u/guitarmstrwlane

Was working on a bit of a wonky setup for a client, I wanted to do a normal S32/DL32 stagebox split (stagebox AES50A to FOH's AES50A, stagebox AES50B to Mon's AES50A), but they needed a couple extra inputs stage-side, using an SD8, that we were going to remap to the aux ins using User Ins.

I couldn't get any hookup config that worked like a normal stagebox split. The only thing "close" was the S32/DL32's XLR in 1 did show up on FOH's AES50A in 1, but it showed up all the way on Mon's AES50A in 33. So, we settled on just running an additional data cable from the FOH console's AES50B to the Mons console's AES50A, and copied the AES50 in/out blocks to the Mons console as traditional tie lines.

Did I miss a hookup config? I looked up everything I could and didn't find anything. The idea is to get all 32i + the additional cascaded 8i to both consoles with only one data cable running to/from FOH.

Sorry for the book: I am incredibly familiar with these consoles and how AES50 addressing and routing works. I recently worked a show where the requested routing wasn't what I was familiar with. So it's just got me questioning what others are actually doing.

To me, the "hardest to mess up" config is just a digital split off the stagebox. It's A port goes to FOH, it's B port goes to Mons. Only one cable needs to run to FOH. FOH gets control of the stagebox's outputs, and Mons uses it's physical outs to drive monitors. The only downside is any local input channels cannot be shared.

To fix that downside, we can run the Mons console off the B port of the FOH console. This allows the consoles to talk to each other directly, and can share inputs just like Tie-Lines a la A&H. However, this requires a second cable to run to/from FOH, and since you're running a second cable you could just run an individual XLR or use cat tail breakouts if you only need to share 4 local input channels or less.

If you want all the benefits but only want to use 1 data cable to/from FOH, the only way to do it (as far as I'm aware, which is why I'm making this thread) is to run from the stagebox's A port to the Mons console's A port, then from the Mon's console's B port to FOH's A port. Next, ensure FOH's drive lines are sent down it's AES50A Out Channels 1-16 (this is how it is by default), which will show up at Mons as AES50B Ins 1-16. Lastly, patch these Mons AES50B Ins 1-16 as it's AES50A Outs 1-16. This is essentially a "pass thru" for FOH's drive lines to the stagebox's XLR outs. You can also use a single block of 8 rather than all 16.

You can also run an additional stagebox with it's outs set to 17-24 off the B port of the primary stagebox, and then set the FOH drive line pass thru blocks accordingly. This also allows Mons full control of the primary stagebox's 16 XLR outs. This is what was done at the show I worked recently.

Any other solutions I might be missing?

This always makes me incredibly nervous. Just a minute or two in direct sunlight and the back panel can get hot enough to burn your hand. Any clever solutions, if anything to just give me the peace of mind?

I've used a tarp on top the speaker with part of it hanging down over the back, but the tarp always seems to fall off. And the manufacturer covers open from the side of the panel, not the top. Thinking about some sort of thing akin to hotel door hangers, attached to the XLR cable up top with an elastic tie. Air flow is important so needs to be a "loose" cover.

https://preview.redd.it/nd1deqaplwch1.jpg?width=1000&format=pjpg&auto=webp&s=f1114da11b84cd5599fa3d11ffb0405c92d3c118

https://preview.redd.it/0nrwws2qlwch1.jpg?width=1280&format=pjpg&auto=webp&s=9db589edfcd7a682b00d872f84f2932cc2fdf224

can't find anything conclusive, any official statement, anything. yeah yeah "lol it's music tribe what would you expect", but let's leave that at the door- it seems something more serious has happened

their website(s) is basically just an incomplete shell, the biggest glaring problem is there is no way to officially access firmware, editors, drivers, docs or resources of any kind. their support chatbot is trying it's best; it will either tell you to download a driver from the website (which it doesn't have) or it will give you an old broken hyperlink

the theory i've read most often is that they were hacked/had some sort of major security issue, so the sites/databases were completely wiped (by music tribe or the hackers, idk) and the "shell" of websites we have now was put together in a hurry to have something while it is being fixed. although drivers/resources have been inaccessible through the official site for a while now so ¯\_(ツ)_/¯

