Event sound: microphones, room coverage and stage monitor mixes

Before counting equipment, review the program and venue

Request the agenda, rehearsal time and number of participants in each segment. A panel of five plus a moderator needs six voice positions; if questions come from two aisles, add those positions. For a band, obtain the rider, channel list and stage plot. Also list instruments, backline, playback tracks and artist changeovers: these often reveal inputs missing from the first count.

On the floor plan, mark the width and depth of the audience, tables or rows, balconies, columns, distant areas and control position. Add schedules and venue restrictions. If you are working in a hotel, ask what system the room has, which inputs it offers, who operates it and which services must be contracted there. Before using it, listen with the planned setup: an available input still leaves coverage to be checked.

To request a proposal, gather the date, venue, program, floor plan, source list and what you need to record or stream. These details allow a specific scope to be discussed: channels, positions, mixes, crew and testing time. GLMedia models, quantities and availability must be confirmed in that proposal.

How many inputs do you need? Examples to start your count

Use these examples to start counting inputs for your program. The quantities come from the simultaneous sources in each example; they are neither an audience-size rule nor a stock list. On a patch sheet, an input is one signal channel, and a stereo source occupies two mono inputs. A microphone kept to replace another is listed as a spare, separately from those in use.

Also review program transitions. Does a panelist stand up and walk? Are questions asked from another area? Do two artists share the stage during a changeover? A spare wireless microphone must work with the intended receiver, capsule, battery and frequency. Have the complete chain ready so it can be used when needed.

Choose the microphone with the person who will use it

A handheld microphone is convenient to pass between people, but they need to hold it at a suitable distance. A headset follows a moving speaker who needs both hands free. With a lavalier, check clothing and rubbing during movement; with a gooseneck, check the speaker's position at the lectern. Test it with the actual person. The format helps you choose, while the capsule, pickup pattern, placement and environment determine how it performs.

For instruments, establish what you will capture: a voice, amplifier, acoustic instrument or electronic output. Microphone choice and placement change with the sound you want and what you want to exclude. The guide from Shure on live sound techniques helps you prepare that test; then listen to the actual source.

Document the connection and level of each electronic output, and choose a DI or interface where needed. Check power, connectors and cable length for the equipment. Do the same for the spare: if only a few seconds separate contributions, its connection and handling should already be resolved.

Walk the room: front row, sides and back

Position loudspeakers for the areas that need to hear. In a long room, a balcony or an area behind a column, that zone may need additional coverage. During the site visit, compare the front row, sides, back and service areas. Listen for speech clarity and consistent balance: turning up the entire system can make the front row uncomfortable while leaving the back just as difficult.

Meyer Sound prediction tools help review coverage, interaction between loudspeakers and delay settings for additional zones. Use them with the models they support and complete the design by listening to the installed system. The documentation from Meyer Sound on design and integration explains these tools and their scope.

In a hotel, pay attention to reflective surfaces, movable partitions and HVAC or service noise. Outdoors, record distances, orientation, neighbors, expected conditions and equipment protection. Agree on who monitors sound levels, weather and operation; review supports and cable runs for that site and those models. If you move the stage, revisit the design even if attendance stays the same.

Decide on mixes first, then floor monitors or in-ears

Ask musicians what they need to hear and from which position. Two may share a mix if it works for both; a lead vocalist and drummer may need different balances. Label each mix, its destination and who controls it. This makes the monitor count follow a specific musical need instead of assigning one speaker per performer.

For in-ears, check whether you will work in mono, stereo or a mixing mode specific to the system. On PSM300, for example, MixMode combines two signals in both earphones and lets users adjust their balance. Check the modes of the selected equipment and the buses and outputs available on the console. The Shure PSM300 manual describes that function for that system.

A band might start rehearsal with three agreed mixes: lead vocal, guitar/keyboard and rhythm section. This is an example to discuss with the musicians; the rider may require another arrangement. If you use wireless in-ears, include RF coordination. Test fit and monitoring with each user. With floor monitors, document the loudspeaker's position relative to the microphone and check that relationship during rehearsal.

Leave a patch sheet anyone on the team can follow

Create a sheet linking input number, source, microphone or connection, position, power, destination and notes. For outputs, identify house, subs where used, zone fills, monitors, recording, streaming and interpretation. Label both ends of each cable and update the sheet if anything changes during testing. When troubleshooting a dropout, this information saves rechecking connections you already know.

For wireless systems, gather the actual equipment list and work with the spectrum at the venue. Wireless Workbench can use scans, calculate compatible frequencies and deploy them to supported devices. Coordination is also checked during operation. The procedure is in the Shure Wireless Workbench guide.

Include microphones, in-ears and other production RF systems; check permitted bands, antennas and power by model. Identify the console control network separately from audio paths. For a specific task, follow the guides on RF coordination (Spanish), Dante clocking and dropouts (Spanish) and XR18/MR18 control router (Spanish).

Define what each audience hears

The room, stage and remote audience may need different balances and content. Identify each destination before choosing outputs and listen to it during rehearsal.

