so that they have a "clean" channel. That would be more of a discussion with the person mixing though. Hope that helps answer your questions. i am kiss u now fucked around with this message at 05:59 on Aug 30, 2017 |
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Aug 30, 2017 05:28
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How many people are you looking to cover and what kind of budget do you have to work with? If it's for <200 people, you can't go wrong with some Mackie SRM450's (budget), QSC K12s or recently, a fellow audio friend of mine has recommended Turbosound iq12's. He says the low end on them kicks rear end and if you're DJing at a wedding, you'll need it. Both the QSC's and Turbosound IQ12's are probably going to run you about $1000-$1400 for a pair depending on where you find them and if they're used or not. Then you'll need some basic stands for them as well. You won't need an actual PC interface to just play DJ music and that also locks you into always having a computer. Stick with analog for the mixer portion. It keeps the setup and operation much more simple. I'd recommend something like this: https://www.sweetwater.com/store/detail/ProFX4v2. It has built in effects if you're doing more "acoustic" type stuff and just enough inputs for your mic, guitar and laptop/ipod/whatever. With a lot of the smaller mixers these days, they have a sort of "built in" DI and if you look closely at that one, it has a "hi z/line" switch on input 1. That's so you can plug a guitar directly into the mixer after engaging it. Then, you can plug your SM58 (and do just get an SM58) into input 2. When it comes to your laptop, don't bother to get too fancy. All you really just need is a stereo 1/8th" "mini" to 1/4" and that'll go into those line in 3 and 4 inputs. Something like this but you can decide on the length/brand https://www.sweetwater.com/store/detail/CMP153. So, to break it all down. You'll want: 1 x SM58 1 x Microphone Boom Stand 1 x Small format mixer (mackie, soundcraft, yamaha. Try to avoid behringer unless you're really on a budget) 2 x 1/4" male to XLR male adapters* - if the mixer only has 1/4" outputs like the one I recommended. These can be either a molded adapter or a short cable. If the mixer has XLR outputs, you won't need them. 1 x Stereo 1/8" to dual 1/4" - for laptop/ipod 2 x 1/4" Guitar cables - 1 for spare 2 x 25' XLR Cables - this would just be for your "announce" microphone. The reason behind 2 25's is one, you can add them together to make 50' if you need some extra length and two, it's a good idea to have a backup. 3 x 50' XLR Cables - to go from your mixer outputs to the speakers. You'll should really only need 2 but again, have a spare. 2 x Powered speakers of reputable brand and quality 2 x Speaker stands And something to put it all in for travel. One other thing to note, put velcro wraps or string on all your cables and learn how to coil them properly. Nothing is more unprofessional than when someone shows up to a gig with a spaghetti bag full of cables, they dump them on the ground and then spend the next 30 minutes sorting through them, and who knows if they even work. So, all in all, you're probably looking at ~$1500-$1800 depending on what brands you decide. Quality, "industry standard" brands give you much better options when it comes to warranty replacement, service and support and resale value if you ever need to sell. Hope that helps give you a better idea of what to expect. Sites like musicians friend and sweetwater have pretty good "sales people" who can further sort of help you out with brands and models to fit your budget if you call them up. If anyone else has more recent or hands on experience with a similar setup, feel free to chime in.
