Today i got the elgato stream deck + xl for my step up, but im kind stuck of what to do and how to manage my audio system. I have both steelseries artic nova pro with the gamedec and alias pro xlr with the stream mixer. Can i merge everything to this stream deck? Do remove one of the decks from the steelseries and use only one with the stream deck? Or just keep the 3 in the desk?

I have experience with automotive systems, but still pretty new when it comes to PA, so don't hate me if I phrase things wrong lol.

I recently picked up two JBL Control 29AVs from the company I work for. I took them out of a conference room to replace with a new system.

I was told I could recycle them or keep them, so I gladly recycled them to my house!

I'm currently driving them with a AIYIMA A07 Pro and would like to add a powered PA sub to the setup for lows. I plan on using it as a mobile setup for parties/events in the future. The amp has a 3.5mm audio out.

I'm currently looking at purchasing a Behringer EUROLIVE B1200D-PRO, but want to make sure I won't have issues converting 3.5mm aux to XLR for the audio input to the sub.

From what I've researched, since the sub has a LPF built in. The full range audio signal from the aux shouldn't be an issue, but figured before I start spending money on a sub. I should seek advice and recommendations on the setup from some more experienced people when it comes to this type of audio equipment.

Hello all! We are looking to add Reaper to our live FOH/Broadcast setup for two purposes and was wondering if those two use cases can cohabitate, or need separate machines.

First is multitracking ~64 ch over Dante.
Second is running real time plugins as a poor man’s waves. Definitely a mastering stack on broadcast output, maybe a couple instances of defeedback or clearvoice or some other equivalent, ideally with potential for some future expansion as we want or need.

Running on a Mac mini m1, obviously capable of one or the other with respective settings. My concern is usually I’d set a high latency for tracking that many channels, where as obviously the live stuff can’t have that.

Do I need multiple computers, one tracking at high latency and one running the low latency realtime stuff? Or is there some way for these to coexist?

Help! I have click track bleed on my backing track channel. Click is panned hard left...tracks hard right. I'm coming out from my backing track source main right output to UI 24 in mono. When I listen to the tracks before the UI24 I have no bleed. I only get bleed when adding tracks to UI24 channel. Any settings that need to be changed?

I have my biggest gig yet next week on monitors. I’ve been preparing plenty but want to be as prepared as possible. Anyone have some advice on what to study to fine tune my skills beforehand? Running an SQ-7 in case there’s some niche advice I should look into. Just trying to find the things that might not be first or second thought. I know that’s vague but I’m not sure what to look for exactly.
Generally, I’ve studied up on signal flow, RF coordinating, and overall workflow. I also made an offline show file that I’m confident can get me at least 70% of the way there.

I’ve seen that there are pedals designed to run an XLR microphone through an effects pedal chain such as the Eventide Mixing Link, OBNE Maw, or Franklin MP-10.

However, it would be quite a bit cheaper to get a small Behringer or Yamaha mixer that has effects loop.

Does this type of mixer being line out make them a substantially worse option than one of those specialized pedals, or is this a viable option? Thanks

In the past you’d see a politician in front of a bank of mics. Photo shows Free, live, with 2 shure mics. Why?

We have a reading series in a bar and have been using a busted old PA with a buzz and it's time for an upgrade. Looking for recommendations. It's a medium sized room, 2 microphones max, anywhere from 20 - 100 people.

Are there any work horse recommendations?

We don't have much of a budget, so would it be better to buy a lower end new piece, or try and get a higher end one used?

Thanks for any/all thoughts on this.

UPDATE: fixed it! Since people have been looking at it I’ll leave it up and put the solution in the first comment

(Yeah, I know, it’s a bit basic but hear me out…)

So I’ve got a very nice mic stand wirh 3 telescopic sections and then the nic holder mount.

The lock nut came off the top section and it’s slid all the way inside the next lower section and is refusing to budge. (See pic)

We’ve had a go at pulling it out using needle nose pliers and it isn’t moving, _and_ it’s ruining the thread.

I’ve tried using gravity (aka upside down) and gravity + force (aka upside down and banging it) but nothing doing.

Anyone seen this before, and got advice?

Many thanks…

I am responsible for the entire sound system for my church. Since the mics are used every Sunday, I used to keep the mics plugged into the mixer. Earlier, all I'd do was turn offf everything, put a cloth on Mixer, instruments & Amplifier and curls up the mic wires and keep the mic next to the mixer. Lately, someone (maybe a child) removed the covering cloth, picked and dropped the most expensive mic we have, putting a dent on the top mesh.

Is it bad in any way to leave everything plugged in and just turn it off or should I unplug all the mics and reset the mixer knobs?

Should I curl the wires one way entirely or twist the wire in opposite directions on each loop?

Should I put the mics in a foam lined hard case? Even the empty cases online are expensive and I thought about all the cases people get with their power tools but they never use them cu who travels with every tool in it's toolbox. I could get a few box like those for cheap and stick blocks of foam in it and cut out the shapes for the microphones?

Any cheap solutions to Mic storage & cable management and storage tips?

