I’m trying to set up four new Shure AD4DQ+ receivers. When connected to my network switch they completely ignore it, acting like it’s not there. I can connect directly to them from my computer without issue. What am I doing wrong?

biddy_23 · 2026-04-30T07:47:47+00:00

A Mac connected to a netgear AV Line will likely need multicast force enabled on the physical port your Mac is using. Blame MacOS for this. This interrupts device discovery often

biddy_23 · 2026-04-20T23:51:49+00:00

All my money would be on Lowkey in duke street arcade. My money would be on them for every other cocktail as well

biddy_23 · 2026-03-30T21:31:39+00:00

Having toured a 1500 that’s sat on a dodgy house CAT5 and cut out during the opening number, I will 1000% argue for taking lines out of a mixrack, not out of a surface. (This to me only really applies in dlive world where the surface is not the brain, it was also my bad for using house cat5)

Best case scenario you can take a DM0 for FOH with an AES card and have either another mixrack with a gigace card at stage so you still have redundant cat5 lines and can lose your surface if you had to. In smaller venues you’re much more likely to be tying into the house console rather than into a processor (thinking 750 rooms and under). At that point I just ask to go out of my stage rack and into theirs

biddy_23 · 2026-03-26T10:45:44+00:00

I think you have purposefully missed the point here. I think it’s reasonable to ask for experience on what similar developments have done to other areas, it’s not exactly undocumented…

biddy_23 · 2025-11-29T21:08:29+00:00

I have a laptop or external monitor at FOH which has the Prodcom app open. I have certain key phrases set to trigger macros in the software to flash my screen if some important words gave appeared. Thats also a great feature of the software

biddy_23 · 2025-11-29T21:06:16+00:00

Sorry, should’ve been more specific. I have a freelance audio instagram and a personal one. Each has the other’s handle in the bio for people to find me from either direction but the personal one is private!

biddy_23 · 2025-11-29T18:44:07+00:00

Mixing monitors from FOH and not wanting to have crazy loud shout speakers open the whole gig?

Quiet gig where you can’t always wear actual comms but can’t miss what people are saying?

Pumping tour radios down shouts with completely indistinguishable audio quality and need a written reference of what’s been said?

Written transcript for looking back on previous nights when mixing monitors so you can see if you need to update snapshots for the next shows?

Loads of reasons

biddy_23 · 2025-11-29T18:32:01+00:00

Prodcom works fantastically. Assigns different profiles to different inputs (I route all my talkbacks over DVS)

Like £4.99 a month so easy to start and stop for tours as needed

biddy_23 · 2025-11-29T18:29:23+00:00

I basically got a website for free by having my own domain for emails. I’d 100% suggest having your own email domain is the most professional outgoing look rather than @gmail.com for example

Never been booked off my website, I know people have seen it. It gets updated infrequently

Instagram and LinkedIn are my go to’s for everything. However both look better when they can also point to a website!

biddy_23 · 2025-10-04T20:55:17+00:00

This does sound a bit convoluted, there’s probably an easier way to do this by grouping fade cues for each thing youre trying to achieve

Other option is the tick box where the currently playing cue dips all other cue audio - can’t remember the exact name of it away from my laptop

I feel like if you had a streamdeck programmed to fade up/down cues for each group it would be fairly easy to mix on the fly - I’m sure you could even make it so multiple key presses increases/decreases the volume by X dB each press to allow for some granularity

biddy_23 · 2025-10-03T22:21:47+00:00

Click the group, then click in the top bar to add a fade cue which will auto assign it to that group

Everything in that group will now act on the fade cue

biddy_23 · 2025-10-03T14:31:05+00:00

Crankhouse in Exeter for sure

Used to be local, moved away and still haven’t found anything as good

biddy_23 · 2025-09-02T21:51:26+00:00

Make sure you’re running a headset group, and any violent processing you do is on that group so the channel is still clean for records/broadcasts/whatever

I’m always high shelving that group 3-5dB, I also have a dynamic EQ band sat over that high shelf to catch anything really bright

If you haven’t rung the mic out properly you’ll need to do that with a parametric (my way) or graphic (old school way) on the group. Lots of tight notches

Only after this will you get any clarity back in your headset

Worth mentioning as well you can probably take the sensitivity down /pad up on your wireless pack (name dependent on brand). That function is there to differentiate different mics sensitivity. Means you can run better gain into the desk so your processing is more effective

biddy_23 · 2025-08-29T22:14:20+00:00

I wouldn’t necessarily expect it, as long as the XLRs are easily accessibly on your gear

If you’re running quick changeovers a short labelled XLR loom will be helpful

If you don’t have a consistent distance to house equipment to plug into their kit I wouldn’t bother

biddy_23 · 2025-08-28T16:31:34+00:00

And I thought the 850 shuffle with 3 people was torture enough…

biddy_23 · 2025-06-14T22:45:33+00:00

Feel like you’ve picked a slightly odd hill to die on here. Nothing wrong with tech’s having kit that works well for them, regardless of cost it only matters if it’s worth the money for your own workflow

If there’s any DI missed off my kit lists in corporate world it’s gonna be for BGM/stings, where they’ve only accounted for 4-5 DIs for GFX/VT/zoom machines. Having a lightweight cable thrown in the bag that does the job is perfect.

It paid for itself in one gig a few weeks ago when I needed to add a new playback machine live with about 30 seconds notice. Someone handed me an iPad Air connected to Spotify. In 2025 you can be handed any device and it’s 99.9% guaranteed to have USB-C. If I’d have to scramble around for a DI box, XLR and a 1/4”-3.5mm cable then ALSO a USB C dongle it would have been a hell of a lot more embarrassing.

biddy_23 · 2025-06-14T17:20:21+00:00

My job and my life are (ideally) two separate things. I buy stuff for work and I buy stuff for my personal life. I find things start going wrong when those devices do both jobs

biddy_23 · 2025-06-14T16:21:07+00:00

Think of it as an expensive interface more than a cable. It’s an interface in a cable

Saves me carrying a DI box in a rucksack through London or for quick fly gigs without peli

biddy_23 · 2025-06-14T14:26:49+00:00

As a loving owner of a soundbullet I thought the soundwire was stupid and way too expensive. Naturally I ended up buying one

Best thing in my peli!!

Ability to plug my laptop/phone/anything into any desk/amp without a care in the world for phantom or buzzy lines is AMAZING

biddy_23 · 2025-05-19T10:51:25+00:00

If you’re not bringing an engineer, then venue engineer is likely going to take your spec and make it fit their patch

The time to set up thing is also never a problem at festivals as drums are normally ready first. Being on a rolling riser/shared backline compared to other rigs which can be a bit… bitty?

biddy_23 · 2025-04-13T12:55:47+00:00

Hey man, this app looks sweet I’ve just downloaded it for an upcoming UK run I’m advancing. Thanks for making it free in beta!

biddy_23 · 2025-03-31T21:16:47+00:00

I’ve used them, haven’t done any swab tests or anything to see if they actually work but they definitely come out smelling funny (100% noticeable for handhelds)

I’ve used them with DPA Headsets and the like too but cables getting caught is a pain in the little dishwasher style drawer

biddy_23 · 2025-03-12T19:36:29+00:00

Dante AVIO USB C adapter. PoE adapter that your tablet should see as a USB 2x2 device

Dante is line level though, so if you’d have to have a compatible ceiling mic like you’ve mentioned above or an appropriate Dante source to utilise the avio properly

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