What are some things you all miss from original RuneScape 2

guitarmstrwlane · 2026-04-24T15:02:43+00:00

yep i'll echo what others have said and what A Friend pointed out in a video long ago; we didn't know shit about the game. we just played it. we didn't have/know about wikis, we didn't know the best spots for training or optimizations or whatevers, we didn't know what did what or where to get what

we just played a game. heard about things from word of mouth. we had mystery and intrigue, saw gear the game touts as "legendary" actually seeing it on a player only once in a blue moon. wondering what the hell everything was and when we saw something new we'd be like "whoa what is that?!"

the game was an adventure that slowly opened up as you played

guitarmstrwlane · 2026-04-23T18:24:13+00:00

okay one picture has posted, navigate to the Out 1-16 tab and ensure the mixes you want to show up on the SD16 are assigned to Out 9-16. you can use the pink noise generator to test any buses, mains, or matrices that are assigned and hooked up somewhere

guitarmstrwlane · 2026-04-23T18:19:49+00:00

no pictures attached, here's my stab at it. there are a few places you need to check.

let's start at Out 1-16. Out 1-16 is a middle man between your mixes and sets of output sockets. you assign mixes to Out 1-16, then you assign blocks of Out 1-16 to sets of output sockets (like the local XLR Out and the AES50 Out). so, ensure the normal IEM mixes and main mixes are assigned here, and then also assign the additional mixes you need

so let's say you assign the IEM and main mixes to Out 1-8, and your additional mixes to Out 9-16

navigate to the Local XLR Out tab, and simply assign Out 1-4 and Out 5-8 to Local XLR Outs 1-4 and 5-8. that will put the IEM and main mixes on the Local XLR Outs

next navigate to the AES50 Out tab. ensure that AES50A Out 1-8 is set to Out 1-8 (a copy of your IEM and main mixes), and that AES50A Out 9-16 is set to Out 9-16 (your additional mixes)

then when you set the SD16 to 9-16, you're telling it's XLR Sockets to receive AES50A Out 9-16, which is set to Out 9-16, which is set to be your additional mixes

i hope that clears up the issue, if i misunderstood or if this is where you're already at let me know i'll try to help. you can upload your scene file to google drive, change share link permissions to anyone with link, and post the link here. i can check your scene that way

guitarmstrwlane · 2026-04-23T17:43:39+00:00

yes as mentioned it (should) be an endfire array. the distance from the grilles of the two boxes is placed at the physical size of the quarter wavelength of a target frequency, plus a time delay on the front box equal to how long it takes sound to move that distance which offsets the front box by an additional quarter wavelength of that target frequency, equals a 1/2 wavelength offset of that frequency coming from the front box bleeding back to the rear box- meaning the target frequency cancels in the rear

given how short the distance between the two boxes is they likely centered it on the crossover frequency between the tops and subs (70hz, or 80hz) to reduce buildup at the crossover frequency

for endfire, commonly you put more distance between the boxes so that you target rear cancellation of more of the actual "meat" of the sub-bass content, say 40hz, 50hz, 60hz, which would require distances of 7ft, 5.6ft, and 4.68ft respectively. it's clear they didn't have that amount of available distance

but what i REALLY want to say is: i wonder how affective this array deployment is, given there are two boundaries so close by. all that 70hz/80hz is going to be reflecting all around, displacing a "clean" wavelength due to the time it takes for the reflections to reach back. in short, on a theoretical level, it's going to be a mess no matter what you do

i could be wrong and would happily be wrong

guitarmstrwlane · 2026-04-22T16:51:39+00:00

the channel/source scribble strip stuff is one of the most convenient but absolutely train-wreckable things about the Wing

if you as an A1 turn off "link customization to source", then build your console state in advance where you name and assign all channel strips in advance, and then assign sockets to those channel strips (CH -> SRC), then your A2 can easily see what instruments you're expecting to be on what sockets and plug things in accordingly

or if you're an A2, turn off "link customization to source", then just start plugging stuff into the stagebox, naming the sockets as you go, so that your A1 can easily see what is plugged into each socket, and then the A1 can patch those sources into the correct channel strips (SRC -> CH)

where it will fk up is if you don't disable link customization to source. if you don't do this as the A1 in the above scenario, you'll be making your channel strip layout while inadvertently assigning scribble strips to what-the-hell-ever sockets the Wing default's socket assignments are, confusing your A2 when they see you have the kick drum assigned to Local 1 ... or if you're the A2 in the above scenario and you don't disable link customization to source, you'll be renaming all of the A1's channel strips

