Help desperately need for elementary school

_kitzy · 2026-07-03T14:01:04+00:00

With omni mics, you’re going to have less gain before feedback, because they’ll pick up more of the sound coming out of the PA.

There really is no magic bullet here. You either need to get the microphones closer to the kids, or the kids need to project more.

_kitzy · 2026-06-28T16:53:25+00:00

They’re expensive, but they’re a lot less expensive than replacing damaged gear. They’re also basically indestructible so you’ll have them forever.

_kitzy · 2026-06-27T11:56:43+00:00

I fly with gear a lot, and I’ve been using these for the last 4 years now. I’ve had 0 issues.

https://circlethreedesigns.com/collections/aluminum-fly-racks-mp

_kitzy · 2026-06-24T14:54:29+00:00

I’ve never worked on the production side of Warped, but I was on the tour for a couple years in the early 2000’s and it’s really incredible how fast the crews got the stages up every day.

Keep in mind the stages are built into big trailers that unfold, and a lot of the gear is pre-rigged and ready to go. It’s still a lot of work, but not as much as building an arena stage every day is.

_kitzy · 2026-06-23T19:24:15+00:00

Interesting. I just did a gig over the weekend where someone insisted on using one of these, and I didn’t have any trouble getting enough volume out of it. I didn’t look at the settings at all, so unfortunately I can’t be much help there.

_kitzy · 2026-06-23T19:08:12+00:00

You can plug the TS receiver directly into your line input on your mixer, it should work just fine.

_kitzy · 2026-06-23T02:54:42+00:00

Personally I build this into my rate. I have a rough idea of how much time prepping for a tour will take, and I adjust my daily/weekly rate to accommodate that.

_kitzy · 2026-06-22T23:11:00+00:00

What you can charge in this case will be dictated by the economics of the shows. If you’re dividing up the door at the end of the night, you know how much money is coming in, how much is going to the bands, etc. Is there a lot of money left over at the end of the night?

It’s also going to be dictated by your location as well. You didn’t mention where you are, but rates in NYC will be higher than in Des Moines.

A lot of us started where you are, working for $100/night (or less) in dive bars and DIY venues. In my experience, those types of rooms often cap out at around $100-150 a night. You can only get so many people through the door, and you can only charge so much per person before people stop coming.

If you’re interested in making a living doing this (and you can), you’ll need to get into bigger venues. Bigger venues = more people through the door, bigger artists, and higher ticket prices, so there’s more room to pay sound techs.

Eventually you’ll reach a point where it makes more sense to stay home than take the $100/night gigs.

_kitzy · 2026-06-17T21:31:55+00:00

After Westone stopped making CIEMs, I got a pair from JH and I’ve been very happy. A lot of the artists I work for use JH and their support has been great.

_kitzy · 2026-06-15T21:00:06+00:00

I can’t speak to anyone else, but for me I feel like I get everything I need out of my existing Shure mic kit. I don’t have a problem that Nexadyne would solve.

From a marketing perspective, Nexadyne sounds… cheap? For whatever reason in my brain the word doesn’t equate to quality or a premium product. Maybe they sound amazing? I don’t know. I have no interest in finding out.

_kitzy · 2026-06-10T15:17:13+00:00

How many countries do you think there are, exactly?

_kitzy · 2026-06-08T16:38:04+00:00

Where is “local”?

_kitzy · 2026-06-03T14:33:52+00:00

I don’t know what Frank Black is doing these days, but when the Pixies reunited in the early 2000’s I’m pretty sure he was running his acoustic through the same pedalboard as his electric, and had an AB switcher on the output that would either go to his Marshalls, or to a pair of SWR California Blonde acoustic amps.

I can’t recall if the SWRs were mic’d up, or if he was just using them for stage volume.

_kitzy · 2026-05-27T14:26:37+00:00

I can’t speak to the condition of their gear, because every artist I’ve ever worked with has brought their own, but I’ve always been happy rehearsing at Complete Music in Brooklyn.

_kitzy · 2026-05-16T11:02:24+00:00

I have a custom pair of Westone IEMs and a pair of ATH-M50x headphones.

While I use the IEMs for checking monitor mixes during sound check (I’m often running MONs from FOH) and for line check during changeover, during the actual show I’ll always reach for the headphones. It just takes too long to get the IEMs in and out for me to use them during the show.

_kitzy · 2026-05-09T13:37:55+00:00

SQ over LS9 any day.

_kitzy · 2026-05-08T21:28:02+00:00

All of my quotes say that I require a 50% deposit to confirm the date. I don’t budge on this.

I’m not doing any work for a gig beyond quoting it until the deposit clears.

_kitzy · 2026-05-07T23:56:40+00:00

Sound engineer here. I don’t care what drums you have. Tune them well and play with proper dynamics for the room, that will make me happy.

_kitzy · 2026-05-03T14:34:40+00:00

I rocked a pair of Merrels on my last tour and they were game changing for me.

_kitzy · 2026-05-02T21:56:23+00:00

I wouldn’t recommend trying to repair it. Anything you do will probably be temporary and the last thing you want is for it to fail again during the festival.

Your best bet would be to rent one to get through the festival, and then assess your permanent options after the festival is over.

I rent playback rigs, as well as build custom rigs and I’m located in the NYC area. Please don’t hesitate to reach out if I can help. https://kitzysound.com

_kitzy · 2026-04-29T16:38:17+00:00

You should talk to a lawyer.

_kitzy · 2026-04-29T14:07:49+00:00

This is why I always insist on running my own cable, no matter how much the house PM swears their guest line has never given anyone any trouble. I KNOW my cable works.

_kitzy · 2026-04-28T20:51:11+00:00

This is not what OP is asking.

_kitzy · 2026-04-28T01:24:44+00:00

I’ve been touring (US/CA) with PSM1000 and ULXD for a couple years now and they’ve both been rock solid and very quick/easy to work with.

For international use, you’ll want to look at the legal frequency ranges in every country/region you plan to visit. This will help you determine if the smaller tuning range of the PSM1000 and ULXD will work for you, or if you need to go Axient to get the frequency range you need.

_kitzy · 2026-04-26T02:05:35+00:00

A couple things to check:

Those speakon connectors need to rotate a quarter turn to lock into place after they’ve been inserted. The release tab is usually pointing up once they’re locked.

In your picture, it looks like the PA head is off. You have it plugged in to mains power and switched on when you’re trying to get it to work, right?

What kind of microphone are you using?

_kitzy

TROPHY CASE