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Oct 12, 2017 15:52
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its curtains for Kevin posted:Never used an analog mixer like that. The price is perfect too. For what you're describing, that would be my suggestion for a mixer. I just like to recommend quality gear that I've used or am at least familiar with that'll last and gives you flexibility without completely breaking the bank. If you're planning on getting paid to do this, even as a seldom side project, your equipment should reflect that. Mackie and Shure gear are built like tanks and tend to hold their value. $600 is a fair price for a pair of used SRM450's if they're in good shape. I'd see if they have any wiggle room and you might be able to talk them down to $550. If you buy them off craigslist, make sure they're both functional and you play some music through them to verify they sound "correct," you'll want to make sure each one has "lows" and "highs." They may power on but if the crossover is toasted or a driver is ripped or dead, just bail on them unless you have experience in fixing things. Yes, you'll find that you might actually need that much power. That's 1000W total adding up the horn and the woofer at PEAK power. You'd be surprised how fast you run out of headroom in a room with a few hundred people all talking and having a conversation and everything else that's going on. Especially with DJ music, you need power to drive content with very little dynamics. I've seen little 300W systems give up in my friend's basement and that was only for like 30 people. i am kiss u now fucked around with this message at 21:52 on Oct 12, 2017 |
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Oct 12, 2017 21:47
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its curtains for Kevin posted:You have a preferred playlist you run them through to test range? And I’m unfamiliar with the word crossover, what is that? Nope, just pick something that you're most familiar with that has a nice, "full range." A crossover in this case is part of the electronics that separate the signal to go to the high and low drivers. You won't really need to worry about it much. With a active crossover, and the internal DSP found in like an SRM450 or any other powered speaker really, it's pretty difficult to damage it. Passive crossovers, whoa boy, that's another story, you're usually dealing with a lot more power and little to no protection in some cases. This was left on our repair bench with a note that said "sorry for party rocking." It was also 2011 when LMFAO was big and they were the group that caused this damage in the first place. The monitor was literally smoking on stage. 
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Oct 13, 2017 06:19
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In my limited experience and talking with our lighting department head, yea, it's doable (but generally not recommended). He will occasionally use our normal 3 pin audio XLR in a pinch but it's not ideal for high-end applications. For what you're doing though, I'd say give it a shot if you know what you're doing. I mean, it should work but the only other thing he mentioned was sticking a DMX terminator on the last light in the chain. In terms of affecting the audio signal, most likely it won't but it's hard say since there are so many variables at play with the power situation, brand of gear and a whole slew of other things. All in all, people do this in bars and small clubs all the time and it does work out but your experience may vary. e: 
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Dec 7, 2017 19:18
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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. Unfortunately, I cannot speak to the capabilities of the Presonus stuff but hopefully else here can. I hear good things though for something like this situation.
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Feb 4, 2018 06:16
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I haven't used any of those particular mixers but the rack-mount, tablet models are becoming increasingly popular amongst smaller bands. Let me see if we have anything around the shop or anyone else around here has used one. I would definitely say that if it's in your budget, and you can become fairly adept at using one, go for it. They really do have a lot of flexibility, they're pretty small and compact and are fairly user friendly.
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Feb 6, 2018 02:50
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NC Wyeth Death Cult posted:Currently I play clarinet and flute through a condenser into a preamp and into a looper pedal, etc. Can anyone suggest a battery-powered mic (pref 1/4" connector) that I can use so I don't have to lug a preamp and expensive mic around? What are you doing this for? What is the set up like (the rest of the signal chain)? If you're just using it for like live "lounge" stuff or in bars or cafes, just use a SM58 on a boom stand like you would for a vocal. People forget that all the "sound" of these instruments comes from the holes on top and not from the bell or opening at the bottom. i am kiss u now fucked around with this message at 03:56 on Feb 28, 2018 |
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Feb 28, 2018 03:51
