Very nice setup! We took a different approach and did a 4U setup with almost exclusively analog components at a very low price and it works like a breeze: a) 2 8-channel splitters, b) 2 8-channel mic preamps plus c) a Behringer P16-I for our P16-Ms. We have stuffed all of the devices into a 4 height units racks whereby - since these are 5 devices we have also put something on the backside of the rack in order to make it work in 4 units. Cabling is fully internal and only the 2 times 8 multicores need to be connected to the stagebox. P16-I is connected via 2 times TOS Link. Because we are using the P16-I we do not need any powersupply on stage for the P16-M - just connect them directly to the P16-I using a standard Ethernet cable. We typically have our monitoring setup working on stage long before the local technician has set up any of the other cabling to FOH.
Thanks for sharing, interesting setup definitely! Yeah we also try to be early to the venues and then lay cables etc. as preparational step, before we hit the stage actually!
We also use XR18 and DN4816-O for our band as IEM rig. But it happened several times that the FOH sound engineer reported that the signal from DN4816-O is too hot when I set the gain to average (and recommended) -18dB on XR18. So our solution is to set the gains to -30dB. Of course, this results in a lower signal-to-sum ratio, but it's still imperceptible for live playing. Another problem that gave us quite a hard time was occasional loud noise on some output channels on the DN4816-O. Eventually we found out on reddit that it was probably a bad masterclock synchronization. The solution is simple - turn on DN4816-O after XR18 is fully up and running.
Damn, that's good information, thanks for that! I personally have set everything to be grabbed before any processing, so maybe we are inherintely mitigating any issue, never had somebody complaining so far. Fingers crossed!
Hey Rui! Hope you all are doing well, say hello to the boys from the TEMPEST camp ;-) BALLERN! Thanks for watching - it's indeed a great setup, we are very happy with how it works!
One thing to be be aware of with silent stage... The venues speakers usually flank the stage so unless the venue has a center speaker at stage height, the people at the front of the stage get no sound other than whats bouncing around the room. My friends band is all direct including electronic drums. They remedy that problem with a couple powered speakers at the side of the stage pointing across the front of the stage. It's kind of a funny modern music problem. That and they use a couple shotgun mics pointed out so they can hear the crowd.
To be honest, in smaller venues that is not a problem. And at any bigger stage there might be smaller banana wedges hanging from the ceiling. We haven't have an issue so far. But in any case, our pedal boards have power amps, so we are prepared for any situation :-)
This is a great setup! Im in love with my MR18 and looking into a similar rack setup. The way that you are accommodating your personal hearing challenge is also super inspiring.
Thank you for the kind words! I love the XR18 as well, it's a great piece of equipment and has worked reliably since day one. Hopefully this video inspires you for your own setup!
Thanks! The angled XLRs I found at session, a German music-shop, I soldered the cables by myself. Took me forever to find cool angeled XLR plugs, and I think session does actually not stock them anymore. ;-)
First: Very cool video. Thank you for coming up with this topic! I thought about this for quite a while with my last band, but hesitated too long with a full concept, so it never came to this ... (sigh). I have a MOTU 24ai, that I wanted to use just as you used the XR18+the DN4816. It has 24 great line outputs on the backside, that just have to be connected to XLRs, plus the option to connect e.g. 2 ADA8000/8200 via ADAT. Just one height unit in the rack for itself. So, with the ADAT option, incredible 16 ins plus 40 outs, all controllable over the network/ethernet AVB or AVB over USB, with USB audio interface option, so you could either just set up and forget the mixer, running it standalone, or even record the 16 ins (or even additional sums or submixes) with some basic EQ and comp settings, which actually sound really good. I just was not aware of which options to use for the IEM units without breaking the bank. and how the antenna thing could be handled safely. So this video was great for giving me some options and ideas, how this could be done. Also, the router setup in your rack is really nifty. I like that! I have a few questions: How happy are you with the IEM modules in your rack, do they actually fully satisfy everyone? Which Inear headphones do you use? Do you use instrument cables to your floorboards, or wireless options, and if wireless, what do you use? Does the drummer get the monitoring from the FoH, analog outs with headphone amp or does he get it from the headphone out? (So he potentially could get the exact same mix every time with his click fed into one analog in, so you could even run a "silent rehearsal room" with just drums aloud, for the option to record the whole band like in a studio, with silent guitars/bass/keys?) Btw, I see no problem in not using a splitter in the front, but just using the digital mixer + the midas as the splitter. Actually, I think splitters have their own problems, that I personally would want to avoid. I think, the FoH engineer could happily live with everything you give him, what comes out of your analog outs should be more than clean enough if the mixer is set up right. Everything else can be communicated between the band's operator and the FoH engineer, IMHO. Great video, very appreciated!
Thanks a ton for the positive feedback! Let me try to cover your questions, in case I miss anything, just hit me up again: 1) We are very happy with the LD Systems MEI 1000 G2 - for our setup and venues we play (like "medium sized venues for metal bands, fitting a maximum of 600-1000 people), we had no dropouts really. The XVive U4 does have a way smaller range due to the frequency spectrum, but I am quite stationary as the lead singer and guitar player, and the rack is always on stage at the front of the drum riser, or directly underneath it, so it's at max 5 meters away from me - personally never had a drop out on stage, way more often have dropouts in rehearsal, since we rehearse in an leftover bombing shelter bunker (in Germany, that's quite common). So I personally, am truly happy with the XVive U4. 2) We all use SHURE SE-Series headphones, Drummer and guitar player use the SE215, Bass player uses the SE425, and since I am deaf on one-side, I have on my hearing ear a single SE535, on my deaf ear the stock SE215. I have to stress how much I love the SE535! There are maybe the best investment I have done in my entire musicians career. SE215 are a muffled, blanket-topped mess in comparison. Not bad by any means, but bad in comparison with the SE535 certainly! 3) The guitars are connected wireless to the floorboards, we use for that purpose the Line 6 G10 and Line 6 G10S (got a video on my channel on the pedalboard, in case you are interested! 🙂 ) both guitarist' floorboards have DI-Boxes, which take the cabinet-emulated signal via an 4-cable-XLR snake from our boards to IEM-mixer. Also, my main vocals are carried over this XLR snake to the mixer as well. If the venue has it's own cable, I just place a small 1-channel-splitter between the venues XLR cable and my microphone, so splitter input goes to mic, splitter out1 to venue PA, splitter out 2 goes to the snake, which in turn goes to the IEM mixer. 4) The drummer, interesting point which I forgot to mention: We stay completely independent from FoH for our mixes. What we do, is we always have a spare drum-mic kit, which we just slap "on top" during changeover. So we provide Snare and the 3 Toms with our own microphones, which feed into the IEM-system. On smaller gigs, we can use the MIDAS DN4816-O to provide the FoH with our mic'd up drums, that way we save some time during changeover. On bigger festivals etc., we just smack them on right beside the FoH's drums and are happy. 🙂our drummer can live without overheads on his monitors, so that's cool. For Kickdrum, he has a Roland TM-2 Trigger Module and Triggers on his pedals from "On Trigger", which work very well. His mix comes out of the regular AUX2 output, since no stereo is needed, and feeds into his Behringer P2 headphone amp. This entire setup allows us to go FULL SILENT on stage, except for Drums of course. I was super sceptical at first, because I come from a situation where we used to have a fullstack on every side of the stage, no matter what size the venue, and I loved that as well, as it oozed rock an roll - however, the sound, our performance and the way I personally can differentiate between the soundsources have massively improved in using a complete silent stage setup. I will never look back on the olden days with loud amplifiers, except with a nostalgia for my youthful years. 🙂
@@PippPriss Ha, I come from the old times in the 80s with mushy Marshall fullstacks and everything, so I exactly get what you mean. Rock'n'roll and emotion, but what a lack of definition and transparency... Quite an investment on the personal IEM equipment that you use, these headphones for your bass player and you are pretty expensive! But I get it, like in the studio, the final stage from electric to acoustic is the most critical one for good results... and if you only have one ear, definition and clarity is everything... Thanks a lot for your detailed answers! Very appreciated!