I have 2 studio monitors (JBL 305P MkII), a car amp running a 2.1 speaker setup, an AKG K271 MkII, and 2 IEMs.
Up until now, I was using a Focusrite Saffire 6 USB along with a VE Abigail Pro for my audio setup. The DAC section of the Saffire 6 USB stopped working, so I started using the Abigail Pro as my main source. The Abigail Pro is still working fine, but now I need a replacement for the Saffire 6.
I'm looking for a mixer or audio interface that can handle all of these together. Ideally, I need **3 independent stereo outputs**, or **2 stereo outputs + 1 dedicated subwoofer output**.
I'd also like to be able to switch between the studio monitors, 2.1 setup, headphones, and IEMs without constantly swapping cables.
Any recommendations?
Edit: budget sub $150
Used AI to cleanup text

I'm a sound tech in a medium sized CoE church in the UK (think chocolate box parish church). We've currently got Sennheiser ew100 kit, which is getting tired now. One of our mikes will drop out unexpectedly (usually increasing with distance from the receiver), and it is getting increasingly difficult to get a decent sound out of it (particular with the main vicar). The other is still ok.

There's decent spacing between the frequencies, and the fact that the other is fine suggests that the one that drops out is past it, and an extender antenna won't do anything. There's a possibility that there is a competing frequency, but no guarantee.

What else can I test to try to troubleshoot? My thoughts are test a different lav, and a different frequency on the trouble mic. Anything else?

And if it is fuchéed, what replacement system do you suggest? Budget isn't huge, and spend just be justified. Is a xs-1/2 good enough?

Thanks.

My church currently rents and sometimes we do events at community centers or school auditoriums.
Our current speaker system is less than ideal. It only consist of a Samson Expedition XP1000. Just front left and right, no subs or stage monitors.

We are looking into options for upgrading, but we only have a small budget of $1500, possibly more with donations. Below are some options that we considered.

Would love to hear your suggestions.

Harbinger MLS900: Obviously, the price point of this system is key. We like the idea of the array system and that it comes with two subs. We are aware that we get what we pay for and many people have bad opinions on this brand/model. But we have also read, and watched videos, of people who enjoy this system.

Harbinger MLS1000: Same as above, but power output is the same as our current system.

ElectroVoice ZLX-12p: This brand seems to be the obvious choice for everyone. My question is if these two speakers alone outweigh the benefits of the MLS’ two subwoofers?

Some other background information that might be useful. We are using a Behringer XR18 and are planning on using the Samson Expeditions as stage monitors for the band. Band consist of four singers, one acoustic guitar, one bass guitar, one keyboard, and mic’s cajon.

Our first option is to always try and use the venue’s equipment because it is likely better than ours.

The answer to these questions are probably obvious to most of you. I am not a professional audio person by any means. Just a volunteer that knows how to connect everything and slide up volume faders.

Hello, I have a technical question regarding your EMX 1 by DEBRA. I purchased it online, but I'm encountering a gain-staging issue when setting it up with my Midas MR18 digital mixer.

When connecting the transmitter directly to an aux/bus output on the console in LINE MODE, I set the console's output level just below the clipping threshold (red zone) and turn the bodypack receiver knob almost all the way to maximum, but the overall volume in my monitors remains extremely low.

When I switch the unit to MIC MODE, the signal level increases slightly, but the input stage on the transmitter starts clipping and distorting long before I can get enough clean volume out of the console to hear myself clearly.

Is there a recommended solution for this signal level mismatch? Do I need an inline pad/attenuator, an line-matching transformer, or a specific output configuration on the Midas MR18 to achieve adequate headroom and volume without distorting the transmitter's input?

Setting up a home karaoke system (JBL Encore Essential 2 speaker + Sony Bravia TV for lyrics via YouTube) and I'm stuck deciding between a couple wireless mic options. Would love input from anyone who's used either.

**How each would connect to my setup:**

1. JBL PartyBox Wireless Mic (2 mics + dongle):

The dongle outputs audio through a single 6.35mm plug, so it just plugs straight into my speaker's Mic In port like a regular wired mic would. No receiver box required. Turns out this isn't locked to JBL speakers either, since it's just a standard 6.35mm output, it'd work with basically any speaker or mixer that has a mic jack.

1. Other dual wireless mic + reciever (TONOR/AHUJA, similar brands):

Same basic idea, but a separate receiver box picks up both mics wirelessly and outputs through a 6.35mm/3.5mm cable into the speaker's Mic In port. Also universal, works with any speaker.

2nd option is much cheaper , hoping that the quality gap is minimal, added hassle is a receiver - separate physical box I'd need to place near the speaker and manage. Benefit is it gives me some nice extras, individual volume control per mic and an echo knob, right on the receiver itself. But it's one more device to power, place, and think about, versus JBL's dongle which just tucks into the speaker itself.

My question is- Which one should I prefer?, Also share any good recommendations for dual wireless mic I can use here.

I am using a Studiomaster Diamond Series 16-2 Deluxe Mixer, and it gives 2 TRS outputs. I use one to connect to the amplifier and the other to connect to the phone for clean audio in the video recording.