if the new site was intentional, it'd probably allow you to navigate to the page of one of it's major products like, say, the f'n X32- which the current behringer website does not allow you to navigate there from the website itself. you can only get to the X32's product page from a google search

even weirder, as a user mentioned in a thread earlier today, is if you click products at the top and search "X32" in the menu top left, a product page for "X32 MKII" will pop up, clicking it shows text "X32N" and nothing else

there was another fake/impersonation website making it's rounds during when all this started that apparently flags as malware- maybe this is why many people thought music tribe got hacked but it actually hasn't; so it could just be a really, really botched website re-vamp

for example: https://www.sweetwater.com/radial-catapult/series

amazon special: https://www.amazon.com/Elecan-Splitter-Ethercon-4-Terminator-Recording/dp/B0DQTWX47F/

i am NOT talking about audio protocols over ethernet cables like AES50, dSnake, gigaACE, etc

i am not sure i get the appeal of cat snakes compared to standard 4 channel multicore drop snakes like from Pro Co. by the time you get quality TX/RX breakouts and a quality, flexible shielded cat cable for it, you'd be spending as much or twice/three times as much as you would be compared to a drop snake

and with cat snakes you have 2x/3x the amount of connections/failure points. additionally, if your RX end isn't already broken out like in the amazon special above, you have to hook up 4x additional patch cables. so, you'd pay equal or more for a product that has many more failure points and takes longer to deploy

the only benefit i can really see is replacement- if either the cable or a breakout breaks, you can just replace that part. otherwise, i'm not seeing it. seems like a stereotypical "new sexy" trend kind of thing where we forget to actually weigh the merits, doing something in a different way just because it's different- not because it's better. i'm happy to be wrong

yes i've read as many threads as i could, i still don't quite have a clear direction. i'm not even sure what features are and aren't important

to me, A) back support B ) needs to be able to handle wet grass (dew, minor rain) without soaking through C) don't want to be sore and achy all over the next day D) steel toe E) hopefully will help me correct my slightly forward leaning posture

i tried some of the trendy "zero drop" shoes hoping it would help, really didn't seem to do so and i had to put in insoles as they wore down relatively quickly. my back, as in spine is good i think, but the muscles in my back particularly around the shoulder blade and traps and neck ache after a while

i just got off a long day yesterday and had some hand me down boots, they kept my feet dry but my feet ache and i have blisters on my big toe, and my feet and legs and whole back aches

so wtf is actually important. tyia

i have a small growing live audio business, it's time to start using contracts. i'm a small operation with only around $25,000 USD in rentable inventory, just myself and a local hired hand. mostly local level shows and acts, every so often working with slightly bigger names

need to include some things like:

rain clauses for outdoor events, unsure of what is common for an operation of my size. do i check the weather the day before? do i wait until it actually starts raining day-of regardless of what the weather says? should anticipated rain % above a certain % be an automatic cancel? how do i determine and what do i determine, and how should it be written so that it's legally binding?

payment, most clients i'd actually need to be sending contracts out for i typically send an itemized quote so they know the ballpark, then i send an itemized invoice a few days after the event with what actually happened and what was needed. plainly, how do i ensure i get paid? have never had an issue but you never know

deposit, would like to start taking deposits to have an official way for clients to reserve my day (and to weed out those who aren't serious or avoid events with weak planning). should the deposit be a portion of the quote, and then the deposit used to offset the final invoice? how big a portion, maybe just my labor? deposits should be non-refundable always, yes? or maybe refundable within far enough advance noticed, or partially refundable?

additional needs, especially things that might vary depending upon the event. so some events i might have to request certain power requirements, other events i might have to request a tent or local stage hands, whatever. could i leave this spot blank on my contract template, and manually write in to include what is needed relative to each event?

and then what needs to be written and how should it be written to hold the client accountable for all of these things? as in something along the lines of "if any specifications of this contract are not met without prior discussion and revision to the contract that is officially signed by The Client and Contractor, then The Client will be subject to X or Y ramifications and cancellation of services providing by the Contractor", unsure of what i have a right to

thanks for your help