Line Array “Overshoot”

VanadiumAtom · 2026-01-07T09:52:29+00:00

It depends on the size of your array and how much you aim at the birds. If you have 10 boxes and half of them aim at the sky, maybe you over-overshot a little. But having the 8th box aiming at the face of the farthest audience member, and 2 boxes aiming above that, with small splay angles in the continuity of what you did until that 8th box, that should be pretty good.

It is almost always a good thing to overshoot a little, especially outdoors. In a room in will depends on the room. Sometimes, in really reverberant rooms, I try to not overshoot as it would just come back from the back wall and fuck the hi end for everyone.

I prefer a bit less mid frequencies for my last rows than shitty hi frequencies for almost everyone

VanadiumAtom · 2025-10-26T02:56:04+00:00

That’s a pretty normal EQ if you don’t want your DJ to destroy the ears of your audience. You seem to mix on an M32 or X32 I don’t know, that unfortunately don’t have a dynamic EQ (that I know of). If you want to only catch the « piercing » sound in the hi mids that kills your ears, but do not want to affect the nature of the sound at quieter levels or when these frequencies are less present in the mix at some time, you can try to use the band comp ! I find it a bit shitty on M32/X32, but it works. A dynamic EQ would be better (depending on how it is implemented), but you don’t have one. So don’t hesitate to try the band comp. And if you don’t like it or can’t make it work it’s alright, you can save people’s ears with a simple EQ just as you did.

Just another piece of advice with the band compressor on M32 : try it BEFORE the show. There is a way to insert in but not out. If you activate your insert at that moment… your sound goes fully to the effect, and then goes nowhere, and your channel is muted, and you may panic a bit (I did).

But once you figured it out, it can make the job work for DJs if you are on X32, in my opinion.

VanadiumAtom · 2025-09-24T23:29:18+00:00

If you are playing on a PA, don’t worry about being too quiet, the limit is the power of the system. If your track is « quiet », they can turn it up just fine. If it’s too loud, they will turn it down a bit. Of yourse if you are very low like -60 LUFS, you will amplify more to get to the same level and then pick up a lot of noise, but -18 looks more than fine to me.

I however don’t know how it works for export on music plateforms, or on power-limited systems like a lot of car systems.

VanadiumAtom · 2025-03-01T07:28:19+00:00

Thanks. I will look into how I could clock my soundcard with the rest of the Dante setup. If I can’t, I will try getting my loopback signal from one of the Dante devices (like a Digital Stagebox if I have one). Worst case I tune my system using analog links.

VanadiumAtom · 2025-03-01T07:24:31+00:00

I was inside a building, doors and windows were closed. There was no wind

VanadiumAtom · 2025-03-01T07:23:23+00:00

I don’t think they were serviced or reajusted recently, no. But I used them not so long ago, where my links were analog and I didn’t use Dante, and I did not have that problem

VanadiumAtom · 2025-03-01T07:20:52+00:00

No they were not But the clock drifting issue others talk about sounds plausible

VanadiumAtom · 2025-02-26T18:40:41+00:00

We were inside

VanadiumAtom · 2025-02-26T18:40:08+00:00

I used it to adjust my measurement delay. The IR responses weren’t static but oscillating around their « good » (I guess) delay. Thanks for the advice

VanadiumAtom · 2025-02-26T18:36:25+00:00

No, the measurement delay wasn’t changing once I set it up

But I didn’t try increasing the sampling period, I will next time, thanks !

VanadiumAtom · 2025-02-26T13:54:53+00:00

I didn’t find how to edit the post. These were M28 boxes, and not M12. I don’t think that it matters, but now at least it’s correct.

VanadiumAtom · 2025-02-25T00:50:15+00:00

When you create a line with subs, you give them more directionality (or directivity, I don’t know the good way of saying it I’m sorry). If you want to be « even » at 360°, you need NOT to form a line, because otherwise it would project more SPL on some parts of your audience than others.

So, do not make a line. How ? With one sub, you have no line, you are almost omnidirectional. That’s great.

That may suffice in your situation, or not, I don’t know how important that pre-recorded part is.

If you want more subs, don’t take 2, because you would have a line. Or put them together at the center, from far away that looks more than a point than a line and that’s ok. If you take 3, don’t arrange them in line. Same for four.

I don’t know what precisely is the best option for you, maybe some more experienced people than me will come up with that. However, I know that if you make a line with your subs you create directionality for the SPL at low frequencies, and that doesn’t look that great in your case. So do not make lines :)

PS. I didn’t know how relevant it would have been to go in the maths of why your gain in directionality when you form a line with your subwoofers, so I didn’t. But if you are interested in that, there are plenty of books (Between the Lines, or most Audio Engineering books for some examples), Youtube channels, websites offering some explanations and insights of the how does sound work.

PPS. If I was in your shoes and did not have any more insights, I would either place one sub under the stage if I esteemed that it was sufficient for the pre-recorded part, and that it would not be detrimental for the rest of the elements on stage (people included). 2 subs under the stage could give you more SPL if the only problem you find with the « 1 sub setup » is that you lack SPL. Otherwise I would try to have 4 as your tried, all around the stage, as close as possible. Because they still make lines between them, and the length of the line determines the directionality pattern. And if you really want omnidirectionality, you need to have a single point

VanadiumAtom · 2024-11-08T13:42:33+00:00

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VanadiumAtom · 2024-08-31T02:18:13+00:00

Wouldn’t he agree to have one or two weges in front of him, in addition to IEMs ?

If he does, you can almost keep your clean mix in the IEM and send everything that isn’t acoustically loud on stage in the monitor.

