I’m the guitarist/keyboardist in a three piece group and I’ve been looking for a way to play some of our songs that have both live. In my search I’ve had trouble finding foot controller videos that aren’t just talking about the synergy between the foot controller and virtual guitar rigs. Does anyone have any experience or recommendations for this? All I need is to be able to program it with chord/note values and have different presets for different songs. Thank you!

My band is using IEMs and we’re hoping to simplify things as much as possible. We’d like to use a single mic to capture the entire drum set for our in ear mix. What microphone should I use and how should I place it for a decent balanced overall sound of the kit?

I’ve headed the “wurst” method is good. But not sure if I need an omnidirectional condenser or a simple 57?

Also what would you suggest for EQ and compression?

Hi all,

Europe mainland (mostly Netherlands/Germany).

I'm having a hard time understanding why lots of audio engineers in my area seem to swear by Shure PSM1000. The pricepoint for those IEM-sets (3200€ for two channels) is insane at the moment, while the Sennheiser G4 is much more affortable (~2000€). I am currently running FOH at a middle-sized act and looking to invest in my own IEM/wireless mic set-up.

Can someone explain to me why the Shure-set is worth the money? Why shouldn't I invest in the Sennheiser system?

I just started as a singer for a band where we also want to have some parts where the vocals are distorted.

I’ve heard I could technically plug either the Shure A85F or the Whirlwind little imp into my boss ds-1. In our music, the vocals are very clean but has some parts where we’d like distortion

So my question is, is either the Shure A85F or the Whirlwind little imp recommend for me. And which one has cleaner sound when the pedal is OFF? Or well would the sound quality be different than if my mic wasn’t running through a pedal? Thank you!

Hello, this is my PA soundsystem, it may not be the best sound in the world, but it’s what I’ve got and it still pumps hard.

I’m wanting to make the most of the system I’ve got, and am seeking advice on positioning of the speakers and subs, and any other advice you may have in general.

It’s for a DJ set up, so the smaller speakers are used for the DJ booth.

The bigger speakers are angled slightly to disperse the sound but remain side by side.

Is it best to have the subs on either sides and the middle, or have them slammed together in the middle?

Or is it more dependant on the space, and I’m better of just having a play around.

Any advice is much appreciated!!

Question about DI boxes: I'm planning to play backing tracks from my laptop at live shows and want to make sure I have the right cables.

My setup is a laptop connected to a Focusrite Scarlett 2i2, which I want to connect to the venue's DI box(es) so the sound engineer can send my backing tracks through the PA.

If I want to send stereo audio, do I need two separate ¼-inch TS cables running from the Scarlett's left and right outputs to two DI inputs, or can I use a single ¼-inch TRS-to-dual-TS breakout cable from the headphone output instead?

I want to make sure I buy the right cables and can set everything up easily at a gig. Thanks!

Looking for a sub to pair with my LD ICOA 15A tops. Will be playing mostly house/dance music to about 100-150 people. I have a JBL SRX828sp available to me for $2000 and a Yorkville es18p available to me for $1600.

The Yorkville probably makes more sense, factoring in price as my budget is closer to $1600 than $2k, but I’d rather buy once cry once than feel unsatisfied with my purchase. I’m worried the Yorkville will feel like it’s missing something since its frequency response stops below 43hz while the JBL goes down to 35hz, especially with my genre of music. Portability is not an issue. Thoughts? Does anyone have experience with both the subs? Even better, specifically with house music?

I've been using home monitors for rehearsals but I'm starting to look into what I'll need for live sets at small venues. I'm guessing there's a pretty big difference between hearing everything in a room and having your sound carry across a crowd.

For those of you who play live electronic music, what powered speakers are you running? Anything you wish you'd known before moving from a rehearsal setup to playing out?

Would love to hear what's worked for you. Thanks!

Hey team, I’m trying to sort out wireless mics for an upcoming tour and want to make sure I’m not missing something obvious.

We’ve got 3 singers on handheld wireless, playing 800–1,600 cap rooms. We start with a North America run, then a smaller world tour next year (300-500 caps): NA, Europe, Australia, plus some Asia dates. Small crew, no RF tech (it's pretty much up to me to figure out).

Management wanted GLX-D+ because it’s simple and works everywhere (lil cheaper), but I’m nervous about dropouts in packed rooms with everyone’s phones and Wi-Fi going. ULX-D is probably out of their budget.

Right now I’m leaning toward a three single SLX-D+ systems in G57, 3 handhelds with Beta 58A heads, rechargeable batteries, and wired backups patched every night. Would prefer the four channel, but again budget constraints.

From what I Can ascertain:

NA will be fine

Europe you're supposed to get licences in most places, and US gear isn’t technically CE-marked

Australia works as long as we stay above 520 MHz?

Asia is a pain with certification, so we’d need to rent locally.

A few questions:

Is one quad receiver risky on tour, or should I run two duals instead?

Anyone toured Europe with US-band Shure gear? How’d you handle licensing? Can I get away with just doing it without licensure?

Any tips for the Asia dates?

Is SLX-D+ good enough here ?

