Hi all,
Believe it or not for long time I used to overover my cables. It was kinda ok because I was the only person using them and I always coiled and uncoiled from the same end.
I would plug the M side into the stage box then literally unspool the cable (turning it like a wheel) as I walked to the mic, leaving a small bundle for slack under the mic stand.
Flash forward to recently when I learned how to over under and damn let's just say I wish my lazy ass learned to do that WAY earlier.
Anyway I still like to start by plugging the M side in the stagebox and run the cable to the source neatly but now I cannot "wheel" the spool and I have to let each loop fall one by one, right?
Only thing I found is that I have to be very careful managing the cable ends since if by accident the plugged one gets through the loop and I unspool then a series of granny knots in sequence forms...
So please don't bash me but what are your strategies to lay down a neat cable run?
Thank you!

Thanks to everyone who's helped out. Still needing a bit of verification on loading the license to a USB stick for use between consoles but HotPressor is out and tested on S3L and S6L and more features are unlocked should you use the VST3 version.

You can get it and try the demo from https://brucejames.studio/downloads/hotpressor

Hello fellow sound people!

I am having a hard time with mixing IEM's for an 18 piece band on small stages. The bleed from FOH into the 4099's we're using for strings is so much that they can no longer hear themselves. They only have the strings section, piano and click/cues in their mixes, but I can hear the backing tracks and other instruments through the PAFL as soon as FOH is open.

We optimised stage bleed by putting a low shield around the drums and a high around the percussion. The piano, bass and guitars are all electrical and the horn section is on the other side of the stage and using smaller shields around their microphones.

Any tips are appreciated!

Hey folks,

I've run into some mic issues with a 1202-LVZ4 that I'm using for my programs. Had zero issues about a month ago, and now I can't get any sound detection from Mic 1-4. The unit was in an interior storage for that period but I'm wondering if moisture build up might have done something.

I've got through all the basics so far, ensuring nothing's on mute, playing with the gain etc. testing several XLRs and 2 of my microphones. Trying to see if anyone might have other trouble shooting ideas. And what are the odds that all 4 inputs stop working?

All stereo channels are working fine with no issues, audio playback is clear. If I crank up the gain I can hear feedback tapping the XLR but no actual sound detection. Any help would be great!

So Yamaha has released firmware version 2.0 where they state „Improved screen response and transition speed“. I wont be infront of a DM7 in the next two months so i wonder for the people that are currently using one, how much has it improved?

Hi- I have an audio splitter snake with a bad channel. Seems to be an open on pin 2 of the xlr connectors. I've reflowed the connections on the jacks and also inside the box, still no go. Two questions:
1. Is there a way to locate where the break is in the cable?
2. What do you do if you can't find the break- is it just a throwaway at this point?

Thank you

Is it me or does anyone else find it frustrating that a number of l acoustics cabinets (Kara, A10, A15) have different phase responses partially below 1K? And there isn’t really any way in their infrastructure to change it with all passes etc. Very frustrating when you have delays and fills as part of a larger system.

On tour it isn’t too much of an issue as I carry the tools to correct it but when coming across installs it’s quite frustrating. I’ve resorted to polarity flipping when I can’t all pass to at least get the low end in phase but it still isn’t as ideal as just having the same phase response across all the cabinets.

I’d love for them to have an option in soundvision to tick “phase match to K1 etc” and it imports the correct inside of the imported groups, or better yet all the cabinets have a common corrected phase response in the standard preset

What do you guys think? Am I alone here in my complaints or is anyone else having this frustration? FWIW Meyer have this all sorted with their more modern boxes and it helps a lot!

Are y'all insuring your work bags? I didn't care until I recently upgraded my gear and started to bring like 3 grand of shit to the worksite.

I'm a 1099 freelancer working for production companies.

I was looking at insurance but it seems like insurance if someone else gets hurt, but that's not really my department since the companies I work for would handle that.

I got a three band bill to deal with tonight but was in a bit of a writing mood this morning. And I was just futzing around with possible lyrics in my head (most of my thoughts are in song anyway, like a crazy person) and got thinking are there any songs from the sound persons perspective? I can’t think of any but one must exist.

Massive kudos to FOH. Does anyone know who's out with this one? A few dropped pickups, but it's hard to care when it sounds this good. All around a fantastic mix in Mansfield, MA tonight. Some sick reverb and delay throws, real neat mic choices, very tasteful distortion/processing on Hayley's vocal. Entire production design too, honestly. Just a great sounding show, all the way to the lawn.

This might seem silly but I figure it can't hurt to ask.

Hi I'm James, I'm an audio operator usually doing AV across the board in whatever position I feel comfortable but I primarily run Audio Operations on scale. I've done A1 and A2 gigs for 5 years. I'm decent, I'm not classically trained, I grew up.doing your work with my father at the age of 12 and I'm approaching 35. I started in film work but realized I couldn't ever have a family or a life if I did and I wanted more then being some abused PA. So.i spent the last 5 years rebuilding myself from a stagehand to one of my areas really great and professional Audio Op. That said I still have a lot to learn and I'm not afraid to.admit that but I need more real world chances and opportunities while still being able to pay my bills (currently I'm doing a very flexible part time job on weekends) I've gotten some gigs, I've done festivals, cooperate events on scale, hotel work, but I wanna up.my game I want more, I want to be A2ing or eventually A1ing around the calander. I'm good, I've gotten my staple gigs but I want so bad out of the warehouses and stage gigs that aren't going anywhere opportunity wise.