@@imcrazedandconfused Actually their setup is is very cost-efficient compared to the average of this kind of setups. They use very effective and cheap (as in not expensive) stuff.
Thank you for the video. We use the same setup for our band, it also allowes us to have 4 additional aux outs by maping FX buses to 4 midas outs. There's one problem though... The XR18 gets overheated easily when you put it into a tight case, especially when you load it with such outputs extetion. You can check for yourself how hot it is after playing a couple of songs. It's a known problem. I'd recommend eather installing a fan inside the XR18 as we did or using some other colling system. The thing is that the power supply of XR18 wount't last long being overheated.
Really? Our gigs mostly last for an hour to 1,5 hrs, and we never had any issues. We also have rehearsals for 3-5 hrs and never had any issues, and it does not run really hot. But thanks for the remarks, I will check if that happens to run hot.
The MIDAS DN4816-O is affected by the gain controls on the XR18. You turn a channel gain up or down, and it's gonna affect the DN4816-O outputs going to the FOH mixer. As a sound guy, I don't want a feed from your MIDAS DN4816-O. I want full control of the gain going to my mixer. Get a regular splitter snake, give the sound guy a clean signal, with full uncolored isolated gain control. There are many affordable options out there, that cost significantly less than the MIDAS DN4816-O (and do the job properly). :)
While you are correct, that the MIDAS DN4816-O can only give out the signal after the input gain taper, I personally have a few remarks on that: - Adding a regular splitter will add at least another HU to the rack for the XLR cables to run from the splitter, if you want to utilize all 16 channels, perhaps even 2HU, because in case you don't go with a very expensive splitter, you will also need a regular patchbay - With proper gain staging (and then LEAVING it that way, doing the rest of gain staging and mixing by other means), there is no issue for the FoH using the MIDAS outputs in my view - We had no issues so far with the sound guys we worked with, in fact, everybody was really happy using our setup/signals - While everybody is different, I personally do not understand the remark to partout not wanting to take our signals. If I'd meet a soundguy rightout refusing to take our signals, okay, then we can roll the traditional way with mic'ing up everything - however, this type of attitude of "my way or the highway" showcases an issue which we very often face: soundguys often think that the band is at their mercy, when the reality is, that there should be collaboration to get the best results. Also, even though I am taking your comment as an example, I want to stress that I am not implying you are that way, just using your comment to make a case point here 🙂 My personal reality and experience is, that we much rather face people not knowing how to properly do the job of the FoH, and we are partially taking that job over as well, and thus we needed something which we, in case needed, can output not only the incoming signal, but actually being able of putting out the processed signal as well. But, in any case, we are always prepared to just run the traditional mic'd up setup, if that's what the engineer prefers - after all, our setup is mainly to curate our IEM-mixes towards us, and having the MIDAS is just the icing on the cake. But the few occasions, where we could set up a silent stage and have the engineer take our signals directly, the feedback was very positive, stating things like "I never worked with an easier setup" etc. - seems like we must be doing something right.
@davebrownentertainment7191 the potential gain thing issue is mitigated here by the fact that since they use their own mics and their own IEM console with their own scene, it's very unlikely that they will touch their gains. Pretty sure they dialed them once and they'll keep them the same for all shows.
@@djabthrash Yup, exactly that. Of course, it might be that FoH might find that a e.g. tom might be too quiet for his taste. But then he just takes the signal into his mixing board, and raises the fader.
Dave is right. In a real world scenario, the band leader is not a networking expert. It’s usually more like he’s a diva knowitall, and the production tech is the details guy. As a band leader, I approach every gig with pre show communication with the production staff where we explain our stage box setup, and the attitude of “this production is owned by the sound guy. We need to fit in to his system”. If he is a diva, I will know by then through pre-gig communication, and will already have solved our setup disagreements.
Any mic source is prone to the same issue, especially mic’ed up guitar amps. If the guitarist turns up his volume, you have the exact same issue, splitter or no splitter.
Glad you like the video! If you need any further help regarding feature set or so, you know where to find me! Hit me up direct and we can have a chit-chat on the topic! :-)
In the end, it's just a router behind a router. And since we have no means to reach into the local network of the Rack router from the outside, it's super easy to use. But helps that I worked for nearly 7 years as a (Senior) Technical support engineer if a network device vendor, so I am well versed with this stuff ;-)
Good point, but since we usually are first to set up our stuff to get our IEM going, it's actually better that way and in that sense tried and tested. So we first set up our stuff into the mixer, and then we let the FoH take whatever signal he needs. The FoH would have to otherwise fight through our cabling, if the splitter was in the last rackslot. Adn because of the racktray, where we mount the IEM systems, we are "bound" to the IEMs being the very last thing. But of course, depending on the use case, your preferred setup might be exactly opposite. :-)
Thanks! This is exactly what I was looking for. You mentioned you could use this with a standard cabinet micing rig when there are multiple bands. How would that work? I am a bit stumped there. 😅
Hey there, glad you find this video helpful. I got a video on the channel where I am showing my pedal board. Although back then I used a preamp pedal and now use the NAM Player pedal, the concept it still the same - split one signal without IR, and one with IR, use the one without IR into a pedal power amp, that then goes via long speaker cable to the speaker. The IR loaded signal then goes to the IEM Mixer, which in turn can go to the FoH via the MIDAS digital splitter. Hope this helps!