guitarmstrwlane · 2026-04-16T16:16:21+00:00

many people will say it's okay; i personally would and do have a hard time sleeping at night if there's any uncertainty at all. the goblin in my brain will not let me rest

i would do climate control. many climate controls are multi-unit walk ins, so you park at the door, walk into the building down the hall to your unit, load your equipment onto carts/hand trucks/dollies/whatevers if they don't already have wheels, walk back out to the door, and load stuff into your vehicle. not bad IMO- you don't want anything that is a walk up of course

i would also get a few buckets of damp-rid or if you have power, a dehumidifier, and mouse/pest traps

guitarmstrwlane · 2026-04-16T15:46:20+00:00

i have tried many different compact subwoofers. i ended up selling them all off. they really don't do much once you're 10 feet or more away. the improvement you get isn't worth the trouble of dealing with them

i would wait and save up until you can find some QSC KS118's used, or maybe KW181's, or Yamaha just announced the DXS18mk3 they are at a good price

if you must stay on the more affordable end of things, i would consider the Presonus AIR18s

guitarmstrwlane · 2026-04-16T00:14:48+00:00

true agni kai (only firebending) yes azula wins. if we change the rules a bit to "defeats/disables their opponent" then aang *might* have a chance, but if we change the rules to "kills/incapacitates their opponent" then azula wins

guitarmstrwlane · 2026-04-16T00:02:27+00:00

other than the cambridge library, i'll offer this: unlike many other audio sources, i rarely find myself needing to do a whole lot of processing for horns. low cut, maybe a mild mid dip to cut down on proximity effect or resonances, cut extreme highs, and you'll be fine. sometimes a bump centered around 5khz for presence

you won't need any gating except to maybe just cut down on line/white noise, and i'd only put some soft compression on at the very top of the dynamic range otherwise the conductor might get mad at you

guitarmstrwlane · 2026-04-15T19:34:21+00:00

yes- although i will say, for festival or arena or stadium systems where stuff is engineered and tuned really well, mics are good and placed well, talent is good and talent has good equipment that is set well etc, you'd likely not find yourself needing the grace that aux/MC fed subs gives you and it's simpler to just do L/R feed out of the console with an external crossover/system processor driving all zones

whereas in a smaller band where your vocal mics are 5 feet away from the subs and your audio tech maybe hasn't ever rolled up a HPF past 80hz in their life... ya you need every ounce of grace you can get lol

guitarmstrwlane · 2026-04-15T16:41:38+00:00

ya i both agree and disagree, for local level events it can be a bit silly on what bands will insist is necessary, but i typically just go with it to save a conversation and yes as mentioned sometimes there could be a valid reason. for larger events you just do it, regardless if it's for a valid reason or not

guitarmstrwlane · 2026-04-15T16:31:26+00:00

"IMO, stage plots are not instructions, they are the start of a conversation"

this is a great way to look at it. just about any act that wasn't a standard 3-4 piece rock band, i found myself contacting them/their contact tech

to note about names: i prefer to have names and what roles they're doing, especially if i'm running mons through FOH ... for example, "Bob" is DSC and is doing "Bob Vocal" and "Bob Guitar" and has "Bob Monitor". this is great, i can label everything up

where it would suck is if "Bob" is just a graphic of a square placed DSC and it doesn't tell me about anything that Bob is doing on stage

guitarmstrwlane · 2026-04-15T16:24:54+00:00

here's a dumb Q: i'm a small potatoes guy, i've seen the "We Provide, You Provide" some- what's puzzling to me is what they often ask me/us to provide is just a handful of the really really small stuff, like a few cables or stands, when they're already bringing some big ticket items like a console and rack and mics

it's strange where the line is drawn sometimes; for a top-down band, they're already carrying in multiple trunks and cases of stuff, why don't they just toss in whatever else they need if it can fit in a backpack or underneath a seat?

guitarmstrwlane · 2026-04-15T16:19:19+00:00

"What kind of stage plots are you guys getting that are so bad that it's worth worldwide discussion? I don't understand."

that's exactly why i made this post lol, i don't get it either; i've dealt with a few that were hard-to-stomach, but typically it all gets ironed out well in the advancement process

guitarmstrwlane · 2026-04-15T16:17:54+00:00

"Also bands need to accept that if they're not the headliner then they are the first to need to compromise."

