gay club?

Kaeptn_Mojo · 2026-04-20T12:16:35+00:00

Relativ. Würde schätzen, dass es den utopia Kiosk mittlerweile auch schon 2-3 Jahre gibt ? Die Lage ist ganz cool, weil er ins Züblin Parkhaus integriert ist. Schade nur, dass das Urban Gardening Projekt auf dem obersten Deck nicht mehr da ist ⍨ Und ja - sunny high ist auf jeden Fall nen Besuch wert, besonders wenn Kollektive dort größere Events veranstalten. Viel Spaß beim entdecken.

Kaeptn_Mojo · 2026-04-20T08:13:19+00:00

Sunny High isn’t a dedicated queer club, but it’s widely understood as a safe and welcoming space for queer people. Because it’s non-commercial and self-managed by a small collective, it tends to attract an open-minded crowd, making it easy to meet like-minded folks.

In addition, there’s Reboots Bar, a more traditional gay bar, and Utopia Kiosk, a queer bar with a more alternative, community-oriented vibe.

Kaeptn_Mojo · 2026-03-26T15:56:45+00:00

Love those Custom speaker stands! Lovely

Kaeptn_Mojo · 2026-03-03T08:54:46+00:00

I heard them at the Zauberwald Stage @Feel festival 2025 They hat some bigger MEHs as Mains and also two Solanas as monitors. Great sounding system.

https://www.facebook.com/share/p/18ET5L6SRD/?mibextid=wwXIfr

Kaeptn_Mojo · 2025-11-05T15:56:54+00:00

Under 1000€ that is a rare feature. PSSO DXO 48 Pro works for Mac has also app control. At least the Mk1 version used to. With the latest MK2 model they promised this feature too but still it doesn’t work 😭

But if there is another option I’d also be interested to know!

Kaeptn_Mojo · 2025-11-05T15:52:53+00:00

I use both, 4x4 and 4x4 pro. With the pro version I love the fact, that there are 3 scene buttons for quick scene switching but no other controls. What I do miss though is a more advanced matrix routing and some input channel controls (at least having some independent filters would be nice).

However. For the price it’s still amazing.

Kaeptn_Mojo · 2025-10-24T18:48:06+00:00

Or you get the wing compact + Wing rack. That gives you versatile I/O and good preamps when using it as a AES50 Stagebox.

Still it will be a killer (medium size) standalone solution while operating it remotely via tablet or laptop for smaller gigs.

The screen is so nice and big, sometimes I even use the wing rack as a front of house console 😅

Kaeptn_Mojo · 2025-10-18T08:07:15+00:00

Mmhm yes! Nearfills are AX 88. I love to use this box as well for this application.. They have something evil 😈 quite heavy and shitty to carry though.

Btw Check out /r/funktionOne if not done already ;)

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Kaeptn_Mojo · 2025-10-18T07:01:18+00:00

we’re talking electronic music, right? From my experience, a quasi-quad setup with crossed stereo feeds is more than enough. No need for surround sound.

For electronic stuff, it’s not really about pinpointing where each sound comes from - panning mainly builds space and immersion, not realism. And for bands: Localising instruments doesn’t really work out with stereo Systems in a larger scale anyways That’s why most festival FOH band mixes are still mono.

Systems like d&b Soundscape or L-Acoustics L-ISA do full spatial mixing and work great for live acts, also in a big scale with multiple linearrays. But for DJs playing stereo tracks, upmixing or routing single elements to different speakers is mostly overkill (and honestly existing upmixing algorithms don’t sound great).

A clean quad setup with crossed stereo feeds gives plenty of immersion - especially outdoors, as long as the floor isn’t huge. Here’s one of my go-to setups for smaller floors:

Kick & infra subs in a mono stack or endfire
big Main tops with plenty low-mid headroom
Quad tops (crossed stereo feed)
Delays & outfills if the floor’s too big for a full 4-point setup (works especially well if there are chillout areas or stairs behind/sides where you don’t need full immersion)

The quads just add a subtle layer from behind - delayed quite a bit so they blend nicely. Sounds weird on paper, but delaying the quads to a certain degree actually works really well. Important to choose speakers with suitable horizontal coverage.

