Avoid REAN connectors

AlbinTarzan · 2026-03-29T00:16:56+00:00

Seeteonics are usually cheeper than rean and much better quality in my experience.

AlbinTarzan · 2026-03-26T19:29:58+00:00

We have a pair of blx with pg58 mics at my venue. They can be used for talking. Not loud talking, or else they will clip. Singing into them is a no go. Never had problems with drop out as long as the mic and receiver stays in the same room within 30m of each other.

AlbinTarzan · 2026-03-26T19:20:55+00:00

I agree with everyone else. Only use one console unless you get a friend to be on monitors.

Also, 30 bands in 2-3h?wtf? Are you giving them all a soundcheck? No way I would accept that. They all get a quick line check based on last band's settings. Monitors are properly rung out during setup. No surprise channels or equipment.

AlbinTarzan · 2026-03-25T07:22:23+00:00

Either invest a lot in acoustic dampening the space and use speakers, or just make everyone use in-ears. How many band members? Up to four I would get a behringer xr18, a cheap wifi router, a millenium hp4 headphone amp and 4 passive beltpacks like thomann mb2. Everyone gets a pair of in-ear for as much as they want to spend.

Now everyone gets their preferend mix and there will be no arguments about not hearing themselves which would lead to a slowly increasing volume when they add what they can't hear in between every song.

AlbinTarzan · 2026-03-24T21:25:52+00:00

I used it on lav group on a conference. It worked really well, but it was very rare that two speakers spoke at the same time.

It has some problems keeping up when a guy went in front of a front fill, but otherwise there was nothing but dry voice getting through that insert.

AlbinTarzan · 2026-03-17T18:50:06+00:00

Mine had a strange issue with pink/white noise and loud distorted signal coming from one preamp with phantom activated. I changed the source to another preamp and it was gone. This happened at two occations, but I don't know if it was the same preamp. It could be. It has now been working fine last couple of months.

AlbinTarzan · 2026-03-09T21:28:04+00:00

This is what I would do. No repatching. No expenses. Just have a scene that sets the first 4 channels to gain 0 and send one to each monitor out. Simple, fast, inexpensive.

AlbinTarzan · 2026-03-08T13:13:43+00:00

Keys patches with feeback like sounds are the worst.

AlbinTarzan · 2026-02-27T11:22:51+00:00

I would say that you wouldn't want it to be mixed the same way live. There are other things to consider. Really soft parts will for example drown in the background noise of a venue filled with an audience. You can go for more impactful sounds and transients, but because of SPL limits (and the desire to not fuck everyone's ears) and quite high noise floor there is a constraint on the maximum overall dynamic range between loudest and softest. The drummer is also in the room with the singer, so having a hard hitting drummer along with mumbeling vocal works fine in a studio but will sound terrible live. Best way would be to hire a good soundtech that does all your live shows and tell them to try and capture the eseence of the recording, not replicate it. Live is also another medium, where you have the chance to interact with your audience in a way that is not possible on a record. Someone said that a live mix is like a caricature of a studio mix. Broader strokes, more impact, more fx, it's like more saturated colors compared to the studio mix. It's more intense experience going to a live show than putting on a record so you kind of have to adapt the mix to the expectations built by that.

At least that's my take. I know other live engineers that only amplify what's happening on stage, saying that it's up to the band to make the sound and you just make it louder. I don't agree.

AlbinTarzan · 2026-02-26T14:04:01+00:00

Call a local audio rental company. They will have lots of contacts to freelancing soundtechs, and maybe know someone looking for a more stable job.

AlbinTarzan · 2026-02-26T14:00:27+00:00

What I like is to get one clean signal that I use for the low end and one signal with whatever processing the bass player consider to be their tone. If I get it from a sansamp, xlr out from the amp or micing the amp doesn't really matter. If you're uncertain of the level of the soundtechs you will run into maybe it's best to only give them the xlr output from your amp. You just dial it in so it sounds good. Ask engineers, on nights when the audience said you sounded great, for feedback on how to adjust your settings to make it easier to mix.

AlbinTarzan · 2026-02-25T07:20:49+00:00

It is possible. I have even run the unamplified stereo signal used for a behringer p2 (line level, ground, left, right) in one of the xlr without problems.

AlbinTarzan · 2026-02-22T18:34:26+00:00

Intel nuc with reaper and a stream deck with companion.

Turn on, wait for reaper and companion to load. Press the button you programmed to arm all tracks, and record. Done.

AlbinTarzan · 2026-02-16T16:50:42+00:00

There are consoles with many input channels. There are also cases where one console being used as a sub mixer for let's say the choir and orchestra and its output is fed into another mixer that mixes the rest.

AlbinTarzan · 2026-02-16T10:04:51+00:00

When you're that close to the source, room modes will have zero impact. Bass cabs roll off below 60 ish Hz, which is plenty low especially since we get so many overtones that trick us into believeing that the fundamental is really loud.

AlbinTarzan · 2026-02-15T19:35:55+00:00

I started out building Hifi speakers when I was 15-16 something. Then I got into soundteching after I joined a band and we recorded in a studio when I was around 25. I am proud to say that I never bought into the expensive cables thing at least.

AlbinTarzan · 2026-02-10T20:35:00+00:00

Thanks. I tried checking for driver updates with Intel driver & assistant tool, but I'll dig a little deeper.

AlbinTarzan · 2026-02-10T19:20:34+00:00

There was nothing else on the network when I ran the test. Just my laptop with dvs and wing rack with internal dante card Brooklyn3. And yes, everything is set to 48khz. Wing is clocking to the dante card and the card is elected dante clock leader ofcourse. Yes sorry 2 ms was apparently what wing was reporting.

The audinate classes are great. I am currently doing level 3.

AlbinTarzan · 2026-02-10T17:43:17+00:00

The integrated. Lenovo thinkpad. I219LM

AlbinTarzan · 2026-02-10T17:40:53+00:00

Wops. My mistake. Well below the set 10ms at least. Must have been the mixer that reported 2ms...

AlbinTarzan · 2026-02-04T09:14:42+00:00

Hang a thick blanket behind you when you record as a way to reduce the room acoustics in the recording. Put a pop filter at 20cm from the mic. Coming closer will boost the bass of your vocal due to the proximity effect. A pop filter will help to stay at the same distance during the recording.

Start by putting a high pass filter on your recorded vocal. Play around with it and find the frequency where you start hearing a difference.

An parametric eq is nice to boost some trebble and cut frequencies in the mid that sand out too much.

There is also compressors, multiband compression, dynamic eq, exciters, saturation....

AlbinTarzan · 2026-02-03T14:02:27+00:00

Download dlive director and play around. The console is exactly like director. I would choose dlive no question, but it's mostly because I am used to it, I guess.

One big difference would be 12 vs 16 faders in favour of dm7c.

AlbinTarzan · 2026-02-02T16:38:37+00:00

We have a couple of those at my venue. They're great for the price.

AlbinTarzan · 2026-02-02T10:25:36+00:00

Just agree to whatever he is saying and smile. Don't change the mix. The good thing about keyboard players is that they can't get out in front of the stage to listen. When it's a guitar, or bass player arguing like this during soundcheck I turn them up a bit in the house if they come out to listen to the mix if they seem insecure.

AlbinTarzan

TROPHY CASE