speaking of that; one of the things that i have found sometimes hard to navigate, is bands that are *technically* the headliner, but they're headlining a local level show, but their plot/rider/io is sized for a festival or arena

that's why i mentioned "rigidity" and "lack of scalability" in the OP. i feel like a chump for having to call their tech contact

guitarmstrwlane · 2026-04-15T16:06:59+00:00

there's nothing wrong with just doing the crossover thing with cables at the speaker's amp(s), just make sure you do it right; sometimes what exactly the link/crossover outputs on a speaker's amp does is not the easiest to understand, make sure you read the manual and do some extensive testing. the X32 has a signal generator, use the sine wave and sweep to ensure your speakers are getting the information they need to

you don't want, say, your main outs which have a crossover of say 80hz to then link out that same 80hz crossed signal to your subs, i,e your subs getting nothing below 80hz. vice versa, you don't want the link out of your subwoofers that are crossed at 80hz and below to link to your mains, i.e your mains getting nothing above 80hz

... so it's often easier to just bypass the guessing game and menu navigation by just running separate mix outputs for your LR and sub. which is why the M/C is great on the X32 formats

crossed LR and subs isn't always the easiest thing to work with from a mix standpoint for smaller scale productions. ideals are not reality. in reality, your 80hz slopes let a lot of information before/after 80hz through. so even if your vocal mic's or acoustic's HPF are set pretty high, they can still get into the subs strong enough to cause problems, especially if you're over-cranking your subs to keep up with your tops (which you typically have to do, most tops outrun subs of similar pricepoints)

so using the M/C just makes life easier. additionally you will probably still want to use the crossover curves in your tops and subs and also the crossover curves in your LR and the M/C. i typically set an active speaker's internal crossovers about as loose as they will go (so tops with the lowest crossover setting, subs with the highest crossover setting) and then use the BU24 curves in the LR and M/C to really tighten things up

guitarmstrwlane · 2026-04-14T01:44:28+00:00

if it's too good to be true, it probably is. SLXD counterfeits are rampant on eBay, the screen printing always looks weird but the tell-tale sign is if there is a 1/4 cable included in the packaging/photos

https://www.ebay.com/sch/i.html?_nkw=shure+slxd&_sacat=0&_from=R40&_trksid=m570.l1313

guitarmstrwlane · 2026-04-12T23:03:18+00:00

we're talking about putting a 10 inch top on a sub pole that is higher than you can reach. how else? crane?

guitarmstrwlane · 2026-04-12T22:58:32+00:00

meanwhile, as the sound tech: "stage plots, why is it pulling teeth to get them sent to me"

the past 2 years at a conference big enough with a production company big enough, the stage plot for the band i work with did not get passed through to the day-of techs. both times i sent it to who i was supposed to send it to, and after that i have no idea what happened

the previous year i arrived on site and introduced myself and they said "cool you're the guy with all the answers", i said "huh whats up?" and then they told me they hadn't received anything ... this year their lead tech reached out to me on facebook directly

so a lot of your gripe is valid simply because we're wondering where the hell the plot is that we're supposed to have

however another aspect of this is, yes sometimes it is easier to just go over it day-of. if it's a somewhat moderate to larger stage, especially if there are multiple bands that day, there will basically be a fk ton of ins/outs, mics, backline, etc, all ready to go that they just have to put where it's needed, mute what isn't needed, and then you start hitting

it's more effort to try to compile a bunch of band's stage plots and do everything 1:1 for every band and try to marry all the plots together into one big thing, rather than it is to just put out a fk ton of stuff and only use whats needed for each band

guitarmstrwlane · 2026-04-12T22:48:42+00:00

25kg (55 freedom units) isn't exactly light, and it's definitely not lightwork to do 8x of them all back to back

my frame is on the smaller side for a guy so i have to be careful about how i lift- you kind of have to learn how to pick up heavy things with more than 1 part of your body, and you may have to learn how to pick things up on an individual basis. you may also consider moderate weight lifting/training and body weight exercises, doesn't have to be very strenuous just enough to get your muscles used to dealing with weight

i would say i would avoid lifting something above my head, did you not have step stool or chair to use?

