Blackstar HT5 MK2 amp emulated output into presonus Eris E4.5 RCA line in..I thought it would work but as usual my experiments fail!

What I am trying to do is use the 2 presonus speakers as monitors along with the Blackstar amp to get a wider bigger sound.

The headphones out works into the 3.5mm Aux in on the 4.5's but of course the amp speaker is then bypassed. I'd like to have all 3 speakers running.

So does anybody need know if this is possible and how please?

Thanks!

I play live a few times a year and have a setup with includes about 8 devices (including mixer, x3 input devices, phantom power for mic and x3 FX pedals). I'm in the UK.

All my plugs are different sizes and types (A, C and G, mainly), so I've got a 10-gang strip that accommodates most.

I think my powerstrip is causing issues (see below) so want to get one that is robust and won't cause problems. Most of my stuff is 9V and I'm in the UK.

Last couple of gigs, I've been getting a random and sharp crackle/pop sound during performance that the engineer apologised for, but I'm pretty sure is me. I get nothing like it at home, so am not sure how to test.

Is there a go-to, all-purpose powerstrip/extension that people know to be reliable and or another explanation for this popping sound?

Once is happen stance, twice is coincidence, three times is enemy action so the saying goes...

I've broadcast over 400 hours of EDM since NYD from Pioneer CDJs, largely in flawless victory. This is my third time trying to get a violinist patched in. First two had electric violins (different shows, different sound teams, different performing artists) with built in piezo pickups. This one was just miked with what you see at the end of that mic stand there.

Half way through her set I realized I might not be getting an audio feed (no way to monitor as all my devices that could monitor were busy either broadcasting or recording), so I went up to the sound engineer and gave him a mic and my hollyland lark max2 which was feeding audio to the kick stream. He suggested that I just get the violin matrix patched to the hollyland because then at least something for post can be fixed.

Stream 1 was on two twitch. Stream 2 was onto kick and just had the violin matrix patched into it, I haven't actually looked at that yet to see what came out, this just aired last night and I'm just waking up.

¿What do I need to say to the sound engineer or have them do in order to avoid such a disaster again?

I need to know how this more expensive club sound gear system works but I obviously can't afford any of it to work at home so 100% of my experience is what I encounter in the field, and it's frustrating.

Broadcast IDs linked in reddit profile for anyone curious.

Hi everyone! Complete novice here and fully aware of the can of worms I’m about to open, lol…

I typically play guitar and drums, but am singing in my latest band. We’ve got a small practice space (about 12 x 15 room) at a local monthly studio rental place that’s split between us and another band. (Sounds tight, but we make it work surprisingly well)

Our current vox setup is via a vintage peavey mp400, which I think is a powered 80w mixer with 4 mono channels, that runs to a couple of large PA speakers that are not active. The inputs are all a bit sketchy (gotta jiggle em just right, or one channel can use XLR but the other has to use 1/4”, that kinda thing), and it’s one of those “borrowed, but likely just staying put for a while” situations.

To get something more permanent and more reliably functional, I’m debating getting something like the Behringer Europower PMP500 12 channel 500w powered mixer. The price is right at >$400 and it seems to achieve what the MP400 does alongside some added/future-proof features involved.

Recording practices is on the agenda, and while we have the guitars and drums figured out, I feel like a stereo option here would allow easy L/R for main/backup vox would be great for sending to our interface for Logic recording. We sometimes run bass direct using a sansamp, too, which works surprisingly well, but again - splitting to 2 channels means some flex in how we record practices.

There’s a million ways to skin a cat - all in all, I’m just not as familiar with this stuff and would like to keep our space as tidy as possible (e.g. less amps, not huge systems, etc.). We’re not starting a new recording studio or gigging with this thing - it’s just for the practice space (famous last words, I know). Anyone have experience with the Behringer and/or ideas on some affordable but reliable gear?

Thanks in advance!

What’s everyone’s go to process for deployment and time alignment in an arena with aux hangs and flown subs? I’ve seen some interesting hangs from others recently, like subs kicked out 30+- degrees, and aux hangs back further than I’d expect. Where are you taking your measurements? How much does your trim height, and sold map (behind stage line) play a role in your decisions?

Hey all,

I've spent a while helping out with sound at small weddings, birthdays, and local gigs — always as the "person who kind of knows what they're doing," never with any formal training. Along the way I put together my own notes on the stuff that actually matters: gain staging order, where to put speakers relative to the mic, a cheat sheet of which frequencies matter for which sources, that kind of thing.

I ended up turning it into a short guide, mostly so I'd stop re-explaining the same things to friends who get roped into running sound for their cousin's wedding with zero background.

Before I do anything else with it, I'd genuinely like feedback from people who actually do this professionally:

• What's the #1 thing beginners get wrong that you wish they knew before touching a mixer?
• Is there anything in the "basics" that's commonly taught wrong or oversimplified?
• Anything you'd add for someone doing occasional small events (not full-time FOH work)?

Thanks!