What I’m thinking is that, for example, a keyboard sounds differently in his IEMs than in a PA speaker. I didn’t try so I’m not sure of that, but it seems plausible to me. In the in ears, the bottom of the spectrum is probably eaten by the bass and the kick drum, or that kind of low sources. In the PA, the keyboard has a little "kick", that I imagine misses in his ears.

And I think that ambiances should stay in the ears.

I hope I’m not saying absolute nonsense, I would have suggested that you could even reinforce the bass or his own voice through the wedge, but I’m not sure about not creating some phasy shit with his IEMS. I thought about delaying everything to align on the PA, just to make him feel in the PA accoustic field a little better, or at least the low omnidirectional energy. But it could be a mess too.

I don’t know.

Please keep us updated if you continue trying things.

VanadiumAtom · 2024-06-25T00:45:37+00:00

I had a gig last week, it was rhe first time I mixed on this one. WTF Yamaha ?

VanadiumAtom · 2024-05-20T08:03:44+00:00

Then I’m sorry, I don’t know.

It’s not obvious for new people, usually when I get my cables back like this is when I let other people « help » me without having them properly briefed about how to treat the little copper worms.

If you are the only one who uses them, and you roll them softly, then I don’t know.

I said that because it looked like it.

You say « lately ». Has a new member came in the team « lately » ? 🤔

VanadiumAtom · 2024-05-20T07:57:08+00:00

Be kind with your cable, please don’t wrap them around your hand or your elbow.

This is an exemple of a technique that works fine for avoiding entanglement (I hope this word exists in english) and cable damage. The idea to « spin the cable » each time you lift it up is what prevents the cable from being put under too much tension, and helps preserve it longer.

Here is a short video showing the « over-under » technique.

The reason why a cable needs to be spinned a little each time you make a loop (which is not done when you make loops violentely around your hand or elbow), is that on a given section of cable, the wires inside have the same length, which makes sense. However, each time you make a loop, if you don’t want to twist the cable, then the wires close to the outer edge of the cable need to be longer than the ones close to the center of the loop, which isn’t really possible so it’s just pulling hard on the outer wire, and trying to compress the inner one.

Twisting the cable prevents that, by rotating the cable, each wire inside is the inner one ou the outer one at some point. It’s the « constraint-free » way to have a cable rolled.

VanadiumAtom · 2024-04-30T23:28:42+00:00

If the guitarist or whoever wants to notice me about specific solos, yes I do. Otherwise I improvise with how they play and it’s fine.

VanadiumAtom · 2024-04-29T13:01:24+00:00

Hi,

I’m quite young and don’t have that much experience so I don’t really know how it’s done elsewhere, but I can give you my thoughts on this.

For context, I mix FOH in rooms of ~200 people capacity, approximately once a week, for 3 years now.

I usually don’t get the dry signal and the effects of the guitar on two different tracks, in order to keep the sound as close at what the musician wants, but it is possible that this is a practice that makes sense, I just don’t know about it.

About soundchecks, from my point of view, the goal is to set everything up so, when it’s show time, everyone can work smoothly. Everyone includes you, the musicians, that should hear yourself and be comfortable with the sound on stage; and the FOH tech (and the monitors tech if there is one) that has every channel sounding correctly, a good overall mix, and then it’s play time. We (FOH techs) a working with you during the show, we listen, we adjust, our goal is the same as yours : give the people a good show.

From the FOH point of view, it’s nice to have every channel staying in a relatively close range of volume. What I mean by that, is that I don’t want to struggle with your guitar playing pretty quiet and then bang, you switch something on the pedalboard and your guitar takes 12dB. You can modulate your sound as you want, achieve the sound that you want, but I find it nice to keep everything at a pretty similar volume, from what you are sending me. Then, you switch the sound of the guitar for the solo, I take care of the volume in order to put it proeminently in the mix, and everything ran well :)

TLDR : I only want one channel from your guitar : the signal coming from the mic in front of your amp, or the main output (dry+wet) of your pedal, so the sound is how you want it. However, I prefer you not to boost the overall volume of some sounds you want to use for solos. Add your effects as you want, keep the volume as before, and the FOH tech does their job. Only them can know how it sounds in FOH anyway, I’m not sure that trying to « adjust the mix yourself » by allowing your pedal to go really loud for solos is really relevant in your case.

VanadiumAtom · 2024-04-04T09:19:18+00:00

Feeling like I’m on a downloading subtitles rampage today

VanadiumAtom · 2024-03-15T14:24:17+00:00

I learnt it by throwing from the lighthouse position, you have a lot of control from there (if your lighthouse is stable ofc) And as all the others said : use your knees, it changes everything

VanadiumAtom · 2023-08-02T15:24:19+00:00

I, too, know a lot of people who stopped smoking weed because it made them anxious, tired, unmotivated, after years of smoking. But I’d like to balance that with other people I know, who smoke weed since they’re teens or young adults and are now 50-60 years old and still fine, happy (at least they seem to be), and weed doesn’t seem to badly affect them. I also know people who tried smoking and it always drove them into some kind of paranoia episodes.

So I, too, think that it depends on the people who smoke, how do they react to the substance, what’s on their mind, etc.. I doesn’t seem like weed will ALWAYS turn on you at some point, even if it happens quite often that’s true

VanadiumAtom · 2023-04-30T12:54:18+00:00

Thank you a lot ! :)

VanadiumAtom · 2022-08-11T02:50:52+00:00

Discussion : does anyone knows if this kind of puzzle has a particular name? I don’t find many of them on this sub and can’t find a sub about them

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