r/livesound

They're obnoxiously heavy to load in and set up, but they sound soo amazing. And we're not talking about samples here, but the spin-a-speaker around in circles with a weighted counter-trumpet on the far side, and a bigass bass speaker in the bottom of the oak cabinet.

What was your last big gig with a B3 whirlybird present? And did you happen to get a recording of the show?

I’m an aspiring systems engineer, and I’m trying to learn as much as I can about line arrays whenever I get the chance.

I worked as a local stagehand with IATSE for the Noah Kahan tour a few days ago. They’re using GSL and KSL for mains. I was on the team flying the delays and I asked the tech who was leading the team how far the mains throw and he said about where the delays are. Makes sense. There were 24 boxes of GSL/side for the mains, and so the next day I tried to recreate the rig in arraycalc to see what it was doing. What I couldn’t figure out, though, was why the top boxes were almost parallel to the ground, with little to no splay. They were pointing at the upper seats of the 100s, wayyyyy overshooting the back of the floor. I know you’re supposed to overshoot a bit, but I didn’t think THAT much. I also know you need them to be tighter to couple, but what’s the good of a long throw couple if it’s pointed way past where you need it?

Also, trying to set the splay how they had it made the array way out of the safe rigging limit in arraycalc, so I’m not sure what the difference there was. They had 3 motors/side, so maybe that was the difference.

Also, for sub coverage — they had ground stacked subs along the front as well as flown LR stacks. What is the benefit of the flown stacks, other than just getting it off the ground and saving space?

Thanks!

What is everyone doing to find Behringer consoles, stage boxes or record cards? Suppliers will happily take my money but can’t give ANY delivery date. Months, a year? Huh?

Really?

Hey, not sure if this is the place to ask, but I was wondering if there was a way to duck the solo bus whenever FOH or any other talkback channel is talking?

I currently have FOH TB double patched in my monitor desk, one to stage and one just for myself. The FOH TB to my cue wedge is sent to a matrix that also has my solo bus sent to it. Is there a way to actually process the solo busses on the S6L?

Hopefully that makes sense.

I was at a show yesterday, I don't to say whom or where as I was not working so don't know the full story. This is purely to try to improve my understanding not to embarrass anyone.
I will say it was a 40K+ audience and the system was put in by the top 3 in this country. The cable run desk to stage was maybe 60-80metres not especially long.

The support band were the second on, first band no issues, I was right in front of the desk (old habits die hard) so I could see their engineer was using a Midas M32R. Which I honestly found incredibly surprising for the size of the show.

Almost immediately the band were having issues with their in-ears and basically fighting for their lives on-stage. Band members actively talking over PA for major adjustments, it became apparent that their FOH guy was running their monitors too. Another surprise, I've never seen a show of this size not have a monitor desk.

Whilst this was going on, there was continuous channel dropouts - it would lose the guitar, or the bass. the vocals too...whilst the rest of the mix was audible. The system techs looked over his should and spoke to him, but seemed quite unmoved - I got the impression they knew it wasn't a problem with their system.

At the end of the set he walked off with the desk, the next three acts had their own A&Hs and there was no further problems.

So my question is, is this some kind sync issue that would cause this?
I couldn't work out if this was a preference issue, or budgetary but I felt so awful for all involved, it was humiliating but this definitely was not the show to cut corners with personnel or desks.

Hey guys, I know the real solution is for my drummer to chill tf out, lmao, but is there anything I can do with effects or gear to reduce cymbal bleed on my mic? I sing/scream in a band, and we have another singer who also plays guitar. For my IEM mix, I have a lot of drums coming in, and I wanna hear myself more without so much cymbal lol

I know the drummer's position on stage can help, but I hate how this looks. I know that is a me problem lol, but would cymbal shields, combined with a hyper-cardioid mic, help? I don't care about eliminating it entirely, and I've accepted that it is not realistic, just if there is anything to reduce it, even a little bit, please let me know

I understand that there is no one-size-fits-all solution, so I'm hoping a combination of different approaches would get me the best results.

Hi everyone, we’ve run into a weird issue with the Roland M5000 today, at first, all of a sudden the FX stopped working middle of the warmup show, then the bass disappeared from monitors and subs during the main act.

The strange thing is that this happened without us touching anything on the mixer and the display showed that the console is working perfectly and there is a signal flow on the affected channels/sends/returns, but no sound was coming out.
No mute groups, no hard mute, nothing was enabled, it was running just fine, then was a sudden dropout and the only thing that fixed it was to recall the same showfile.
Could it be anything else than a software issue?
Has it ever happened to you guys using this console?

Many many thanks!

Operating audio for a kids show in a few arenas soon. Just basic playback and 9 headsets. A couple of things I'm curious to hear opinions on...