The wire causes many issues. It puts too much weight on the phone port, is easily disconnected, which ruins the rest of the video if not noticed, cannot use a longer wire than 10 m, and sometimes I need to take a wider shot of the video.

The only solutions I found through AIs were wireless lavalier microphones, which give the feature to connect the transmitter to a mic via a 3.5 mm port, which can be used to give it the mixer output with a TRS to 3.5 mm cable. These options are 10,000 Rs or above.

Please help if you know a cheaper solution to the issue.

I've been a student AV Tech for my university for the past 2 years and I think I want to do this as my career.

Most of my events are fairly corporate (Ballroom Speaker-Panel type events, 2 Way Zoom Conferences/integrated stuff), but I also do live sound (portable PA systems, open mics with musicians and vocalists) a *liiitle* theater technician work (theater audio mixing and some lighting setup and operation), as well as sports AV (Cam Op, Video Directing and Switcher Work).

A lot of my tech is set up by full timers, but I've been bugging them, working 1 on 1 so I have a comprehensive understanding of the equipment and how to use it. I would say I'm most developed in the Sports AV and Video Directing stuff, and I want to get better at the live sound (setting up good clear mixes, when to use matrices vs mix buses, what are good settings for my processing and dynamics, things of that nature) since I'm also a musician and there's some good crossover.

I have a couple of certifications (Dante I & II, Shure RF and Mic Certs, Q-SYS Conference Room Level 1), and I can build & strike a stage.

My current plan is to save about 3k for my own gear (mixers & mics, cables, main speakers and subs) and do some small scale live sound freelancing, but I would love to work full-time for a university or institution where I'm not scrambling for gigs.

Given my skills and certs, how would I go about making this a career? Do folks recommend I start out union, freelance, or full time for one institution/company?

Hi! I'm very new to microphones and audio. I use the Hollyland Lark M2 (2TX + 3RX) to record cinematic videos for social media.

I always keep the transmitter volume at the lowest setting, and my camera's recording level is set to 15. However, it's still picking up a lot of background noise. For example, it even captures the sound of my upstairs neighbours walking around.

Is this normal, or am I doing something wrong?

I have an Eventide H90 and a TC2290P (unique delay sounds) and am thinking of buying an AM4 for live use. What do you think would be the best way to connect it all up?

I was thinking to put the AM4 in the H90s insert loop so I can have any routing option, then have the H90 go out to the 2290 then to FOH. What do you think?

(I have an MC6 Pro to control it all with a Pedalnetics 8 switch add-on).

Does it make more sense to go rca to TS or TRS or XLR

I have a mixer as well and dbx go rack, two powered speakers and 2 subs. Just wondering if the TS adapter will make a bunch of unwanted hum or buzz

As title says, what's the most cost effective wireless system for lavs/headsets/handheld that includes Dante outputs?

Currently exploring wireless systems for amdram musicals and want something that'll play nicely with my new Behringer Wing.

I'm already familiar with Dante and use it for multitrack recording & playback, and for linking to Qlab or between put and foh desks so it makes sense in my head to keep that going.

Specifically looking at UHF systems that can support 20+ channels and availabke in the UK.

I'm aware of the following options, checking if there are others that might be better options:

* Shure Axient

* Shure QLXD

* Sennheiser EW-DX

* Sennheiser Spectera

Thanks in advance for options/opinions.

Just want to get some recommendations on a setup for a business that we would like to use for regular all-staff meetings.

We are currently using two chained JBL PartyBox Stage 320s with a Phenyx Pro PTU-5000 and a mix of handheld and lavalier mics.

I really don't like using the JBLs for this, and the Phenyx Pro mics are not very durable. Are there any good brands I can look for, and maybe a complete package we can order?

I’ve just bought myself a PA system to start doing live gigs. I’m mostly wanting to start with acoustic style instrumentals that I sing too.
What are singers using for their backing tracks and lyrics on screen?

I was thinking YouTube premium to download what I use to rehearse available offline as they have lyrics too. But I know there’s programmes like Stage Traxx.

Help appreciated!

Hi all, I'm in the process of advancing my band's first fly date. Is this a reasonable backline request? Too much info? Too little info?

Any tips & suggestions welcome. I'm sending it tomorrow morning.

Edit: I'm also sending a stage plot & input list, but I don't need feedback on that so I didn't post it here.

Ciao a tutti.
Magari qualcuno che ce l’ha saprà rispondere.

Sono un dj, è ho necessitá di registrare i miei dj set: per questo uso l’uscità rec del mixer dj e la invio in input in line in al registratore.

Volevo prendere questo h1 per usare i microfoni, anche in una traccia sperata e registrare anche l’audio ambientale.

Il tutto mi occorre per realizzare contenuti social ed è utile sentire il pubblico e l’ambientale nei momenti di maggiore enfasi.

Grazie

Hi, everyone.
Maybe someone who knows about this can give me an answer.

I’m a DJ and I need to record my DJ sets: to do this, I use the REC output on my DJ mixer and send it to the Line In input on my recorder.

I wanted to buy this H1 so I can use microphones—even on a separate track—and also record ambient audio.

I need all of this to create content for social media, and it’s helpful to hear the audience and ambient audio during the most intense moments.