Test feedback, cameras and program transitions

Feedback occurs when amplified sound returns to a microphone and is reproduced through the system repeatedly. Review placement, microphone technique and gain; close microphones that are not in use. EQ can help, but system placement remains part of the problem. Rehearse where the speaker will walk and where monitors will sit. The guide from Shure on controlling feedback covers these points.

For camera, recording and streaming (Spanish), agree on the connection, delivery level and mix content. Include audience questions, videos and remote guests. Listen to a sample with headphones at each destination: console meters may look fine while a source is missing from the file or stream.

When part of the system has no sound, follow a known signal from its source to the destination and check where it disappears. For specific problems, use the guides on an amplifier in protect mode (Spanish) and XR18 with an unknown USB device (Spanish). You can find the rest in the technical help center.

A soundcheck that resembles the show

Reserve time with the people, instruments and files you will use. Checking signal on each channel is a first step. Use rehearsal to walk positions, run program transitions and confirm who acts when something fails.

1. Finalize the program and outputs

   Confirm the agenda, simultaneous sources, rider, floor plan, outputs, rehearsal, crew and venue restrictions. Document what changes between segments.

2. Prepare connections and backups

   Review the patch sheet, mixes, connectors, spares and cable runs. Check power, supports and protection with the selected equipment.

3. Install and label

   Install the planned positions, connect according to the sheet and document any changes. Label both ends before covering cables or moving them out of reach.

4. Listen to each input

   Test microphones, instruments, playback and remote guests. Adjust levels and follow each signal to its destination.

5. Walk the audience area and test the stage

   Walk the audience zones. Test monitors with the musicians, the speaker's path and question microphones.

6. Listen at every destination

   Check house, camera, recorder, encoder and interpretation. Check remote returns and practice restoring a backup path during rehearsal.

7. Assign responsibilities and verify handover

   Agree on who operates the console and RF, document incidents and check the contracted files before load-out.

Two recording questions worth testing in advance

The steps below help you check your own signal chain with the manuals at hand.

The mix seems fine, but the USB file is distorted

After adjusting gain, repeat the same signal and check level, distortion and headroom at each stage.

If something similar happens, choose one signal and follow it from the microphone to the file. Check which stage each meter displays and where recording takes its signal. A low fader can keep the house mix comfortable even when an earlier stage has already clipped the audio.

Listening to a test file lets you correct the chain before the show. A take that has already clipped cannot be recovered by lowering its level. If distortion persists, compare another source and input to isolate it before blaming USB or declaring the microphone faulty.

To locate metering points, consult the guide on Allen & Heath levels and metering. In the SQ Reference Guide V1.6.0, review Preamp, pages 30–31, and Direct Out, page 46.

1. Test the actual performance level

   During soundcheck, ask for hits as strong as they will be during the show. Check the input, channel stages and USB destination. Adjust gain where overload appears and check whether that source calls for a pad.

2. Document where each track comes from

   Identify whether you record a direct input, direct out or mix. On SQ, check the direct out tap point and level, and whether it follows fader or mute. Test those changes so a house decision does not accidentally silence the recording.

3. Record and listen to a sample

   Compare the file with the signal on the console using headphones. Repeat the test with the processors you intend to leave active and keep the sample.

The USB cable fits: now check which device connects to which

Allen & Heath explained the USB roles, but stated that it had not tested that recorder.

Before choosing a cable, find the exact model and firmware of both devices. Check which can act as host, which formats it accepts and how many channels it can record. USB-B at one end and USB-C at the other only describe connectors; you still need to check how the devices work together.

If you want a recorder from the same product family, still check its manual: functions may differ between models. In the proposal, identify the path you rehearsed and a verified alternative, with its inputs and levels.

On CQ, the USB and SD Card section under Connections and the USB/SD options under CONFIG let you review connections and audio modes.

1. Check roles, channels and sample rate

   Check both manuals for the exact models and firmware. If both devices only work as computer clients, a connector adapter is not enough to link them to each other.

2. Choose a documented path

   For CQ with a compatible computer, check Stereo or Multitrack according to the application and which signal reaches the stereo pair. If you use an external recorder, check its inputs and levels before preparing an analog alternative.

3. Test the complete chain

   Record speech and music, listen to the file and check both channels and duration. Document the settings so you can repeat that configuration during setup.

Two bodypacks can share a transmitter: define what each person hears

They were offered two mono mixes from one G4 transmitter.

For that example, prepare two independent aux mixes and connect one to each SR IEM G4 input. The transmitter manual specifies Stereo to transmit both channels. On each EK IEM G4, Focus and Balance let the listener choose the proportion they hear.

First test an identifiable signal on L, then another on R. Check each bodypack and label its user. If both want different mixes, those two sends must exist on the console; adding receivers retains the available signals. For two independent stereo mixes, the arrangement changes. Confirm model, band, outputs and routing before counting equipment.

1. Name the two sends

   Build the singer's and bassist's mixes separately. Mark which reaches L and which reaches R.