In theory, a FoH engineer could use nothing else but the main outputs of our mixer and then use the mixing station app, yes. But we are talking here about FoH engineers who do not know our setting (even though we send the tech Rider in time) never worked together with us, and already eventually have their dedicated routing presets in their own mixing console. For these situations, we have the MIDAS console, since it acts just as an splitter for the signals into our IEM Mixer. That way the FoH can still enjoy ease of life improvements like fetching our IR-loaded amp sounds for guitar and bass and our kick trigger sound and more, if desired, and still mix in their console completely to their comfort. If we would have s dedicated sound engineer for us only, then yes, he could use the mixing station app, mix all in the box and send that out via main outputs.
Can I ask, as a newbie, how’d you create the custom back panel, please? Is it complicated? Absolutely love your video it has been extremely inspiring - I ran the MR18 with the DN4816-O at a show supporting Anvil a couple of weeks back, after seeing your video, and it was awesome!!! Have subscribed. Thanks again.
Hi there! Sure, no stupid questions, only stupid answers! :-) I basically took a blank rack blend and drilled holes with a small handheld drill (not the handheld screwdriver thing, but the actual thing you can use to drill holes into stone, wood and metal, I think it was 500W string, regular home depot drill from BOSCH). I then used a jigsaw to cut the spacing out. Afterwards I used those small keyfiles to straighten the cutout. If you have a dremel, be smarter than I was :-D For the other holes, regular drills worked out just fine. Thank you very much for the kind words, I am happy that this video gave you some inspiration for that cool rig at that even cooler gig! :-)
Hi, ich habe ein paar Fragen dazu: - Könnte man über Ultranet auch direkt an FOH gehen und somit den Splitter einsparen? - Ist die 19" Blende auf der Rückseite mit den Antennen ein Eigenbau oder gibt es die so zu kaufen? - Ich habe den Grund des zusätzlichen Wi-Fi Routers nicht verstanden, wird der genutzt um drahtlos das Mischpult mit dem PC/Tablet zu verbinden? Wäre doch grundsätzlich vermutlich auch über den USB oder Ethernet Anschluss an der Frontseite des Mischpults auch per Kabel möglich?
Hi Florian, erstmal Danke für's Zuschauen! Zu deinen Fragen: 1) ULTRANET ist ein proprietäres, also firmeneigenes, Protokoll von Behringer/MIDAS/Music Tribe Group. MIDAS und Behringer laufen unter dem selben Banner, weshalb beide das ULTRANET Protokoll verstehen. Wenn deine Venue, wie viele tatsächlich, ein X32 o.ä. von Behringer nutzt, kannst du rein theoretisch das ULTRANET Protokoll nutzen. Allerdings muss ich sagen, werden die wenigstens Tontechniker sich darauf einlassen, weil dies erheblicher Mehraufwand in der Konfiguration darstellt für die Techniker, und außerdem brauchst du auch ein Ethernetkabel, was vom Behringer XR18 aus bis zum FoH Mischpult reicht. Also eher sehr unwahrscheinlich, dass das funktionieren wird. 2) Die Blende ist ein Selbstbau. Ich habe eine popelige Leerblende bei Thomann für'N Zehner oder so gekauft, hab 4 Bohrlöcher für den Kaltgerätestecker gebohrt, anschließend Laubsäge und Feile verwendet. Für die Antennen und die Ethernet-Anschlüsse kamen dann jeweils passende Bohrer zum Einsatz. 3) Du hast vollkommen recht mit deiner Annahme: man kann theoretisch das XR18-eigene WLAN verwenden. Allerdings ist dieses dafür bekannt, sehr unzuverlässig, schwach zu agieren, mit ständigen Ausfällen ist zu rechnen. Aus diesem Grund der ganze Heck-Meck mit dem zusätzlichen Router. Wenn du allerdings einen Laptop per Ethernet draufpackst, brauchst du natürlich keinen Router, vorausgesetzt, du hast die richtigen IP-Einstellungen an Laptop und XR18. Ein kleiner Router, der IP-Adressen vergibt, ist meines Erachtens nach trotzdem sinnvoll, damit alles schön plug & play bleibt. Man muss aber auch fairerweise sagen: sobald der Sound einmal eingestellt ist und man sich eingroovt, muss man nicht super oft dran - ich z.B. brauche bei Gigs fast nie irgendwas einzustellen außer die Lautstärke an meinem IEM. :-) Hoffe die Antworten helfen, ansonsten gerne fragen - es gibt keine dummen Fragen, sondern nur dumme Antworten! :-)
@PippPriss Danke für deine ausführliche Antwort. Das hilft mir erstmal weiter. Ich versuche für unsere Band etwas zusammenzustellen, aber preiswert soll es sein, das macht es nicht einfacher
Hey there, thanks for watching! On my channel, there is another video titled something like "Super Small Pedalboard for METAL" or similar - there I make a rundown of my pedalboard as of a year ago - by now I am using the NAM Player at the heart of my pedalboard, but the concept remains similar.
Hey there, do you mean the monitor busses of the venues? If yes, then no, we do not use that at all. We let everything be muted from FoH point of view. We play on a completely silent stage, in an optimal situation (except for the drums bashing). We are grabbing any signal we need from our individual setup into our mixer, and the mixer has 6 aux busses. we use 5 in total , 3 mono, 1 stereo pair for our guitar player. Mixing is done individually by everybody themselves and their unique liking.
Nice ! We have similar 4u , and also doing the FOH from xr18. Just 2 units in-ear stereo so for. Router and the xr rack. In five years never got overheated by the way. Please feel free to wathc our channel, all recorded live from the xr18
Until recently we also had a 4U, but the digital splitter is a must for us to feed into the PA the single signals. Watched some videos, great sound quality and cool stuff! Keep on rockin'!
Great video. Small question, how would you run the hybrid setup that you mention? If the drums are already mic'd in a festival situation for example with many bands, do you need to run those into a splitter and take one into the XR18 while the other goes to FoH?
