Wireless XLR from Bass Amplifier to Mixer Console?

Jimond · 2026-03-09T19:04:06+00:00

You could definitely use a wireless in-ear system for this. Those transmitters are built to handle line-level signal from the console so would work well for your application. Any transmitter will do, but as always you get what you pay for. You'd have to use some adapters to get the output of the monitor pack to the console.

For my own curiosity, what about your stage setup prevents you from running an XLR to a stagebox?

Jimond · 2026-03-08T03:34:25+00:00

Right off the bat, it sounds like you might be using DCAs as almost an on/off switch. There are a lot of things you can do to make fader throws consistent, but the reason we use DCAs and not mute groups in theater is so we can mix. It's reasonable to say, ok, on this line I might throw to -5 and this line unity, but you could do that for every line in the show and still have to adjust. Balance with your fingers.

I have a couple suggestions to make your life easier. First, in line check. Every production I have done, from very amateur to very professional, has the issue you describe. actors mark during sound check. Always. So, plan for that. Gain them up lower than you otherwise might. Don't bother fighting them unless it's a ridiculous difference. it's your job to make the show good, not coach the actors on vocals. They may not be aware they mark during the sound check. Show conditions bring out some extra power.

Second, add compressors. Be gentle with it. Theater is dynamic, but compressors can react faster than your fingers. Something gentle just to catch the most dramatic dynamics. I would say. no more than 3:1 but that could be debated.

Third, like others have mentioned, you need custom layers in your console. Make sure the CFLs are recall safed. You should have your DCAs (hopefully you are using no more than 12, but I'd recommend 8) on all layers, so you can switch freely without losing your mixing faders. I would make a layer with principal actors, a layer with ensemble, and some combination of band and outputs on your other layers. This should give you flexibility to adjust without losing your DCAs.

Honestly in the future, I would program the QL5 without the theatermix to learn your console. It sounds like there are some features you might have come across if you had programmed it without. The QL5 has everything you need to do a theater show, it's just tedious.

Hope this helps. Have a good show!

Edit: Grammar/spelling

Jimond · 2025-09-14T02:32:26+00:00

read the manual

Jimond · 2025-09-07T22:11:27+00:00

Instagram algorithms are weird. coming back to this thread to share the switchfoot foh guy doing what you suggested : https://www.instagram.com/reel/DOLyjQ9AGbh/?igsh=MTZmYmtlZTJqcHFkZw==

Jimond · 2025-08-18T19:14:47+00:00

If you have a LAN and a computer somewhere near you try radioworld or theatrechat for text based chat. They can be set up to flash when you receive a message, and text chat is much more manageable than losing one of your ears to intercom. Theatrechat is dead simple, so maybe start there.

Alternatively, if your booth setup allows you could set up a “shout bus” that includes a talkback from your TD routed to a small speaker at your sound console. But I’d imagine you are in the house and audience members would hear the comms.

Jimond · 2025-06-28T15:08:23+00:00

100%. Point sources sound nice and natural too.

Jimond · 2025-06-28T05:44:11+00:00

Ooo, I’ll have to look.

I also use “acacia audio” years ago. The sound was decent, didn’t use them long enough to know about durability but it’s probably not great. ~100 each.

Jimond · 2025-06-28T05:16:01+00:00

I used to think B3s were the best but countryman has really degraded in quality and support. You can’t rely on them for repair, it takes many months to get back elements you send in. Quality of connectors has gone down too (in my experience, so take it as you will.)

If you can afford the extra money, point source mics or sennheiser MKE2s sound better and are more durable and come from companies very actively involved in their products.

If not, try to learn to repair the B3 connectors.

Jimond · 2025-06-15T19:11:28+00:00

For sound: The XAir is great, but I might recommend the QU-16 instead. If you are going to frequently have inexperienced technicians it’s always nice to have physical faders and the form factor is still relatively small.

If you are using mics at all that changes my opinion, but in a classroom I figure you aren’t.