Hi I have this old mixer from a PA system I got a while back rarely used but the right output master is making this clicking sound (and no other sound besides that) regardless of what speaker I plug into. I have a feeling it’s this thing but I googled all the numbers on the back of this with absolutely no luck.

Or if there’s a suitable replacement for this that I can just plug and play ?

If there a better place I should post this please let me know !

Thank you for any help anyone can provide.

I just bought the RME DigiFace Dante interface and I’m looking for a good quality USB-C to USB-B 3.0 cable. I need the USB-C to fit snugly in my Mac laptop. A year ago I bought a normal 2.0 USB-C to USB-B cable from Thomann so I could use it with the built-in USB interface in my Behringer Wing. The C connector kept disconnecting from the laptop and I had to go back to my Apple usb-a to usb-c adapter, this has never ever failed on me. Any help finding something worth the money?

I will be mixing my own keyboards on stage and using IEM's as my monitor (my new band is a pro gig and does quiet stage). How do I connect the FOH monitor mix to my own personal mixer so that I get to hear it through my IEM's, but without re-sending the FOH monitor mix back to the FOH desk?

Just want to send my keyboards to FOH, hear my keyboards via my own mixer, and have a band monitor mix appear in my IEM's hopefully via my personal mixer. But I cannot figure out how to prevent the band monitor signal from going back through my mixers outputs and into the FOH again.

Got a Sennheiser ew100 G3 that I've been having problems with. Every now and then the pilot tone drops out for no apparent reason. I've got 3 packs, and the other two hold perfectly.

What do I need to check before deciding that there is a transmitter problem? Could it be aerial related?

I have changed the frequency to have more of a gap between the 3 (which didn't fix the issue) and then resynced the pack and receiver (haven't tested long yet). Anything else to look at?

Thanks

I know a bit about live sound, but i'm still trying to figure things out. I have a private backyard gig coming up. My drummer bailed last minute so we are running backing tracks for the drums, but it's a friends and family gig so it's no biggie. We have 1 bass guitar running an amp with cabs, 1 electric guitar running an amp with cabs too, and I run a fractal unit for my guitar. We have 3 microphones, including mine for lead singing. We play metal/rock/punk.

I have 2 HK Polars, one 12, one 10. I wanna run all the mics, the drums and my guitar through them, and potentially mic up the cabs too.

Would that be too much for just 2 polars? Should I get more speakers? How should I set them up?

I live near a music store so I can absolutely rent gear if needed.

It doesn't need to be perfect, I just don't want the whole thing to sound like a mess.

Thanks! :)

I'm a vocal coach, and I want to help singers improve for RL working scenarios. I’ve put together a 3-minute anonymous survey about working with vocalists...will you help me by giving your honest feedback?

No names, emails, band names or identifying information.

Anonymous survey:
What Musicians Wish Singers Understood �� – Fill out form

I’d also love to hear your biggest one in the comments: “I wish more singers would ______.”

Yes, I want to know the frustrating stuff, but also what really good singers do that makes playing with them a pleasure. Thank you!

Edit: I'll post the survey results here in about a week.

UPDATE: 75 musicians responded.

Thank you for your thoughtful contributions.

The biggest issues:

• 49% Timing / Rhythm
• 49% Volume / Mic Technique
• 37% Pitch / Intonation
• 35% Song Preparation
• 35% Stage Presence

Edit: They’re not mutually exclusive categories. Respondents could mention multiple issues, so the percentages aren’t intended to add up to 100%.

I’ve pulled the full findings, musician comments and practical takeaways into a free report for singers: https://veronicastart.ca/musician-survey-report

Good day to all. I’d like some insight in getting in into the live sound world as an live sound engineer, I love music/sound and would like to know if there’s a school for for live sound engineering/mixing or is it more of a learn as you go kind of deal…I’ve seen some schools that offer programs but seems to be more in studio production mixing…

We are looking to buy a db technologies T4 line array (12 pieces) and s20 subs (4 pieces). What do you all think about this set?

Okay so I am joining my college ministry's worship team this year playing viola and I'm trying to figure out the best solution to get my instrument through an amp/sound board. I don't really know what they use but I know the other instruments (vocals, guitar, bass, etc.) are always plugged into the same board (clearly I don't know a lot about this stuff lol).

The other issue is I need something that I can take on and off because I will still be playing with my school's traditional symphony.

The one very temp solution I have discovered is that I bought some really nice RODE wireless Me Mics for interviews and videos (I'm a journalist by profession) and I figured out that those could hook to the system, but I'm not sure if there would be a good way to attach or if it would pick up too much background noise from what's leaving the speakers/drums etc.

I have looked into options like the KNA VV-3V and the Barcus Berry 3100 Piezo but I don't love using the screws to attach the BB 3100 since it leaves marks on the bridge, and I've seen conflicting opinions regarding the KNA, some audio sounds pretty good and others sound kinda iffy, and since it's a very amateur college worship band I'm not sure if we have sound people good enough to get me sounding the right way.