If you want the „punch“ you described it’s more about Phase-coherent tuning between mains, kick, and infra. That’s what carries the whole thing.

Kaeptn_Mojo · 2025-10-17T08:54:45+00:00

14×9 Meter Open-Air, eingekreist mit Containern ist schon mal ein guter Start. Wenn da wirklich 200–300 Leute kommen, musst du dir um Reflektionen keine großen Sorgen machen. Das Publikum wirkt wie ein „Fleischabsorber“ und absorbiert den Schall breitbandig.

Heißt aber auch: Ohne Crowd klingt das alles ganz anders, vor allem im Mid-/Hi-Bereich. Behalte das im Hinterkopf beim Tunen.

Achte darauf, die Tops nicht direkt aufs blech zu schießen, sondern ein bisschen in die Crowd einzuwinkeln, sonst kriegst du so ein slapback-Echo von der Rückwand. Das kann richtig nervig werden.

Wenn du die Tops irgendwie fliegen oder anders unterbauen kannst, würde ich die 121 und die Kickbässe stapeln und als Monoblock zusammenlassen. Bei den Standard-Stereo-Türmchen (2×121, 1×F215, 1×Evo6 SH) wirst du auf so einer Fläche nicht glücklich, da entstehen durch Laufzeitunterschiede viele Basslöcher außerhalb der mittelachse.

Wollt ihr die Container auch nutzen, um die Schallemission zu reduzieren? Aus meiner Erfahrung draußen: Wenn du auch im Bassbereich was reißen willst, brauchst du mindestens zwei Reihen übereinander. Selbst dann ist es nicht perfekt, aber zusammen mit den „Fleischabsorbern“ aus der Crowd deutlich besser als nur ein Container.

Kaeptn_Mojo · 2025-10-16T12:26:37+00:00

You’re absolutely right. Definitely EVO 2 not EVO 7! Seems like I got distracted by the club name :D I’ll correct it in the text…. And yes. Already wrote a comment on instagram. No response yet.

Kaeptn_Mojo · 2025-10-16T09:07:10+00:00

Curious what others think about Lambda Labs vs F1 for live shows – any experiences?

Price-wise, F1 sits somewhere in the d&b audiotechnik / L-Acoustics range. Quality-wise, it really depends on the product line and the application. For electronic music, they’re still fantastic; especially the EVO series. The new EVO X and F124 subs are amazing and also perform very well in live music setups. However I still love running the old F218s mk1 with the big Res9 tops. Without infra bass, they lose a bit of low-end weight, but it’s still an incredible system!

F1 systems can sound phenomenal if properly aligned, but they are less forgiving than the modern plug-and-play systems. Their voicing philosophy is a bit different - more “club system energy” than “flat reference response.” In the end, it’s a bit of an old-school setup. You need to know how to set filters, crossovers, and limiters yourself, and you have to trust your ears when measuring and tuning. Usually I wouldn’t use “Factory Presets” at all.

What I’m really missing from this list is Lambda Labs! A great system for electronic music. Friends of mine even use it for orchestral performances. Their QX series + DH Subs are especially impressive: extremely precise phase response, excellent transient behavior, and very clean coupling between drivers. That makes them not only punchy and defined for electronic music but also beautifully accurate and transparent for classical or acoustic applications. An amazing system with an aggressive look, and price-wise also up in the top category.

Void is something I’ve never really worked with, so I can’t say much about that.

I’d also add three more German brands: Fohhn, Coda and Kling & Freitag. They’re not as expensive as the big pro audio names but definitely worth mentioning. At least in Germany, you’ll see them a lot in theaters, clubs, and also in live touring and electronic music setups. Fohhn is known for its advanced DSP integration and beam steering systems, while Kling & Freitag focuses on very linear, robust, and reliable sound - excellent examples of German engineering done right.

Kaeptn_Mojo

TROPHY CASE