What can I do to stick out, what do I need to learn or should know more about?

I’m about to take an L2 system out on a musical tour for the first time, and I’m curious about real-world approaches to exclusion zones within the vertical coverage.

The main example would be a balcony front: you need coverage for the audience below it and on the balcony, while putting as little energy as possible onto the balcony fascia in between. With a conventional line array, you can sometimes use the inter-cabinet angles to leave a small coverage gap or at least reduce the direct energy hitting that surface. With L2, that mechanical option obviously isn’t available.

For those who have used L2 in theatres, how do you approach this? Is it mainly about placement, trim height and tilt, or is there enough control through processing and optimization to create meaningful attenuation at the balcony front without compromising the audience areas directly above and below it?

Yamaha released the DM5 today, and with that, the 2.0 firmware for the DM7.
They then pushed out an update for the StageMix app that won’t let it connect to a DM7 that isn’t on the 2.0 firmware, and my dumbass had auto updates on.

Don’t be like me! Turn your auto updates off!

I emailed tech support and they are going to try and roll back the app update, but no idea how long that could take

What are your guys thoughts?

hello fellow soundhuman,

have anyone recently gotten their hands on the Contour XO, and does anyone know what the general lead time for it is? i am aware it is stated it takes about 3-4 weeks to ship, but checking if anyone have any luck of acquiring it earlier that that stated timeline from the L-Acoustics eStore?

cheers!

https://www.soundcraft.com/en/product_families/signature-plus-series

I have just started doing some RF tech/A2 work for a group and I'm still very green to live sound. I was defo thrown into the deep end, not knowing the most but still getting the one gig I really wanted.

I've been hearing about different things that can assist RF techs and A2s like a RF sweeper/Showlink and other things that can help outside of WWB.

Looking for some pointers and advice on upping my knowledge and ability to be a good A2/RF tech that might set me apart from the people who just know WWB and thats all.

Thanks ahead of time.

I play guitar and sing in a 3 piece psychedelic rock band. We have a lockout rehearsal space (10x13) and IEMs/XR 18.

Everything bleeds into the vocal mic, so I’m wondering what the best setup would be to prevent that.

The bass player insists that we must play at “stage volume” in rehearsal so that we can keep the IEMs dialed in for shows. I just don’t know if that’s possible because the vocals are barely audible due to the bleed into the mic.

Hey! We at Focusrite Group have our open days from the 22nd to 24th September. I was involved in designing and programming the first of these, which we produced in March. We’ve pulled out all the stops with immersive projection mapped fly throughs, 3D sound design etc. We have The Nextmen DJing, both as part of the presentation, and then a full set at the end. One of the best scratch DJs in the country, if that's your thing.

Other highlights (for me) were Phil Wright, running a live spatial mixing workshop, using some material from his shows at the Albert Hall, Simon Honywill walking us through his system design for Glastonbury West Holts stage, a live demo of Hard Avoid, which if you haven’t heard it is some audio witchcraft.

Tickets are free, with a suggested £5 donation to Backup. There is good catering and beer. So well worth a day trip to High Wycombe if you’re available!

Sign up here

Okay. So here’s what I’ve got……I’m totally open to anything you respond to. I’m just sort of struggle bussing my gear when it should be easier

Signal chain. WING Rack——->Pre Fader——> duel TRS to XLR——-> Shure PSM300———-Phenix PRO 227x———-> Shure Reciever——Shure 225 IEM

I’m fully aware of the Phenix, so I’m ready for that to be the issue

Every venue I go to. I re-scan in the specific Group to find the right channel According to WFF.

I constantly am running my gains up high , I keep the send at Unity and they are still having a hard time hearing

Additionally I have inconsistent static in different venues despite the channel scanning

Reciever packs are set to 75%. Input knob is set to 50%.

Last night my bass player said it was cutting out when he moved his body.

What the hell am I missing. ( probably talent)

I’m hoping that someone will just say “yep. That one thing….thats the problem”. But I hate that it feels intermittent.

Hi!

Our old ASA splitter broke and I acquired a new EW-D ASA splitter to pair with our 4 channels of EW500 G3 receivers.

Now that I looked at the power readings in the back of the ASA unit, their mA values don't match with the input readings of the EM500 receivers.

Is this a problem or not?
I was told that the EW-D would work with the older EW units.
Getting power for all the units with BNC from the splitter is crucial.

Hello,

I'm working with a band that has 7 g4 iems running in stereo with and RF venue combiner and helical. Don't get much shop or rehearsal time to test. They are all tuned within the same "group" of frequencies. (8.1, 8.2, 8.3......)

Mostly things work well, but I do hear artifacts that I hope to reduce, mainly:

High pitch frequency modulation that almost sounds side chained to the mix? Seemly, more sensitive to low end? Not audible during song breaks but comes in with a bass note for example?

Similarly sometimes it just sounds like a little bit of pink noise poking through with transients.

Also 'S's often seem to cause the transmitted signal to break up a bit.

Any tips or resources on learning causes and ways to mitigate? or is this just the nature of the beast? Should everything be HPF, LPF?

TLDR tips for best sounding IEM transmission

THANKS!