We just smack our drum-mic set onto the shells. So for our gig, we have two drum-mics per shell - one coming from the venue and feeding their stuff, one which only feeds our mixer. In smaller venues, when we arrive early enough to set up the entire chain together with the engineer and we are staying anyways for the night, we can in theory also just use our mixer, and then have the FoH engineer use our digital MIDAS DN-4816 splitter and it's output signals to fetch the mic'd drum sounds.
@@PippPriss The "two drum-mics per shell (...)" (1 for MON, 1 for FOH) thing is interesting ! Never seen that before... Only the single set of mics going into splitter and then to FOH and MON.
I need something like this that will handle 24 channels and we can fly with. I’ve been thinking a Wing and maybe a pair of 16 channel splitters. I’ll still need a distribution unit for the monitor mixers, but if I could slim it down and fly with it, that would solve a ton of issues on the road! If anybody has any ideas, I’m all nears! Lol.
If you can live with a higher rack, than the X32 by Behringer could be your jam. However, in that case, be aware that the connections are at the back of the unit.
Since we only play like super small venues, usually not a problem. Also, for the greater part, it's set and forget, minimal adjustments needed. What can be problematic is being connected, walking away, being disconnected (it does happen quite fast due to the router being small and in the case) and then coming back. The smartphone trying to reconnect sometimes fails. But then I could, in theory, just ask one of my buddies to quickly use their phone to set up things. But, as long as I get signal, usually the mantra in case anything goes wrong is: SHOW MUST GO ON! ;-)
Why that model of GLI router at $86. There is another GLI router that looks exactly the same going for $34 on Amazon. Great job on the video. It's funny, my friend who owns a sound company as I do works with these bands who expect him to provide the IEM system. All the videos I'm seeing on UA-cam of IEM rigs. The band provides their own IEM system and send the split out to the front of house. I think this is the way it should be done.
I can't remember, but I think this one had some features which I wanted - eventually the dual-band (5GHz + 2,4 GHz?) it was. However, I had one of those amazon coupon thingies which reduced the price to somewhere around 50€, so it was quite cheaper than it normally would have been. But thanks on complimenting the way we approached this - we wanted to make sure that we do our job, the FOH does his job. At first, a lot of sound engineers are reluctant and hesitant to work with our setup, but once they basically understand "Here you can take any signal you want, you don't have to mic up anything for us, and no monitoring work from your side needed other than mute those damn things", EVERY single one of them were happy with our setup and complimented it after the gig.
Basically since I can think. I had an untreated infection within my ear, and that went full rampage mode in my ear-canal. I can barely hear, like 20 %, but since our listening perception is rather logarithmic than linear, 20% hearing is barely nothing. I can barely make out where sound is coming from, I only hear it's there. Yes, my left speaker is like massively dampened compared to my right speaker (from my perception, that is), so I can KINDA tell what's left and right. But if somebody on an open field or maybe somewhere crowded calls my name, then I am spinning like a ballet-dancer to get a visual cue of where the sound is coming from. Sucks at times, but I never knew different, so that's cool.
So, can someone give a concise summary as to why the MIDAS DN4816-O is a better way to go over a regular splitter? Other than saving room on the rack? I'm having a blonde moment and not fully understanding why it's so much better.
Saving space is a big factor to why I am a fan of the MIDAS DN4816-O. Secondly, it follows the ULTRANET standard with a lot of MIDAS and Behringer Products use. Why is this helpful? Through the menu of the XR18, you cannot only choose to send out the raw signal of the incoming source, but you could in theory set it up to send out the fully processed signal, or any step inbetween. If you'd have a full band with a very static setup, where everything always remains consistent, then you could just tell the FoH to grab the signals fully processed off of the MIDAS digital splitter and work with that. The FOH engineer does not have to apply any effects etc, eventually just adding a bit EQ to match the venue, done. Secondly, a quality splitter will set you apart the same amount of money. Thirdly, less cables needed -> instead of having (when using all channels) 18 XLR-cables, which go from the back of the splitter to the front of the XLR, you just use a single ethernet cable. 18 XLR cables are going to cost you an arm and a leg, especially if you seek to have them eventually have angled connectors on the XR18 side (200-300$ extra). Also, possibly the lid/cover of the rack will not fit anymore. If you are commited to the XR18 / the ULTRANET standard, not choosing the MIDAS DN4816-O over a conventional splitter is simply stupid. If you however are not commited and you want to use the splitter after exchanging, then of course the MIDAS DN4816-O will narrow any re-use value once you rid out the ULTRANET capable mixer.
Where`s the "all-in-one"-unit we`re all waiting for? I hate all that crap inside the box regarding power and wi-fi. On cable loose = you`re fucked. I know lots bands that use this solution, but I dont have the nerves for using it live. If anything goes wrong, you have to open the box and start troubleshooting....and you can bet it happens 5 minutes before the show starts....So....is there a "all-in-one" solution in the works, somewhere? Anyone?
I personally do not know of one, that does it ALL, and being good at that. That's why you have this modular systems. The rack could've been more cleaned up, if I'd allowed for a bigger rack - there are nice rack'd WiFi Routers, and having a power conditioner would eventually help with that as well - but then we'd be talking about a big rack, possibly 8-10 U in the end. And if we'd go that route, then I would also set up the rack so that it carries all the processors our guitar and Bass sounds ;-) But the goal was that we wanted to have a powerful unit but still keep it small.
Awesome rig! Great video! Great explanation! Blessings from Germany, where we say "Mischpult"..😂
Thanks! Yes, "Mischpult ist keine Kläranlage" ;-)
@@PippPriss 😂🤣Genau🤪😂
Very nice setup!
We took a different approach and did a 4U setup with almost exclusively analog components at a very low price and it works like a breeze:
a) 2 8-channel splitters,
b) 2 8-channel mic preamps plus
c) a Behringer P16-I for our P16-Ms.
We have stuffed all of the devices into a 4 height units racks whereby - since these are 5 devices we have also put something on the backside of the rack in order to make it work in 4 units.
Cabling is fully internal and only the 2 times 8 multicores need to be connected to the stagebox.
P16-I is connected via 2 times TOS Link. Because we are using the P16-I we do not need any powersupply on stage for the P16-M - just connect them directly to the P16-I using a standard Ethernet cable.
We typically have our monitoring setup working on stage long before the local technician has set up any of the other cabling to FOH.
Thanks for sharing, interesting setup definitely! Yeah we also try to be early to the venues and then lay cables etc. as preparational step, before we hit the stage actually!