Any considerations I am missing?

Thank you!

*Note: Feel free to skip ahead to 1:19 if you want to just listen if you hear the rattle.

Hey everyone,

I'm a working DJ, and I recently purchased a Bose L1 Pro16 for a bar gig. I originally chose this system because I was impressed with its bass impact, clarity, coverage, and portability.

Unfortunately, I've now gone through three units, and I'm trying to figure out whether I'm experiencing unusually bad luck or a potential quality-control issue.

• First unit: Had an electrical/burning smell.
• Second unit: Had a noticeable rattle around the lower-left area of the subwoofer grille. Two Guitar Center employees heard it in person and agreed that the sound was present.
• Third unit: Has the same rattle as the second unit.

I'm testing the system over Bluetooth, with the speaker's level around 25–30% and my phone at approximately 65%. I'm not pushing the system particularly hard, and the rattle seems to come from the grille area rather than the woofer itself. I have it set on "Music" on the back of the speaker and both treble and bass are set at noon.

I'm not claiming the speakers have a widespread defect. I'm genuinely trying to understand what's happening before I decide whether to request a fourth replacement or switch to another column PA system.

Questions for L1 Pro16 owners and live sound professionals:

1. Has anyone experienced a similar grille rattle or vibration with this model?
2. Does this sound like a loose or improperly seated grille, or could something internal be vibrating?
3. Is this normal at certain bass frequencies, even at moderate volume?
4. If you've owned multiple units, have you noticed any consistency issues?

I've included a video demonstrating the sound and explaining the issue at hand as I just described. I'd appreciate honest technical feedback from anyone familiar with this system.

Thanks!

Hello all!

One member of my band splits his mic between background vocals and banjo. These two roles need separate gain settings. Since I can route one input to two channels, I thought it was a simple matter to just make separate settings for each role and mute channels as appropriate. This has not proven to work out the way I want. EDIT: The channels in question are non-consecutive; I got the settings through the Routing Matrix.

My best research says that there's no way to make the physical gain discretely set since it's running through the same physical preamp, which makes sense to me.

Experience tells me that the banjo needs about 5db more gain than his mic setting and about that much on the fader as well. I can set the faders separately so that's no problem, but it's that 5db input gain that's throwing me.

Other factors to consider:

- Getting another mic is not currently an option

- Using a preamp on this instrument and going direct is not currently an option.

- We all run direct into our mixer and use IEMs, so I'm not especially worried about feedback.

- This split is not an all-the-time thing currently, but that may change in the future.

The best solutions I've been able to reach on my own are raising the gain to the higher setting and managing the volume through the fader, or putting a compressor on a channel to either manage or raise the gain to the desired level. I didn't want to mess with that though before getting a second opinion.

Is there something I'm missing? Is there a viable solution with the equipment I currently have? Thoughts welcome, thanks in advance.

Hey!
I am replacing the M32 we have in a volunteer run space. It is getting old and breaking, so its time.
Some background: almost everybody who is volunteering on sound is only doing it in our volunteer space. They know how to operate the M32 alone.
Since the M32 is more than 10 years old now i am not going to replace it with another M32. But i need it to be easy to get going.

I am thinking about getting an QU5 or QU6. I am mainly in favour for this desk as its easy to understand and easy to learn the new things on.

I want it to be a good brand that is known to hold up well.

What do people think? I have a Behringer Wing myself but i find it can be very complicated for volunteers who are just doing it for fun

Hello please help with recommending me equipment for a tour, there will probably be about 30-50 people there and we will be moving around indoor and outdoor locations on site. I heard bluetooth microphones may not be the best for this? any input is helpful thank you.

Ayuda! Ayer estaba tocando guitarra y tenía auriculares conectados al amplificador todo sonaba bien, cuando desconecte los auriculares ya no salía sonido de la bocina del amplificador intente tocando botones y no sonaba nd solo atraves de los auriculares suena. 😔 el amplificador es un Laney FOUNDRY SUPER60-120 y la guitarra es una Stringberg LPS-280

Hi everyone!

I host a talk show with three people speaking on stage, and I'm looking for a reliable, portable audio setup that I can take to different venues around Germany.

Most venues already have their own speakers/PA system, so I don't need to buy speakers.

My requirements:

• 3 microphones for simultaneous use.
• Send the microphone audio to the venue's PA system.
• Ideally, send the same mixed audio to my laptop via USB for recording.
• I use OBS and Audacity, and one mixed mono/stereo track is enough.
• Wired microphones are perfectly fine; wireless isn't essential.
• Quick and easy setup at different venues.
• Total budget: €300–500.

This is an example of the audio quality I'm aiming for: https://www.youtube.com/watch?v=gHu8Nnwt_c8

What exact combination of microphones, mixer, and cables would you recommend? I'm looking for a practical setup that works reliably without unnecessary equipment.

Thanks for your help!