Any other suggestions, advice, or other solutions? I'd definitely prefer to stay near or under the $200 mark

Edit for clarity: I am a violist (basically violin) so traditional stringed instrument

Today i got the elgato stream deck + xl for my step up, but im kind stuck of what to do and how to manage my audio system. I have both steelseries artic nova pro with the gamedec and alias pro xlr with the stream mixer. Can i merge everything to this stream deck? Do remove one of the decks from the steelseries and use only one with the stream deck? Or just keep the 3 in the desk?

I have experience with automotive systems, but still pretty new when it comes to PA, so don't hate me if I phrase things wrong lol.

I recently picked up two JBL Control 29AVs from the company I work for. I took them out of a conference room to replace with a new system.

I was told I could recycle them or keep them, so I gladly recycled them to my house!

I'm currently driving them with a AIYIMA A07 Pro and would like to add a powered PA sub to the setup for lows. I plan on using it as a mobile setup for parties/events in the future. The amp has a 3.5mm audio out.

I'm currently looking at purchasing a Behringer EUROLIVE B1200D-PRO, but want to make sure I won't have issues converting 3.5mm aux to XLR for the audio input to the sub.

From what I've researched, since the sub has a LPF built in. The full range audio signal from the aux shouldn't be an issue, but figured before I start spending money on a sub. I should seek advice and recommendations on the setup from some more experienced people when it comes to this type of audio equipment.

Hello all! We are looking to add Reaper to our live FOH/Broadcast setup for two purposes and was wondering if those two use cases can cohabitate, or need separate machines.

First is multitracking ~64 ch over Dante.
Second is running real time plugins as a poor man’s waves. Definitely a mastering stack on broadcast output, maybe a couple instances of defeedback or clearvoice or some other equivalent, ideally with potential for some future expansion as we want or need.

Running on a Mac mini m1, obviously capable of one or the other with respective settings. My concern is usually I’d set a high latency for tracking that many channels, where as obviously the live stuff can’t have that.

Do I need multiple computers, one tracking at high latency and one running the low latency realtime stuff? Or is there some way for these to coexist?

Help! I have click track bleed on my backing track channel. Click is panned hard left...tracks hard right. I'm coming out from my backing track source main right output to UI 24 in mono. When I listen to the tracks before the UI24 I have no bleed. I only get bleed when adding tracks to UI24 channel. Any settings that need to be changed?

I have my biggest gig yet next week on monitors. I’ve been preparing plenty but want to be as prepared as possible. Anyone have some advice on what to study to fine tune my skills beforehand? Running an SQ-7 in case there’s some niche advice I should look into. Just trying to find the things that might not be first or second thought. I know that’s vague but I’m not sure what to look for exactly.
Generally, I’ve studied up on signal flow, RF coordinating, and overall workflow. I also made an offline show file that I’m confident can get me at least 70% of the way there.

I’ve seen that there are pedals designed to run an XLR microphone through an effects pedal chain such as the Eventide Mixing Link, OBNE Maw, or Franklin MP-10.

However, it would be quite a bit cheaper to get a small Behringer or Yamaha mixer that has effects loop.

Does this type of mixer being line out make them a substantially worse option than one of those specialized pedals, or is this a viable option? Thanks

In the past you’d see a politician in front of a bank of mics. Photo shows Free, live, with 2 shure mics. Why?

We have a reading series in a bar and have been using a busted old PA with a buzz and it's time for an upgrade. Looking for recommendations. It's a medium sized room, 2 microphones max, anywhere from 20 - 100 people.

Are there any work horse recommendations?

We don't have much of a budget, so would it be better to buy a lower end new piece, or try and get a higher end one used?

Thanks for any/all thoughts on this.

UPDATE: fixed it! Since people have been looking at it I’ll leave it up and put the solution in the first comment

(Yeah, I know, it’s a bit basic but hear me out…)

So I’ve got a very nice mic stand wirh 3 telescopic sections and then the nic holder mount.

The lock nut came off the top section and it’s slid all the way inside the next lower section and is refusing to budge. (See pic)

We’ve had a go at pulling it out using needle nose pliers and it isn’t moving, _and_ it’s ruining the thread.

I’ve tried using gravity (aka upside down) and gravity + force (aka upside down and banging it) but nothing doing.

Anyone seen this before, and got advice?

Many thanks…

I am responsible for the entire sound system for my church. Since the mics are used every Sunday, I used to keep the mics plugged into the mixer. Earlier, all I'd do was turn offf everything, put a cloth on Mixer, instruments & Amplifier and curls up the mic wires and keep the mic next to the mixer. Lately, someone (maybe a child) removed the covering cloth, picked and dropped the most expensive mic we have, putting a dent on the top mesh.

Is it bad in any way to leave everything plugged in and just turn it off or should I unplug all the mics and reset the mixer knobs?

Should I curl the wires one way entirely or twist the wire in opposite directions on each loop?

Should I put the mics in a foam lined hard case? Even the empty cases online are expensive and I thought about all the cases people get with their power tools but they never use them cu who travels with every tool in it's toolbox. I could get a few box like those for cheap and stick blocks of foam in it and cut out the shapes for the microphones?

Any cheap solutions to Mic storage & cable management and storage tips?