We also use XR18 and DN4816-O for our band as IEM rig. But it happened several times that the FOH sound engineer reported that the signal from DN4816-O is too hot when I set the gain to average (and recommended) -18dB on XR18. So our solution is to set the gains to -30dB. Of course, this results in a lower signal-to-sum ratio, but it's still imperceptible for live playing.
Another problem that gave us quite a hard time was occasional loud noise on some output channels on the DN4816-O. Eventually we found out on reddit that it was probably a bad masterclock synchronization. The solution is simple - turn on DN4816-O after XR18 is fully up and running.
Damn, that's good information, thanks for that! I personally have set everything to be grabbed before any processing, so maybe we are inherintely mitigating any issue, never had somebody complaining so far. Fingers crossed!
Great video, man! Nice setup you've got there. \m/
Best regards, Rui from the band Godark. ;)
Hey Rui! Hope you all are doing well, say hello to the boys from the TEMPEST camp ;-) BALLERN!
Thanks for watching - it's indeed a great setup, we are very happy with how it works!
One thing to be be aware of with silent stage... The venues speakers usually flank the stage so unless the venue has a center speaker at stage height, the people at the front of the stage get no sound other than whats bouncing around the room. My friends band is all direct including electronic drums. They remedy that problem with a couple powered speakers at the side of the stage pointing across the front of the stage. It's kind of a funny modern music problem. That and they use a couple shotgun mics pointed out so they can hear the crowd.
To be honest, in smaller venues that is not a problem. And at any bigger stage there might be smaller banana wedges hanging from the ceiling. We haven't have an issue so far. But in any case, our pedal boards have power amps, so we are prepared for any situation :-)
Tnx for the video, we as a band are going the same direction as you did, less noise on stage and easy set-up.
Glad it helps! Yes, you should go in that direction, you hopefully will not regret it!
This is a great setup! Im in love with my MR18 and looking into a similar rack setup. The way that you are accommodating your personal hearing challenge is also super inspiring.
Thank you for the kind words! I love the XR18 as well, it's a great piece of equipment and has worked reliably since day one. Hopefully this video inspires you for your own setup!
awesome vid and setup!
Thank you!
05:56 nice angled XLRs for your AUX outs here :)
Very neat setup Phil !
Thanks! The angled XLRs I found at session, a German music-shop, I soldered the cables by myself. Took me forever to find cool angeled XLR plugs, and I think session does actually not stock them anymore. ;-)
@@PippPriss I also did something similar for a tiny pedalboard of mine :)
First: Very cool video.
Thank you for coming up with this topic!
I thought about this for quite a while with my last band, but hesitated too long with a full concept, so it never came to this ... (sigh).
I have a MOTU 24ai, that I wanted to use just as you used the XR18+the DN4816. It has 24 great line outputs on the backside, that just have to be connected to XLRs, plus the option to connect e.g. 2 ADA8000/8200 via ADAT. Just one height unit in the rack for itself. So, with the ADAT option, incredible 16 ins plus 40 outs, all controllable over the network/ethernet AVB or AVB over USB, with USB audio interface option, so you could either just set up and forget the mixer, running it standalone, or even record the 16 ins (or even additional sums or submixes) with some basic EQ and comp settings, which actually sound really good.
I just was not aware of which options to use for the IEM units without breaking the bank. and how the antenna thing could be handled safely. So this video was great for giving me some options and ideas, how this could be done. Also, the router setup in your rack is really nifty. I like that!
I have a few questions:
How happy are you with the IEM modules in your rack, do they actually fully satisfy everyone?
Which Inear headphones do you use?
Do you use instrument cables to your floorboards, or wireless options, and if wireless, what do you use?
Does the drummer get the monitoring from the FoH, analog outs with headphone amp or does he get it from the headphone out? (So he potentially could get the exact same mix every time with his click fed into one analog in, so you could even run a "silent rehearsal room" with just drums aloud, for the option to record the whole band like in a studio, with silent guitars/bass/keys?)
Btw, I see no problem in not using a splitter in the front, but just using the digital mixer + the midas as the splitter. Actually, I think splitters have their own problems, that I personally would want to avoid. I think, the FoH engineer could happily live with everything you give him, what comes out of your analog outs should be more than clean enough if the mixer is set up right. Everything else can be communicated between the band's operator and the FoH engineer, IMHO.
Great video, very appreciated!
Thanks a ton for the positive feedback!
Let me try to cover your questions, in case I miss anything, just hit me up again:
1) We are very happy with the LD Systems MEI 1000 G2 - for our setup and venues we play (like "medium sized venues for metal bands, fitting a maximum of 600-1000 people), we had no dropouts really. The XVive U4 does have a way smaller range due to the frequency spectrum, but I am quite stationary as the lead singer and guitar player, and the rack is always on stage at the front of the drum riser, or directly underneath it, so it's at max 5 meters away from me - personally never had a drop out on stage, way more often have dropouts in rehearsal, since we rehearse in an leftover bombing shelter bunker (in Germany, that's quite common). So I personally, am truly happy with the XVive U4.
2) We all use SHURE SE-Series headphones, Drummer and guitar player use the SE215, Bass player uses the SE425, and since I am deaf on one-side, I have on my hearing ear a single SE535, on my deaf ear the stock SE215. I have to stress how much I love the SE535! There are maybe the best investment I have done in my entire musicians career. SE215 are a muffled, blanket-topped mess in comparison. Not bad by any means, but bad in comparison with the SE535 certainly!
3) The guitars are connected wireless to the floorboards, we use for that purpose the Line 6 G10 and Line 6 G10S (got a video on my channel on the pedalboard, in case you are interested! 🙂 ) both guitarist' floorboards have DI-Boxes, which take the cabinet-emulated signal via an 4-cable-XLR snake from our boards to IEM-mixer. Also, my main vocals are carried over this XLR snake to the mixer as well. If the venue has it's own cable, I just place a small 1-channel-splitter between the venues XLR cable and my microphone, so splitter input goes to mic, splitter out1 to venue PA, splitter out 2 goes to the snake, which in turn goes to the IEM mixer.
4) The drummer, interesting point which I forgot to mention: We stay completely independent from FoH for our mixes. What we do, is we always have a spare drum-mic kit, which we just slap "on top" during changeover. So we provide Snare and the 3 Toms with our own microphones, which feed into the IEM-system. On smaller gigs, we can use the MIDAS DN4816-O to provide the FoH with our mic'd up drums, that way we save some time during changeover. On bigger festivals etc., we just smack them on right beside the FoH's drums and are happy. 🙂our drummer can live without overheads on his monitors, so that's cool. For Kickdrum, he has a Roland TM-2 Trigger Module and Triggers on his pedals from "On Trigger", which work very well. His mix comes out of the regular AUX2 output, since no stereo is needed, and feeds into his Behringer P2 headphone amp.
