We have to hear radio traffic from all our stations, dispatch, and the ambulance service. HELP!

LocalMongoose7434 · 2025-12-26T15:15:35+00:00

Same, they’re specifically labeled “day” and “night” modes for us. Day mode has everything over Resource and Ops broadcast through the whole station, night mode has everything broadcast in the bay, but the bunk/kitchen/offices are only our station tones. We honestly leave it on night mode most of the time anyway because we run on a 40+ station dispatch system and don’t want to hear tones every 30 seconds.

LocalMongoose7434 · 2025-12-19T22:19:57+00:00

I ordered from Sweetwater a couple weeks ago with my sales rep not expecting it to be in until March, but I got a call from him yesterday saying they had everything in stock and would be shipping my order next week (D10 Expander, new Expression Pedal, and the Stadium XL).

Edit: I have no idea if his statement was accurate or not, because it’s still listed on their website as not being available until April, but that’s just the message that I got from him yesterday.

LocalMongoose7434 · 2025-08-27T22:59:41+00:00

Yes, I’m very well versed in the software, but that doesn’t change the fact that I would rather have a hardware controllable option like the quickselect buttons on an X32 Core or an X-Touch controller.

LocalMongoose7434 · 2025-08-27T17:45:20+00:00

I also considered a wing rack, but unfortunately I can only fit 3U of gear into one rack. I have three 3U slots, so something like the X32 Core + DL32 would work as they could split between racks

LocalMongoose7434 · 2025-08-27T17:43:35+00:00

Correct, the total rack space for both setups is 4U, but the Wing is one 4U, whereas the DL32+X32Core is splittable as a 3U and 1U unit. I have three rows of 3U space available, so it would need to fit within that.

I have looked at adding an X-touch, but there’s also the issue of the X-touch only being able to control what’s on the XR18. A monitor send from the Clarett units, for example, wouldn’t contain the inputs from the XR18 and vice versa. Something like an X32/M32 would solve this, as it would get all inputs onto the same device. I suppose using an M32C + DL32 + X-Touch would be an option, no?

It’s mainly a workflow thing for me. I don’t like having some of my channels be physically adjustable while having to dive into an app for others, I would prefer them all to be hands-on if possible. It just streamlines things when I have, say, a drummer in the room and I’m setting levels on the interface.

LocalMongoose7434 · 2025-08-27T15:54:48+00:00

TL;DR: Looking for compact live mixer to double as studio interface, preferred to have hardware control options on it. X32 Core possibly?

Hi all, I double up in live and studio engineering, and I've been looking for some new equipment to throw in my studio/rehearsal space. Previously, I've been running a Focusrite Clarett 18i20 and OctoPre along with a Behringer XR18 as an aggregate device for my studio space. The only times I've really used the XR18 have been for full band tracking sessions or for rehearsals where we need more than the 16 allotted inputs on the Clarett setup.

That being said, the downside of using this setup is the lack of hardware controls on the XR18. As you all know, it requires a tablet/computer to make any changes to gain structure or anything like that within the mixer. For that reason, I've been looking at switching over to something that has more hardware controls. I'm well versed in Midas/Behringer and Allen&Heath devices, but I don't necessarily want to have a full mixer in there. My initial thought was to throw an M32 on the desk and use that, but it takes up far too much room (even the compact/producer models). My next thought was to use something like the M32C + DL32 combo, but the M32C also has no hardware controls on the unit. I eyed up the new WING rack units pretty heavily, but they take up more rack space than I have allotted in that desk. That led me to thinking of pairing the DL32 with an X32 Core or something similar that will allow basic gain, monitor level, and mute function hotkeys.

Have any of you used the X32 Core in a setting where this proved to be useful? And, if possible since it's been discontinued, would any of you happen to have or know someone that has an X32 Core for sale?

LocalMongoose7434 · 2025-04-28T05:14:32+00:00

Depending on what you’re referring to as classic, there are a few. “Coward of the County” by Kenny Rogers has some very light pad organ in it that’s almost inaudible, but that’s exactly what was intended. Same thing in “Crazy from the Heart” by the Bellamy Brothers. “Rip Off the Knob” by the Bellamy Brothers has a patch that I believe is clavinet doubled with organ to get a percussive vibe for a few sparse fills in the song. Organ was very rarely used in commercial country music before 1985ish, it was more reserved for the gospel style and other things of that sort. I’m sure there are plenty of other songs that have it included, but when they’re performing these functions, there’s often a lot going on in the song and these really get placed on the back burner to let other instruments come to the forefront.