Most importantly thinking about a workflow when ringing out the PA to maximise head room with the head sets. I've done similar shows before and can get a bit overwhelmed with the amount of options for ways to make EQ cuts.. Eg. to hack on the matrix feeding the LR and FFs, the LR bus feeding the matrix, the headset group feeding the LR bus etc. Or since I'd have a system tech using the drive processing (this is a new one for me and probably wont use this option). Or is it a case of making a few subtle, initial cuts then using this and then basically this is your amount of headroom. No amount of EQ is going to turn the mics into magic wands, and will quickly just be turning things down.

Secondly I was wondering what your opinion on putting omni headsets into foldback speakers would be. Will have a few flown boxes to cover the stage. I've done some light reading in the past and most would say absolutely not, its musical theatre essentially (and I tend to agree). But last show I did like this I had one very pesky cast member who could never get enough (leads eh) so I'd send a little (of course couldn't get much level but I think it was a decent amount of reinforcement) just to keep her happy(ish). Would love to just put a bit of the playback through the foldbacks but I can imagine it would be fairly hard to hear your own and other cast members voices during musical numbers especially when the audience get loud. Was running these mics on a post fade send to the mons so they'd turn on and off as i moved the faders (not ideal I know but seemed to work) if there's a better way I'd love to hear your ideas. Although even if it wasn't feeding back it seemed to (from memory) muddy the sound of the headsets.

Thanks for any opinions/advice hive mind

Any tips or equipment upgrades that have helped you improve mixes with just tracks and vocals?

I’ll look into separating the tracks into different groups and instruments.

I’d prefer to keep the playback card and not get into waves.

We have axient handhelds and good capsules.

Forgot to mention this is on an M32 so I don’t really have access to a dynamic eq.

**SOLVED**

I talked to the venue sound tech he said we are getting hooked up to their p.a. and sound system. The advise here on making a stage plot really helped thanks guys!!!

Hey. Complete beginner here. My brother and me have a very minimal set up and it's just us going to playing along drum tracks I wrote with a midi piano. How would we go about giving a professional stage plot and input list if we have minimal equipment? We are a mostly death metal band. We jam with two half stacks for guitars each have 3 pedals, two powered speakers that we play the drum track through and two vocal mics we also play through the powered speakers. So all in all we have 4 speakers. We have the powered speakers connected to a mixer. We have two microphones connected to that mixer and a computer that plays our drum midi tracks. It sounds really good even though it is just a minimal set up.

We have the amps on the left and right, towards the center we have the two powered speakers that play the drum tracks and vocal mics through a mixer etc. Would we just replicate this on our stage plot? I mean I know most bands would use a P.A. system with all those different powered speakers and the forward facing speakers containing the mix. Would that even be advisable because we are going to be playing at a festival with some top professional metal bands? For example would they have huge speakers to connect us into or would we be using the sound power of our two half stacks to carry the sound to the crowd? Wouldn't that mean we would need longer guitar chords and stand further away from the amps? Don't most bands play with some kind of ear plugs? Would it be possible to play good having never used ear plugs and is there a difference?

So basically if advisable I could just have about 5 inputs: 1.Guitar\2.Guitar\3.powered speaker\4.powered speaker\5.Vocal Microphone\6.Vocal Microphone

https://preview.redd.it/rjzu2ubm90bh1.png?width=2084&format=png&auto=webp&s=925c3ea6cd35fbeb08515efa0574c718c47120e4

I've been pulling my hair out trying to figure out why I can't get any modulation FX to side chain into a vocal channel. I can load up any reverb no problem into the FX1. As soon as I try Flange/Chorus/Phaser, I get nothing. Routing looks correct, meters are moving its receiving signal. There seems to be something inherently different about Modulation FX that I'm missing. Sorry if this is the wrong place to post, and I'm a bit of a beginner

I have a quilter bass amplifier (Bass Block 800) and I wanted to see about running its two speaker outputs into two passive PA speakers. Is this a dumb idea?

I have a mixer that I have run into the Mono Aux input of my amp for practice at home, coming out of a bass cab which is where this idea was birthed. I figure a power amp is a power amp and it will work if I scale it up.

I use modelers and I figured this would work for small gigs where PA is not provided since my amp is only about 700watts RMS (1000 peak).

Please don't be afraid to tear me a new one if this is a dumb idea

Asking "for a friend"

Why might you use parallel compression on a lecturn mic?

Opinions, please!

I am trying to connect a QU 24 to a QU 5, and have followed all of the steps I believe are required to do so: I have plugged a shielded Ethernet cable into the sLink and dSnake ports, and have changed the clock source from internal to sLink on the QU 5, however I am getting an “Audio not synchronised” error, and I’m not sure how to fix this.
Is anyone able to help me out?

I have previously had this working, and have tried many different cat6 cables, and different software versions on both consoles (both up to date, and on older versions)
I also factory reset both consoles before trying anything so no old configurations should affect this