This entire setup allows us to go FULL SILENT on stage, except for Drums of course. I was super sceptical at first, because I come from a situation where we used to have a fullstack on every side of the stage, no matter what size the venue, and I loved that as well, as it oozed rock an roll - however, the sound, our performance and the way I personally can differentiate between the soundsources have massively improved in using a complete silent stage setup. I will never look back on the olden days with loud amplifiers, except with a nostalgia for my youthful years. 🙂
@@PippPriss Ha, I come from the old times in the 80s with mushy Marshall fullstacks and everything, so I exactly get what you mean. Rock'n'roll and emotion, but what a lack of definition and transparency...
Quite an investment on the personal IEM equipment that you use, these headphones for your bass player and you are pretty expensive! But I get it, like in the studio, the final stage from electric to acoustic is the most critical one for good results... and if you only have one ear, definition and clarity is everything...
Thanks a lot for your detailed answers! Very appreciated!
@@imcrazedandconfused Actually their setup is is very cost-efficient compared to the average of this kind of setups. They use very effective and cheap (as in not expensive) stuff.
Thank you for the video. We use the same setup for our band, it also allowes us to have 4 additional aux outs by maping FX buses to 4 midas outs. There's one problem though... The XR18 gets overheated easily when you put it into a tight case, especially when you load it with such outputs extetion. You can check for yourself how hot it is after playing a couple of songs. It's a known problem. I'd recommend eather installing a fan inside the XR18 as we did or using some other colling system. The thing is that the power supply of XR18 wount't last long being overheated.
Really? Our gigs mostly last for an hour to 1,5 hrs, and we never had any issues. We also have rehearsals for 3-5 hrs and never had any issues, and it does not run really hot.
But thanks for the remarks, I will check if that happens to run hot.
Cost effective and clever and neat af.
Quite a departure from the classic analog splitter -> XR/X32rack setup we often see, but makes sense as well !
The MIDAS DN4816-O is affected by the gain controls on the XR18. You turn a channel gain up or down, and it's gonna affect the DN4816-O outputs going to the FOH mixer. As a sound guy, I don't want a feed from your MIDAS DN4816-O. I want full control of the gain going to my mixer. Get a regular splitter snake, give the sound guy a clean signal, with full uncolored isolated gain control. There are many affordable options out there, that cost significantly less than the MIDAS DN4816-O (and do the job properly). :)
While you are correct, that the MIDAS DN4816-O can only give out the signal after the input gain taper, I personally have a few remarks on that:
- Adding a regular splitter will add at least another HU to the rack for the XLR cables to run from the splitter, if you want to utilize all 16 channels, perhaps even 2HU, because in case you don't go with a very expensive splitter, you will also need a regular patchbay
- With proper gain staging (and then LEAVING it that way, doing the rest of gain staging and mixing by other means), there is no issue for the FoH using the MIDAS outputs in my view
- We had no issues so far with the sound guys we worked with, in fact, everybody was really happy using our setup/signals
- While everybody is different, I personally do not understand the remark to partout not wanting to take our signals. If I'd meet a soundguy rightout refusing to take our signals, okay, then we can roll the traditional way with mic'ing up everything - however, this type of attitude of "my way or the highway" showcases an issue which we very often face: soundguys often think that the band is at their mercy, when the reality is, that there should be collaboration to get the best results. Also, even though I am taking your comment as an example, I want to stress that I am not implying you are that way, just using your comment to make a case point here 🙂
My personal reality and experience is, that we much rather face people not knowing how to properly do the job of the FoH, and we are partially taking that job over as well, and thus we needed something which we, in case needed, can output not only the incoming signal, but actually being able of putting out the processed signal as well.
But, in any case, we are always prepared to just run the traditional mic'd up setup, if that's what the engineer prefers - after all, our setup is mainly to curate our IEM-mixes towards us, and having the MIDAS is just the icing on the cake. But the few occasions, where we could set up a silent stage and have the engineer take our signals directly, the feedback was very positive, stating things like "I never worked with an easier setup" etc. - seems like we must be doing something right.
@davebrownentertainment7191 the potential gain thing issue is mitigated here by the fact that since they use their own mics and their own IEM console with their own scene, it's very unlikely that they will touch their gains. Pretty sure they dialed them once and they'll keep them the same for all shows.
@@djabthrash Yup, exactly that. Of course, it might be that FoH might find that a e.g. tom might be too quiet for his taste. But then he just takes the signal into his mixing board, and raises the fader.
Dave is right. In a real world scenario, the band leader is not a networking expert. It’s usually more like he’s a diva knowitall, and the production tech is the details guy. As a band leader, I approach every gig with pre show communication with the production staff where we explain our stage box setup, and the attitude of “this production is owned by the sound guy. We need to fit in to his system”. If he is a diva, I will know by then through pre-gig communication, and will already have solved our setup disagreements.
Any mic source is prone to the same issue, especially mic’ed up guitar amps. If the guitarist turns up his volume, you have the exact same issue, splitter or no splitter.
Nice vid man. Am doing research right now to get some sort of in-ear monitoring for the band I play with.
Glad you like the video! If you need any further help regarding feature set or so, you know where to find me! Hit me up direct and we can have a chit-chat on the topic! :-)
The double nat setup is sick
In the end, it's just a router behind a router. And since we have no means to reach into the local network of the Rack router from the outside, it's super easy to use.
But helps that I worked for nearly 7 years as a (Senior) Technical support engineer if a network device vendor, so I am well versed with this stuff ;-)
Thanks for sharing.🐨
You are most welcome!
great setup! I would swap the splitter to the bottom so you won't have the FOH cables hanging in front of the mixer...
Good point, but since we usually are first to set up our stuff to get our IEM going, it's actually better that way and in that sense tried and tested. So we first set up our stuff into the mixer, and then we let the FoH take whatever signal he needs. The FoH would have to otherwise fight through our cabling, if the splitter was in the last rackslot.
Adn because of the racktray, where we mount the IEM systems, we are "bound" to the IEMs being the very last thing.
But of course, depending on the use case, your preferred setup might be exactly opposite. :-)
Thanks for the walk-through, man! Nice compact setup. Very inspiring especially the silent stage option.
Subscribed!