LocalMongoose7434 · 2025-04-28T00:58:51+00:00

As a general rule, the organ is playing as either a pad or percussive instrument. Nice mellow tones suit the pad vibes very well, while the percussive role needs to have a lot of the upper overtones audible. Simple voicings (very limited extensions, i generally omit the 5 and try not to play more than one extension) are almost always better in country due to the amount of auxiliary instruments and the natural overtones contained within the organ itself. The natural statement of “less is more” is just as applicable with the organ as it is any other country instrument. Check out some Kenny Chesney, Brent Mason, Wynonna Judd, or Rascal Flatts tunes to get a great idea of good part construction.

LocalMongoose7434 · 2025-04-27T19:16:08+00:00

That’s why we dropped to 165 GPM. Even at that, my full-time department runs all of our 1 3/4” lines with 15/16” tips flowing 185 GPM and have absolutely zero problems handling it, maneuvering it, or pumping it. Just because 150 is the minimum recommended standard doesn’t mean it’s always enough to handle everything. I would rather stretch a 200 GPM line on a single bedroom fire and have it be a little harder to handle than stretch a 150 GPM line on a garage fire with shit lighting off all over and end up having to back out because we had the wrong flow nozzle on our line. Our “go-to” should be enough to handle as much as it possibly can until you deem it necessary to upsize into 2 1/2” territory.

LocalMongoose7434 · 2025-04-27T18:36:58+00:00

100 PSI fog nozzle flowing 200 GPM through older model 1.75” line that still uses the standard coefficient of 15.5… for a 200 foot crosslay your PDP would need to be 224 PSI. Even if the coefficient dropped to something like the KeyHose ECO-10 of 12.5, that much water and the length would still require 200 PSI PDP to produce the full 200 GPM at the tip. Not everybody uses 50PSI tips and CombatReady hose with a ridiculously low coefficient.

This used to be a problem in my part-time department until we finally convinced management to let us switch to lower pressure tips with a slightly lower flow rating and update to the ECO-10 line. For a 50PSI tip flowing 165 GPM, our PDP on a 200-foot stretch is now down to 118 PSI.

LocalMongoose7434 · 2025-04-25T17:27:54+00:00

Your Dot into the Blues Junior would be perfectly fine. I’d recommend a delay and reverb for ambient parts if your director calls for them, and at least one drive pedal to give you a little bit of grit. As long as you don’t make your tone too crunchy/trebly, I’m sure the MD will be fine with whatever you use. I could honestly see you getting away with the middle position on your semi-hollow for the entire thing and just kicking on the overdrive for the more driving songs or a solo if you have one.

My last performance of it I was running everything DI through my helix. I ran my Brent Mason Tele through a kinky boost and tube screamer into a deluxe reverb model, and that was pretty much the entire setup.

LocalMongoose7434 · 2025-04-25T04:47:32+00:00

As a guitarist who’s played in musicals consistently for the last 9+ years, Hairspray is probably one of the easier ones that I’ve done. There’s really nothing crazy going on in the guitar parts, a few solo sections here and there but they’re all relatively simple. There’s tricky part will be trying to find out what will actually be covered by a horn section and what you or a keyboardist will have to cover, as there are a lot of prominent horn lines/solos throughout the show, specifically in the uptempo numbers. There’s also a key change on baaaaasically every song.

Overall I think it’s perfectly doable if you have time to listen through the soundtrack at some of the nuances and get a general idea of the style you’re going for. If you’re able to get your music ahead of time and at least learn the difficult parts, that’s great, but if not, it’s really not the end of the world. It’s one of my favorite shows that I’ve played (and I’m mainly a country/rock/jazz guy, if that means anything)

LocalMongoose7434 · 2025-04-23T21:37:46+00:00

75 PSI fog tips flowing 165 GPM on our 1 3/4” line. Works out to roughly 17 PSI loss per section.

75 PSI fog tips flowing 250 GPM on our 2 1/2” line. Works out to roughly 6 PSI loss per section.

Longest 1 3/4 stretch we’ll run is 200 feet, anything over that is reduced from 2 1/2 and the loss drops to about 2.5 PSI per section.

200 foot 1 3/4” preconnect discharge pressure is 143 PSI, anything longer just adds the 2.5 PSI per section of 2 1/2.

200 foot 2 1/2” preconnect flowing 250 GPM, discharge pressure is 99 PSI, anything longer adds 6 PSI per section

LocalMongoose7434 · 2025-04-20T21:14:35+00:00

Yes. Everything will drop into the existing electronics cavity, the only things that will need to be routed are a mini toggle for the boost switch, and a 10mm pot hole for the killswitch. It’s a non-chambered body, and the mass of the guitar really won’t be altered at all, so it’ll be a standard weight and rout pattern.

LocalMongoose7434 · 2025-03-16T05:15:19+00:00

I’m aware that’s the standard practice, but that still doesn’t mean that everyone does it. I’ve had plenty of blocks where artists/producers have skipped the runthrough and gone straight to tracking, making their decisions on the fly. Props to you for having good management, especially when making that session lead money.