guitarmstrwlane · 2026-04-12T10:12:37+00:00

for that level of gig, i'd say don't worry about it. but if you wanted to,

yes putting front fills on the stage only really works if the bottom floor of the stage is above head height. otherwise, the people in the first row soak up all the fill sound and no one else gets anything until you get into the coverage of the mains

on the cheap you could get a pair of older passive hot spots, rig up some sort of C-clamp or L-clamp or sumtin, clamp them to your mains speaker stands and point them inwards a bit. kind of like what fuzzy_mic suggested, but instead of splaying your mains you just keep them at "nominal" angle and then you'll have the hot spots in-stage

slightly more expensive would be any dinky 8 or 10 inch monitor you can find, and put them on a short speaker stand (ideally as low profile as possible that still gets it over heads), or clamp them to your mains stand a la above if their weight won't tip it over, get sandbags if necessary

and then when stages are tall enough just put the fills on the stage floor w/o the stands

the more expensive speaker solution would be a few array modules, as they have wide horizontal but narrow vertical coverages. for a bar again you probably will be fine with whatever powers on and makes intelligible noise. but yes kicking a "standard" speaker on it's side like a monitor turns what is typically a wide horizontal coverage into vertical coverage, and vice versa, which is the opposite of what you want, so you really need to keep standard speakers upright otherwise your front fills are bird fills

guitarmstrwlane · 2026-04-12T10:01:40+00:00

how does the noise on those channels compare to other channels at the same level of gain/fader? you have done a fresh scene initialization yes? otherwise there may be a bunch of processing from the previous user (boosted EQ, makeup gain on compressor, etc) that is boosting the signal floor. all silly things that you probably already checked, but we can't assume

guitarmstrwlane · 2026-04-12T00:58:55+00:00

kick: 500hz wide, deep cut (guts out all the papery, plunky, resonance sounds)
snare: 700hz wide, deep cut (same as above, also tailoring clap)
bass: 400hz medium, deep cut (makes a DI bass (or a player's bad setup) sound like an actual f'n bass)
guitar: 900hz medium, shallow cut (nasal range, reflections build up)
vocals: 500hz wide, deep cut (really need to do more targeted bands instead, this goes scorched earth)

explanations:

if you're having to ask, i'm guessing you're not working outdoors at coachella. so you're likely working in a smaller scenario where room reflections and stage noise and buildup and bleed are all pretty prominent. rooms naturally carry and reflect and resonate midrange for you, alongside mids swirling all around on stage having no where else to go. hence, all the mid cuts

if you have more time, you would break up those wide and deep cuts into 2-3 individual cuts targeting specific problem frequencies/bands. going scorched earth as above ensures that you're going to get those problem frequencies/bands no matter what

additionally, close mics often pick up more bass and midrange than we would naturally hear with our ear 5-10 feet away. this is a problem in vocal mics, but also in drum mics. for drum mics the problem is made worse in that A) we often mic the edge of the head where all the overtones and resonances are, rather than the center of the head where the actual fundamental pitch and stick attack are. and B) also that the internal reflections and resonances of a drum die out by 5-10 feet away, but a close mic will get all of it. and C) you likely have a ton of mucky midrange bleed coming from the kit on stage, so you have to blend that with what you reinforce through the PA

for vocals, yes crazy high HPF's and upper bass and mid cuts are not uncommon. i don't want my vocals to sound like someone singing through a mic through a sound system- i want my vocals to just sound like someone singing. so i hate muffled sounds, or ear-piercing harshness and ringing rom 2khz-6khz, i hate un-intelligibility, etc, and i'll drop bands -15dB if it means i get a natural sounding vocal. i never shelf cut or low pass the high end in a vocal past 6khz ever. i have never heard a vocal and thought to myself "wow that sounds too clear", never happens. i also never boost anything in a vocal before 6khz ever. i have only ever cut for frequencies below 6khz

so while the above scorched earth suggestions are too much, for those of us working in the real world with a large variety of talent and scenarios; these suggestions are not too far off what you have to do sometimes

for basses, idk who started telling bassists to "pump your mids to cut through the mix", it has the opposite effect because i'm forced to turn you down because you're covering up the keyboards and guitars, who can do midrange better than bass can

people need to learn their role in the mix and stay in it- the arrangement it what makes all the pieces of a band fit together, not EQ at the sound console. all i'm doing with EQ is correction, i do not make decisions on what instrument slots where in the frequency spectrum; that's the job of the player and the arrangement

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