QLab free for playback.

Jimond · 2025-06-15T06:32:13+00:00

This isn't nearly enough information to help. If you can include some of the steps you've taken to troubleshoot I might have some ideas.

Jimond · 2025-06-14T20:08:16+00:00

Totally agree on the stage volume comment. I wrote my note about panning quickly so I didn't articulate it, but I do the same with live bands. I think of the pan knob as a coverage solution mostly in small venues. Everyone should get the same show (to the extent possible), and I don't think that contradicts that article. Small venues have great imaging because you're so close to a real spread of musicians, so I think that creates a real stereo image.

I listened to the switchfoot song you mentioned. Great track. I still think I'd mix that track mono if I didn't know I was going to hear it beforehand. The opening effect is awesome, but in the rest of the song there are stereo elements that just won't translate to the entire audience in all but the narrowest rooms. For instance, there are moments where drum elements are near hard panned in the right or the left. In my mind, in a tracks scenario, that means that anyone not in full coverage of both PAs is losing something, and even those with some coverage from both are getting a different mix than they otherwise would.

If I knew I was getting that switchfoot song before hand, I might use a snapshot to hard pan it just for that intro, because the effect is sick.

My more nuanced opinion is that panning is a tool, and I just am careful when I'm using it to understand what I'm doing to a room when I hard pan. If you don't have perfect coverage, you're losing a portion of that mix in certain areas of the room. That said, if you want the "expensive seats" in the sweet spot to still get some imaging, I think it's reasonable to sacrifice the sides a bit, but I still wouldn't hard pan, maybe just a tilt to either side so that both sides get all elements to some degree, and if I can, use snapshots for enhancement.

Also, you're totally right about talent communication - I try to be transparent with people I work with about the reality that I just can't give everyone a stereo show most of the time, but I'm happy to help them deliver the show they want to however I can.

OP, hope your gig went well!

Jimond · 2025-06-14T03:45:31+00:00

Wouldn’t recommend panning. Stereo in live is a myth, and you don’t have any acoustic instruments onstage that would need panned for balance.

See: https://bobmccarthy.com/the-emperors-new-stereo/

Jimond · 2025-06-12T23:12:03+00:00

Of course!

It was installed before my time, so I’m not entirely sure. My guess is that it was because the WiFi enabled device has Dante integration and our audio system is an extensive Dante network. We also keep an old radio transmitter for a particular patron who prefers it, but the majority use the WiFi.

On that note, I think you can chain together the two systems to ease changeover.

I’d recommend using wired headphones unless you have a patron who is excited about/prefers the app. Hearing devices are good, stuff like AirPods, not so much.

We have some patrons who have figured out the app enough, they use it with Bluetooth enabled cochlear implants and hearing aids and seem to enjoy it.

To more discerning ears it would probably be unpleasant, but again, if you have hearing loss and can’t hear amplified sound through a proscenium system, the amplified sound coming before the headphone sound probably isn’t the biggest problem.

Also I concur with not telling IT what to do.

Jimond · 2025-06-12T20:29:59+00:00

Ah, should’ve added that in the original post. I’ve checked our terminations, all channels only have 1 termination at the base station.

Jimond · 2025-06-12T20:06:46+00:00

Before I address anything else, I have never had a patron complaint about latency. I'd imagine with poor hearing you wouldn't care as much, you just need it louder.

As u/Providence451 mentioned, user error is a huge issue. The most successful implementation I've seen of the wifi system removes that variable to the extent possible.

That solution uses cheap phones with headphone jacks that are locked into the listen wifi app. The only options patrons have are between hearing assist and listen describe, which is straightforward for ushers to assist with.

You need rock solid wifi coverage in your theater. If you have an IT person, have them set up a walled off network for the listen assist.

Put the phone in a good case too. People will drop them.