Thank you very much, appreciate you being in for the journey! The setup is great, we just gigged last Friday once again with it, and it slayed! :-)
Thanks! This is exactly what I was looking for. You mentioned you could use this with a standard cabinet micing rig when there are multiple bands. How would that work? I am a bit stumped there. 😅
Hey there, glad you find this video helpful. I got a video on the channel where I am showing my pedal board. Although back then I used a preamp pedal and now use the NAM Player pedal, the concept it still the same - split one signal without IR, and one with IR, use the one without IR into a pedal power amp, that then goes via long speaker cable to the speaker. The IR loaded signal then goes to the IEM Mixer, which in turn can go to the FoH via the MIDAS digital splitter.
Hope this helps!
I still don’t understand why the Midas console is necessary. Can’t the front of house just mix from an iPad Mixing Station?
In theory, a FoH engineer could use nothing else but the main outputs of our mixer and then use the mixing station app, yes. But we are talking here about FoH engineers who do not know our setting (even though we send the tech Rider in time) never worked together with us, and already eventually have their dedicated routing presets in their own mixing console. For these situations, we have the MIDAS console, since it acts just as an splitter for the signals into our IEM Mixer. That way the FoH can still enjoy ease of life improvements like fetching our IR-loaded amp sounds for guitar and bass and our kick trigger sound and more, if desired, and still mix in their console completely to their comfort.
If we would have s dedicated sound engineer for us only, then yes, he could use the mixing station app, mix all in the box and send that out via main outputs.
Can I ask, as a newbie, how’d you create the custom back panel, please? Is it complicated?
Absolutely love your video it has been extremely inspiring - I ran the MR18 with the DN4816-O at a show supporting Anvil a couple of weeks back, after seeing your video, and it was awesome!!! Have subscribed. Thanks again.
Hi there! Sure, no stupid questions, only stupid answers! :-)
I basically took a blank rack blend and drilled holes with a small handheld drill (not the handheld screwdriver thing, but the actual thing you can use to drill holes into stone, wood and metal, I think it was 500W string, regular home depot drill from BOSCH). I then used a jigsaw to cut the spacing out. Afterwards I used those small keyfiles to straighten the cutout. If you have a dremel, be smarter than I was :-D
For the other holes, regular drills worked out just fine.
Thank you very much for the kind words, I am happy that this video gave you some inspiration for that cool rig at that even cooler gig! :-)
Hi, ich habe ein paar Fragen dazu:
- Könnte man über Ultranet auch direkt an FOH gehen und somit den Splitter einsparen?
- Ist die 19" Blende auf der Rückseite mit den Antennen ein Eigenbau oder gibt es die so zu kaufen?
- Ich habe den Grund des zusätzlichen Wi-Fi Routers nicht verstanden, wird der genutzt um drahtlos das Mischpult mit dem PC/Tablet zu verbinden? Wäre doch grundsätzlich vermutlich auch über den USB oder Ethernet Anschluss an der Frontseite des Mischpults auch per Kabel möglich?
Hi Florian, erstmal Danke für's Zuschauen! Zu deinen Fragen:
1) ULTRANET ist ein proprietäres, also firmeneigenes, Protokoll von Behringer/MIDAS/Music Tribe Group. MIDAS und Behringer laufen unter dem selben Banner, weshalb beide das ULTRANET Protokoll verstehen. Wenn deine Venue, wie viele tatsächlich, ein X32 o.ä. von Behringer nutzt, kannst du rein theoretisch das ULTRANET Protokoll nutzen. Allerdings muss ich sagen, werden die wenigstens Tontechniker sich darauf einlassen, weil dies erheblicher Mehraufwand in der Konfiguration darstellt für die Techniker, und außerdem brauchst du auch ein Ethernetkabel, was vom Behringer XR18 aus bis zum FoH Mischpult reicht. Also eher sehr unwahrscheinlich, dass das funktionieren wird.
2) Die Blende ist ein Selbstbau. Ich habe eine popelige Leerblende bei Thomann für'N Zehner oder so gekauft, hab 4 Bohrlöcher für den Kaltgerätestecker gebohrt, anschließend Laubsäge und Feile verwendet. Für die Antennen und die Ethernet-Anschlüsse kamen dann jeweils passende Bohrer zum Einsatz.
3) Du hast vollkommen recht mit deiner Annahme: man kann theoretisch das XR18-eigene WLAN verwenden. Allerdings ist dieses dafür bekannt, sehr unzuverlässig, schwach zu agieren, mit ständigen Ausfällen ist zu rechnen. Aus diesem Grund der ganze Heck-Meck mit dem zusätzlichen Router. Wenn du allerdings einen Laptop per Ethernet draufpackst, brauchst du natürlich keinen Router, vorausgesetzt, du hast die richtigen IP-Einstellungen an Laptop und XR18. Ein kleiner Router, der IP-Adressen vergibt, ist meines Erachtens nach trotzdem sinnvoll, damit alles schön plug & play bleibt. Man muss aber auch fairerweise sagen: sobald der Sound einmal eingestellt ist und man sich eingroovt, muss man nicht super oft dran - ich z.B. brauche bei Gigs fast nie irgendwas einzustellen außer die Lautstärke an meinem IEM. :-)
Hoffe die Antworten helfen, ansonsten gerne fragen - es gibt keine dummen Fragen, sondern nur dumme Antworten! :-)
@PippPriss Danke für deine ausführliche Antwort. Das hilft mir erstmal weiter.
Ich versuche für unsere Band etwas zusammenzustellen, aber preiswert soll es sein, das macht es nicht einfacher
Hello. Great video. Where is the link to the guitar rig strip-down please? Cheers
Hey there, thanks for watching! On my channel, there is another video titled something like "Super Small Pedalboard for METAL" or similar - there I make a rundown of my pedalboard as of a year ago - by now I am using the NAM Player at the heart of my pedalboard, but the concept remains similar.
13:09 - in your hybrid scenario, are you then pulling each dedicated monitor lines into the behringer’s inputs then out your IEMs?
Hey there, do you mean the monitor busses of the venues? If yes, then no, we do not use that at all. We let everything be muted from FoH point of view. We play on a completely silent stage, in an optimal situation (except for the drums bashing). We are grabbing any signal we need from our individual setup into our mixer, and the mixer has 6 aux busses. we use 5 in total , 3 mono, 1 stereo pair for our guitar player. Mixing is done individually by everybody themselves and their unique liking.
Nice ! We have similar 4u , and also doing the FOH from xr18. Just 2 units in-ear stereo so for. Router and the xr rack. In five years never got overheated by the way. Please feel free to wathc our channel, all recorded live from the xr18
Until recently we also had a 4U, but the digital splitter is a must for us to feed into the PA the single signals. Watched some videos, great sound quality and cool stuff! Keep on rockin'!