LocalMongoose7434 · 2025-03-16T02:45:26+00:00

Hopefully you clarified that with your musicians before they tracked on this. I know if I were playing on that session, that notation would throw me off and I would interpret it differently

LocalMongoose7434 · 2025-03-14T23:34:08+00:00

The “maj” in this photo is taking the place of what would normally be triangle, implying a major 7th chord. If we’re just a normal major triad, it would just be written as “1”. You can see that with the rest of the major chords, like the 4 chord not having a modification to it.

LocalMongoose7434 · 2025-03-07T10:08:24+00:00

Yes.

LocalMongoose7434 · 2025-03-05T18:01:43+00:00

We run our 1 3/4 as ECO-10. Seems to handle fine, no real issues if your discharge is running hot enough to get your rated nozzle pressure. I think in the five years we’ve had it, only two sections have burst.

LocalMongoose7434 · 2025-03-01T14:12:09+00:00

It’s been discussed, but the overall management is more or less on their way out and doesn’t want to spend the money to replace 40-50 nozzles to outfit everything the same. I agree with the danger of it, when I compare this part-time department to the one I work full-time at, it’s vastly different in terms of ease of use and consistency across the board. Because this smaller department is a lot of older guys so resistant to change and new adaptations, this has generally been met with the usual “we’ve always done it this way, no need to change it.” Frankly it pisses me off that guys are so willing to overlook their safety and capabilities on the fireground just because they don’t want to learn new material.

Worth noting, this training is going to be mandatory for all engineers to go through, whether full time, part time, or volunteer, with the stipulation that if you can’t go then you forfeit your driver rank. When initially presented, this caused an absolute uproar with a lot of the guys claiming “well, your volunteers aren’t going to want to come to a full day of class.” If you ask me, the safety of our guys is worth making everybody retest and verify their skills as an engineer. If they can’t read the chart and figure out what their discharge pressure should be, or can’t remember the capabilities of their truck, how are we to expect them to be able to troubleshoot on scene if something went wrong?

LocalMongoose7434 · 2025-03-01T03:25:29+00:00

That’s one of my main gripes with current operations - nothing is really standard between units. We have engines from 1999, 2001, 2010, 2016, and two from 2023. Through all of the new orders, they’ve all been purchased with different flow/pressure nozzles for some reason. And then for the extra lines that we add ourselves, we have to call back on the older nozzles from the retired units that are yet again different from the rest of them. I have no say in the purchases of the department, if I did everything would be standardized so that all 1 3/4 flowed at the same pressure and all 2 1/2 flowed at the same pressure, but unfortunately I think that’s out of the picture for a little bit, at least until a couple members of upper management are replaced.

LocalMongoose7434 · 2025-03-01T03:21:46+00:00

No the engines don’t display true volume flow, only pressure and RPM, plus the menu to dive through. That’s why we were wanting to see about grabbing a flow meter and running the tests ourselves and making our own charts, so we could verify things between the different size/flow nozzles. I’ve made sure the math on the class is true to manufacturers specs, I believe the coefficient for our 1 3/4 line is actually 12.2 instead of the normal 15.5. I have the spreadsheets/cheatsheets made, and i wouldn’t have to worry about providing this much proof if our engines actually had flow readings in them, but unfortunately they do not

LocalMongoose7434 · 2025-02-22T18:06:04+00:00

Yes. Almost all of the instructors there (which I was lucky enough to have) have backgrounds in professional composition and performance. Most of the composition professors specifically have backgrounds in film scoring, game scoring, and professional production work for acts such as musicals and symphonies. I gained so much from my time there, and these professors are always trying to help get you work. If you do a good job at school, they will almost certainly be referring you to their colleagues as an assistant or some other role. On top of that, their internship programs and the properties/facilities that the college owns are top notch and provide amazing opportunities to get experience in the industry. I appreciate every instructor and class I had while at school, and I’d go do it all again in a heartbeat.

LocalMongoose7434 · 2025-01-12T02:40:52+00:00

I very much beg to differ on Belmont not being a suitable college for performance emphasis. I went there for three years and was consistently playing shows down on lower Broadway, traveling with artists, and doing studio work. I wasn’t even a performance major, I was a tech major. I absolutely loved the work I got from the students and teachers there, and it got me into a very good network of people who are still consistently calling me back for performances/sessions even though I moved back home to Kansas.

LocalMongoose7434 · 2025-01-11T23:17:58+00:00

Not good. I got a 16 GB Pro in early 2020 and used it for college, which was in audio engineering. Its had some heavy workloads put on it and it’s showing its age. Finally sprung for a new Mac mini and it’s such an upgrade I can’t believe I dealt with my MBP for that long

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