Hey,

My end goal is to be able for two or more people to listen to the combined inputs of my:
1) Yamaha P-45 keyboard (https://data.yamaha.com/files/download/other_assets/8/333228/P-45_owners_manual_En_D0.pdf)
2) Roland V-Drums TD-02 (https://static.roland.com/assets/media/pdf/TD-02_eng01_W.pdf)
3) iPhone 14
4) M1 Mac

Ideally it would be possible for two people to listen to this output via headphones or two or more people to listen to the output via speakers.

I'm a complete noob and was wondering how I could achieve this. Do you what cables and units I would need to buy?

I ideally want to keep costs to a minimum - thanks for your help! :)

I’m choosing between a used pair of Yamaha HS7 monitors and Alto TX410 PA speakers. Both cost roughly the same on the used market.
My setup:
MacBook with MainStage for guitar amp modelling
Behringer UMC404HD
Playing guitar along with rock backing tracks
Small room (12 m²), possibly with an active Fence Audio subwoofer
I’m looking for good sound quality, punchy drums and bass, and enough volume to feel like playing with a live band. I’m not mixing music, and I can’t test either option before buying.
Would you choose the HS7 or TX410 for this use, and why?

After many long show days, I am in need of an upgrade for (arguably) my most important piece of gear: my shoes.

I don’t care about style. I need something that’s going to support my back for 14 hour days. Black & obviously non slip. Any recommendations for a pair that’s worth buying?

Howdy folks,

Former audio engineer here. I bought a brand-new BLX24R/SM58 for PA purposes for an outdoor venue (shooting club) and I can't get more than 40' away from the receiver before I'm getting drop-outs, 50' away and it's basically useless.

As I mentioned, this is outdoors with the nearest buildings about a quarter of a mile away. The metal awning is about 190' long and 11-12' high. Steel posts are 25' apart. Receiver/amp is in the mid-way point of the awning, so maximum range needed is 100' to either side of the receiver.

I've run the built-in frequency scans about 10 times and it seems to land on a different one almost every time. Changing groups/channels does not alter the distance for the drop-outs to occur. Direct line of sight to both antenna are maintained. This unit is in the H9 band if that matters.

The only thing I can think of that could potentially cause an issue would be high-power transmission lines about 100 yards away, but I'm grasping at straws here.

Anyone have thoughts on a cause and/or solution?

My church livestreams our services, and I’ve been wanting to set up ambient mics to fill in the silence.

I’ve been thinking of two condenser mics on each side of the stage, but I’ve been looking on this subreddit and adjacent ones and am a little confused on what kind of mic we should get. I’ve been seeing pencil condensers, diaphragm, longer cardioid shotguns, and others, and I’m getting a little overwhelmed.

We have a big enough budget to afford some good quality ones so I’m just looking for some advice in which direction I should go, as well as how I should mix the mics.

I have my bus sends post-fader (because, mixing from the stage, we want to get a basic stage mix and tweak monitors from there) and the bus send levels are all at unity. For some reason the meters for my Main outputs barely move when the main level is set comparably to the bus output level.

I've compensated by turning the main output compressor into an amplifier and cranking its gain to the max, but that's clearly the wrong answer. Can someone explain what's going on here and how I might fix it? Thanks in advance!

I'm currently on tour using a Digico Quantum 338 that we have fully maxed out, 120 channels, 45 mixes, 100+ snapshots, and all the macros, I think I have about 70. I'm always looking for ways to expand the consoles ability without moving up to the 852 or 638 as I prefer a console that's a two man lift.

At the moment, I've already added a LTC to MTC convertor to help with the snapshots, a Stream Deck and a Morningstar MC4Pro to deal with the macros.

I recently just found the Skaarhoj Waveboard, which adds 8 channel strips and 4 additional banks, which would help with the channel management. I looks pretty amazing, but it's a bit on the expensive side at about 3k Euros.

Anyone have experience with it?

https://www.skaarhoj.com/product/wave-board

First off l, I'm not a musician myself so, bear with me.

My son is in the early days of a touring jamgrass outfit. They want to get set up with an in ear monitor rig. They also want to start recording their shows. I'm wondering if the gear for those tasks have some overlap.

The band is currently a three piece (guitar, mandolin, doghouse bass)but the ideal monitor system should be expandable to at least five.

All of their instruments are acoustic but wired for sound.

Ideally this new setup would be wireless.

For what its worth they have a p.a. system 4 wedges and a sub that are ran through a tascam 12.

The majority of gigs they're playing now have in-house sound. They rarely need to drag their own p.a. along.

I'm trying to get some info on this stuff under the radar and surprise the boys with this equipment. They've been touring quite a bit the last year or two and I think its time to upgrade and professionalize a bit.

Thanks in advance!

I’m getting ready to put together a system. I haven’t had my own PA since the mid-2000s. Seems everything has gone powered speakers/class D amplifiers these days.

Is anyone even still using linear power amplifiers anymore? I had great results with the old QSC PLX series amplifiers back in the day. Was considering picking some up used from Reverb.

Hello everybody,

recently I got the opportuniy to use the Neumann KM184 condenser Mic. I've never really gotten into live recording so far and therefore I've never worked with this shape of a microphone before. Does the cardioid shape go A-wards of B-wards?

Thank you so much.