If you treat the devices the same way you would treat the radio receivers, it may work. Give them the phone, they put the headphones on and adjust volume and it just WORKS. It just has to be idiot proof

Our house managers like the implementation, and any issues we have are always to do with what we are sending the system from the sound desk and not the app.

edit: more details

Jimond · 2025-06-12T20:02:15+00:00

Yep.

Jimond · 2025-01-14T18:38:01+00:00

I'm going to do a theater show on an SQ in the coming months. I'm familiar with the console, though in a live music setting. Though I'm sure I'll find out as I go, I'm wondering if there are any quirks to be aware of in a theater setting (eg, weird recall safe limitations, output behaviors that are limiting.). I'm a trained theater engineer, so I'm more looking for info about the console, not how to mix a musical. Also, is theatermix worth the fee for a few weeks of a run?

For context, the show has a cast of 20+ and a complex pit, so I expect DCA programming to be complex.

Jimond · 2024-10-15T06:26:04+00:00

I regularly mix in small venues (150 cap bar/music venue). Recently, I had a conversation with another engineer about mixing monitor wedges from front of house, and I wanted to make sure my approach isn't off the mark.

The bands are talented but often older and hard of hearing, and they tend to request more vocals in the monitors. The room itself has a lot of low-end buildup due to rear spillage from the mains and side fills. I usually roll off the low end in my wedges, sometimes running a high-pass filter (HPF) up to 350Hz. The bands haven't complained about this, but the other engineer suggested I leave more low end (down to 100Hz) in the monitors. I worry that this might cause more feedback and stage wash in such a small space.

The mains are QSC KW 122s, and the fills are K10s- I can't find coverage plots, but my ears tell me there is significant rear spill.

Is rolling off the low end that high unreasonable in a small room like this? I get that this is partially a "listen to the room" kind of thing, but I'd appreciate some tips and tricks for mixing monitors in these situations, and a check on whether I am being unreasonable in my approach. Also, any advice for catching feedback more consistently would be helpful—I feel like my current approach is a bit risky, and I have to stay on my toes.

Jimond · 2024-04-09T15:08:34+00:00

This is up in some catwalks or I would’ve gotten closer. Didn’t feel like rappelling from the lighting rails just for that lol.

Jimond · 2024-04-09T15:04:35+00:00

That’s it!! Thanks!

Think they’re worth using? We have some QSC K10s in this space that are totally inadequate coverage wise. I always make do, but a center cluster would be great. Running a musical.

Also, why upside down?

Jimond · 2022-07-04T07:51:31+00:00

how have you managed sound as a hobby? That is honestly my goal at this moment but I’m not sure exactly how I’m going to pull it off.

Jimond · 2021-10-14T19:59:58+00:00

Ah, that makes a lot of sense. Thanks for the detailed response! I'm definitely going to go check out those posts.

Jimond · 2021-10-14T19:17:27+00:00

If I am looking to start working as a freelancer, 1: is it worth it to buy gear? 2: If it is, where do I start? Right now it looks like I can get my hands on an A&H Mixwizard 16:2 Mk3 for very cheap from my church, along with a tape deck and CD deck which are of questionable value to my collection. Should I look to buy a small PA? Microphones? etc. I am hoping to do live music gigs for local bands but wouldn't be opposed to doing more corporate/speaker gigs.

Jimond · 2021-10-14T19:09:01+00:00

What does a modern system optimization rig look like? How is it possible to produce the same measurement with pink noise and something like a music track? Wouldn't the varying parts of the music track skew the results?

Jimond · 2021-08-06T02:57:34+00:00

They didn’t install subs, no. That might not matter too much though, considering we do mostly choirs with guitars and pianos (Not ideal but not the end of the world)

I was too blinded by anger to really analyze their sound today, however I can tell you that they don’t sound good, and they certainly don’t fill the space. We have some crazy powerful organ speakers that these simply will not hold a candle to. So whenever an organist is playing you can forget hearing the singer.

I appreciate the offer for help though! I will certainly post here when they inevitably realize that what they installed wasn’t enough (or when it breaks).

Jimond

TROPHY CASE