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Colonel J posted:Hi, my band is planning to start playing live this summer and I have a few questions about metronome tracks and starting sound effects. I'm the drummer, so I think I should be the one controlling this stuff. The way we do things in the "big league" varies. I've seen everything from simple a "click" being ran as an input from a metronome device, to very expensive and elaborate protools setups. Depending on budget and whatnot, usually what smaller bands do is to have a small like 2-channel mixer next to the drummer and that way you can inject your click right into that from whichever metronome source you fancy and then have the aux send from the main mixer doing the rest of the inputs, feed into the other channel of the small, 2-ch mixer. This gives you a place to plug your ears into as the drummer and you can control your click level and overall monitor level send right from your adjacent set up. The sort of "next level up" would be getting an external soundcard like Dirt Road Junglist suggested. If you have 4 outputs on your external card then output channels 1 and 2 (or 1 if you're running tracks/effects mono) can be dedicated to that and out 3 can be click. You just treat all those outputs like any other instrument on your input list (just make sure whoever is mixing isn't sending click to the PA). Grand Prize Winner posted: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? The only real "all weather" speakers are usually for install applications. Passive would definitely be the way to go if you have the budget for it but that starts to become more expensive and complex than active systems. If you do have the means to take that route though, even lower-end, passive speakers still need to be cared for in the rain and water. Most of those cabinets and connections are not weather sealed but at least in a passive situation you can dry out or replace a few drivers much easier than a toasted internal amplifier. Funny enough, keeping the drivers moving when they're getting wet is one thing I've seen people do to prevent damage. Best practice though when doing outdoor events in areas that MIGHT have inclement weather, ALWAYS bring extra tarps and bags to protect your gear. Even a large garbage bag thrown over speakers in a hurry is better than nothing. Light weather protection really doesn't become a thing until you're spending thousands of dollars on a single speaker enclosure with high-quality drivers. We still have to baby our amplifiers and everything else electronic. When weather strikes, it's always a scramble to cover the electronics and drop the PA and sometimes things get damaged anyway but you never want to be caught in a situation where you don't have a game plan in place. That's the way we do things in the major festival and touring world. It's just a part of the job when you're outdoors and it's something we always have to consider. I thought I had more photos but here's a few: Water dripping down a Y-10 Array   T-Pain in the rain  And why you always cover your cases 
i am kiss u now fucked around with this message at 08:39 on Mar 7, 2019 |
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Mar 7, 2019 08:12
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Grand Prize Winner posted: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. No, the closest thing is that Shure has power cascades on the back of their newer gear that allow you to cascade something like 10 or more of them together from a single IEC. Depending on what is on them, if you lose power to the main unit, they all go off so you have to plan accordingly. Phantom power is really not a good idea though because then you're totally reliant on the console for power. If you want to program or anything before the console is switched on, you're out of luck. Not to mention in a larger set up where you have a mic splittler, if one console goes down, it could take the wireless with it. It's just better to have a dedicated source of power for most pieces of gear for reliability.
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Aug 29, 2019 18:04
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KozmoNaut posted:Well, at least something fun is happening in the world. I've been tasked with the responsibility for a karaoke setup for an upcoming party. A small, powered monitor for the singers might not be a bad thing if it's available otherwise it seems fine. Maybe a mic stand or two for those that like to get into it. Also make sure you have enough power cables and long enough XLR cables to get where you need to. Oh and something to sanitize the mics with. We like to use mouth wash on the capsules but also wipe the rest of them down; anything is better than nothing. Can have a bunch of different windscreens as well that you sanitize. Here's an article from Shure about cleaning: https://service.shure.com/s/article/how-should-i-clean-my-microphone?language=en_US i am kiss u now fucked around with this message at 20:43 on Aug 8, 2020 |
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Aug 8, 2020 20:40
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Mister Speaker posted:Something of a curiosity: Is it commonplace for a live sound FOH engineer to take impulse responses of a space? It sounds like sin-sweep but more than likely, they weren't looking for any sort of RT60 data from the room for reverberations, pink-noise is usually good enough for that. On Lab Gruppen PLM amplifiers, you can use a sin sweep as part of a load check (impedance) to make sure all your boxes and drivers are connected and working properly. L'Acoustics LA12X amplifiers also use a series of sin-sweeps to achieve the same thing. https://www.youtube.com/watch?v=7uBBRloMlOc&t=1022s Then again, who knows. Some people do some weird poo poo. i am kiss u now fucked around with this message at 06:03 on Sep 8, 2022 |
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Sep 8, 2022 05:53
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eddiewalker posted:Hi. Can I hang out in this thread? I mix live sports for 3-letter TV networks. Idk, it’s a slippery slope to video and you guys mingle quite a lot but sure, c’mon in! The broadcast audio guys are usually super chill whenever we have to work together. I have very little insight to what happens after I send feeds off to the broadcast truck though. It’s like a weird hybridization between studio and live is kind of how I see it. Still only get one take to get it right (usually). That and we’re usually jealous of climate control.
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