Great video. Small question, how would you run the hybrid setup that you mention? If the drums are already mic'd in a festival situation for example with many bands, do you need to run those into a splitter and take one into the XR18 while the other goes to FoH?
We just smack our drum-mic set onto the shells. So for our gig, we have two drum-mics per shell - one coming from the venue and feeding their stuff, one which only feeds our mixer. In smaller venues, when we arrive early enough to set up the entire chain together with the engineer and we are staying anyways for the night, we can in theory also just use our mixer, and then have the FoH engineer use our digital MIDAS DN-4816 splitter and it's output signals to fetch the mic'd drum sounds.
@@PippPriss The "two drum-mics per shell (...)" (1 for MON, 1 for FOH) thing is interesting ! Never seen that before... Only the single set of mics going into splitter and then to FOH and MON.
I need something like this that will handle 24 channels and we can fly with. I’ve been thinking a Wing and maybe a pair of 16 channel splitters. I’ll still need a distribution unit for the monitor mixers, but if I could slim it down and fly with it, that would solve a ton of issues on the road! If anybody has any ideas, I’m all nears! Lol.
If you can live with a higher rack, than the X32 by Behringer could be your jam. However, in that case, be aware that the connections are at the back of the unit.
16:23 never had any connection problems with the router being placed inside the case like this ?
Since we only play like super small venues, usually not a problem. Also, for the greater part, it's set and forget, minimal adjustments needed. What can be problematic is being connected, walking away, being disconnected (it does happen quite fast due to the router being small and in the case) and then coming back. The smartphone trying to reconnect sometimes fails. But then I could, in theory, just ask one of my buddies to quickly use their phone to set up things.
But, as long as I get signal, usually the mantra in case anything goes wrong is: SHOW MUST GO ON! ;-)
@@PippPriss Danke schön !
What do you use to send intros and samples to the FOH? Are you just playing the samples from your iPad/laptop?
Yes, we just have our drummer using his iPhone with a lightning to 3,5mm jack adapter, that then goes to the Line-Ins (Input 17 + 18)
Why that model of GLI router at $86. There is another GLI router that looks exactly the same going for $34 on Amazon. Great job on the video. It's funny, my friend who owns a sound company as I do works with these bands who expect him to provide the IEM system. All the videos I'm seeing on UA-cam of IEM rigs. The band provides their own IEM system and send the split out to the front of house. I think this is the way it should be done.
I can't remember, but I think this one had some features which I wanted - eventually the dual-band (5GHz + 2,4 GHz?) it was.
However, I had one of those amazon coupon thingies which reduced the price to somewhere around 50€, so it was quite cheaper than it normally would have been.
But thanks on complimenting the way we approached this - we wanted to make sure that we do our job, the FOH does his job. At first, a lot of sound engineers are reluctant and hesitant to work with our setup, but once they basically understand "Here you can take any signal you want, you don't have to mic up anything for us, and no monitoring work from your side needed other than mute those damn things", EVERY single one of them were happy with our setup and complimented it after the gig.
@@PippPriss I could only dream of a band that is that accommodating!
01:39 if you don't mind me asking : how come you're deaf on one ear ? Has it always been the case or something happened during your life ?
Basically since I can think. I had an untreated infection within my ear, and that went full rampage mode in my ear-canal. I can barely hear, like 20 %, but since our listening perception is rather logarithmic than linear, 20% hearing is barely nothing. I can barely make out where sound is coming from, I only hear it's there. Yes, my left speaker is like massively dampened compared to my right speaker (from my perception, that is), so I can KINDA tell what's left and right. But if somebody on an open field or maybe somewhere crowded calls my name, then I am spinning like a ballet-dancer to get a visual cue of where the sound is coming from.
Sucks at times, but I never knew different, so that's cool.
@@PippPrissThat's nuts ! Thanks for sharing the details.
So, can someone give a concise summary as to why the MIDAS DN4816-O is a better way to go over a regular splitter? Other than saving room on the rack? I'm having a blonde moment and not fully understanding why it's so much better.
Saving space is a big factor to why I am a fan of the MIDAS DN4816-O. Secondly, it follows the ULTRANET standard with a lot of MIDAS and Behringer Products use. Why is this helpful? Through the menu of the XR18, you cannot only choose to send out the raw signal of the incoming source, but you could in theory set it up to send out the fully processed signal, or any step inbetween. If you'd have a full band with a very static setup, where everything always remains consistent, then you could just tell the FoH to grab the signals fully processed off of the MIDAS digital splitter and work with that. The FOH engineer does not have to apply any effects etc, eventually just adding a bit EQ to match the venue, done.
Secondly, a quality splitter will set you apart the same amount of money. Thirdly, less cables needed -> instead of having (when using all channels) 18 XLR-cables, which go from the back of the splitter to the front of the XLR, you just use a single ethernet cable. 18 XLR cables are going to cost you an arm and a leg, especially if you seek to have them eventually have angled connectors on the XR18 side (200-300$ extra). Also, possibly the lid/cover of the rack will not fit anymore.
If you are commited to the XR18 / the ULTRANET standard, not choosing the MIDAS DN4816-O over a conventional splitter is simply stupid. If you however are not commited and you want to use the splitter after exchanging, then of course the MIDAS DN4816-O will narrow any re-use value once you rid out the ULTRANET capable mixer.
@PippPriss ok, I'm sold. I already have a Midas MR18, so it's a no brainer. Thanks man!
@@MasterSplinterPDX Your welcome! Its all about choices! :-) good times certainly to live in!
Where`s the "all-in-one"-unit we`re all waiting for? I hate all that crap inside the box regarding power and wi-fi. On cable loose = you`re fucked. I know lots bands that use this solution, but I dont have the nerves for using it live. If anything goes wrong, you have to open the box and start troubleshooting....and you can bet it happens 5 minutes before the show starts....So....is there a "all-in-one" solution in the works, somewhere? Anyone?
I personally do not know of one, that does it ALL, and being good at that. That's why you have this modular systems.
The rack could've been more cleaned up, if I'd allowed for a bigger rack - there are nice rack'd WiFi Routers, and having a power conditioner would eventually help with that as well - but then we'd be talking about a big rack, possibly 8-10 U in the end. And if we'd go that route, then I would also set up the rack so that it carries all the processors our guitar and Bass sounds ;-)
But the goal was that we wanted to have a powerful unit but still keep it small.