I should probably walk away from this, but over my 15 years of no day job, four plus shows/week, and touring, sometimes I have found it helpful to use wedges and psycho acoustics to get what I need out of an artist to ensure a good sounding mix for the house full of paying clients and the promoter that's paying for the rig. Which is actually the job in my mind.Have had this discussion with other professionals and I am surely not the only one.It is far more professional to send clipped out signals, ignore the system tech and otherwise abuse gear you don't own I suppose. if the wedges are too hot on deck, the dj has the solution at their master fader. Win/win if you ask me.
I am looking for suggestions on Direct boxs to pad down pioneer Dj mixers. The newest pioneer djm mixers do not have a 1/4 inch master out. They only have a XLR output and RCA output. So I either need a DI with a XLR input or a RCA input. The mix wiz pad does not pad it enough when the dj mixer is maxed out.I found models BSS Audio AR-133 Active DI Box @ 179 each ($360)EWI DBRC-2A 2 channel passive direct box @ $49.50 The EWI could also be used for people that give me a 1/8 source or RCA source rigMixwiz 16Drive rack pa ( over easy limiter)DBX for brick wall limiter QSC KW 153 / Kw18 KW12 monitors
What you've described is completely reasonable. Going overkill on wedges for dj's works wonders. The term "slamming" them with the monitors suggested, to me at least, that you would suddenly add 12db or so of gain over their preferred level as set by their independent monitor output to punish them for misbehaving. Slowly adding gain (psychoacoustics I guess) to overcome the reduced perceived loudness over time that happens when an artist comes out of their quiet green room and acclimates to the deafening loudness is entirely different. To put it in context, someone on this forum once suggested introducing delay into the monitors of a DJ just to 'play' with him. Uncooperative DJ's are like any other performer. You do what you can on the interpersonal level but come prepared to use whatever techniques to improve the situation if the performer doesn't take to it.The bigger point you've also raised is that none of this is possible if the monitor system you've provided is inadequate.
I get that. Have you tried slamming them with the monitor mix to trick them into pulling their master down?
Many DJ's have that figured out now and have a "DIRECT INPUT FROM DJ MIXER TO MONITOR SYSTEM... NO CONSOLES ALLOWED" clause in their rider so that they can control their own monitor level. Dj mixers have their own monitor level control on their board.
The "red means bad" talk only works for the first half of the show, after that the soundman has to ride his input gain on his aux mixer for the rest of the night. There is just no way around it.
What's more complicated, XLR-TRS adpaters or XLR pads? It seems like 6 of one, half a dozen of the other. At least the XLRs lock.
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