2. Check modes and monitoring

   Use SR in Stereo and EK in Focus; adjust Balance toward the intended channel and listen to both earphones on each bodypack.

3. Rehearse changes

   Change one send at a time and check what each musician hears. Save that configuration and check link coverage.

Listen comfortably while recording a mix at a healthy level

Getting enough recording level made monitoring too loud.

Alt Out has its own volume control for the source you select in the output patch. If you want to monitor LR, check that assignment. You can then adjust monitoring without using the main fader as a loudspeaker control; the recorded mix still depends on its own path.

1. Separate the two paths on the patch sheet

   Document which output feeds monitors and which source reaches recording. For stereo Qu-Drive, check USB outputs 17 and 18 before starting.

2. Test the monitoring control at a low level

   Lower monitoring before changing cables. With monitors connected to Alt Out and the correct source selected, move only its knob and watch the recording meter.

3. Listen to the file too

   Record a short test with speech and music similar to the program. Review the file, then label the monitoring control for the console operator.

If house and monitors share an input, agree on who adjusts Gain

The SQ 1.5 guide separates Gain, which controls the socket's analog preamp, from Trim, which adjusts the channel's digital level. Sharing that socket also means sharing its gain. Before changing it, notify whoever is working with that same input.

1. Identify the shared input

   Mark the socket and the channels or consoles receiving its signal. If you see two faders named for the same microphone, check whether they come from the same socket.

2. Agree on the setting during soundcheck

   Ask the microphone user for a test resembling their loudest contribution. Agree on who adjusts the preamp and check levels at both destinations before continuing.

3. Keep local adjustment accessible

   On SQ 1.5, setting Preamp On Surface to Off makes the dedicated knob control Trim. If that channel also feeds monitors, check what changes when you adjust it. Review the surface preference before handing the console to another operator.

The SQ cannot find the card or file: separate the two checks

If SQ6 does not show the Dante card, document the installed firmware and card revision. The SQ release notes record V3 support in 1.5.8 and support for component changes in 1.5.10. These numbers do not establish a minimum for every V3: check the support required by your revision.

If Image not found appears, follow the SQ procedure. Check SQ-Drive mode and that both windows under Utility > USB Utility > Status/Format say Ready. Leave a single .bin for the correct model in the root directory. Use an empty or backed-up flash drive: formatting erases its contents. Check this preparation even if that drive already works for recording.

If you copied from macOS Sonoma and the SQ is on V1.5.11 or earlier, review the FAT32 filename note. Copying from Windows is a documented alternative; afterward, check that the console recognizes the file.

After updating, check the installed version and that the console detects the card. Rehearse the planned inputs and outputs before the show. Console firmware and Dante V3 firmware have different procedures; an SQ .bin does not replace the card's file.

On SQ, input mute also cuts pre-fader aux sends

If you prepare pre-fader monitors, also test what happens when you mute an input. On an Allen & Heath SQ, that mute cuts its aux sends even when they are pre-fader. Lowering that input's fader with LR selected and pressing its Mute have different effects on monitoring.

Before rehearsal with musicians, use a low-level test voice. Send it to LR and a pre-fader aux and listen to each destination. With LR selected, lower that input's fader, return it to its position and then press its Mute. Document what cuts out: this short test avoids surprising a musician during a program transition.

Also review the members of each DCA and mute group. On SQ, muting them acts on their assigned channels; a DCA is not an audio-carrying subgroup. If you need to silence only the house while keeping stage communication, draw and test a path that permits that use.

To cross-check the path, see the SQ V1.6.0 diagram, page 126. If you also record through Direct Out, check its mute-follow options separately. Leave that difference documented for the next operator.

Test which part of the room your spare amplifier can support

On the output sheet, mark what each zone hears if an amplifier must be removed: main house, rear fill or monitors. Prepare a spare for that specific function. Equipment stored in the warehouse still needs cables, settings and someone who knows how to make the change.

If the plan uses a PowerLight 1.0, review the mode in its Rev. C manual, pp.16–19. Bridge provides mono operation; channel 2's gain control no longer acts. That option does not retain two independent programs simply because the panel has two knobs.

During rehearsal, play a voice and check the front area first, then the back. Add music or the planned content and listen to stage monitor mixes too. If the alternative requires combining zones or reducing coverage, agree on that before doors open.

Practice the change outside the performance, with power disconnected before working on cabling. Update labels and the output sheet, and save the configuration you actually tested. If someone covers operation during a break, they should be able to identify the backup connection and what is out of service.

Request audio power using input consumption data

To discuss power with the venue, prepare a sheet for each rack: exact model, unit voltage, assigned circuit and equipment sharing that supply. Add power-up times and program changes worth testing. This makes the request much clearer than adding loudspeaker watts.

For an RMX 2450 at 120 V, QSC lists 6.3 A at 1/8 power and 15.6 A at 1/3 power: both channels at 4 Ω with pink noise. These correspond to occasional and heavy clipping conditions, respectively. This is input consumption, not loudspeaker output power.

Give that table and the actual configuration to the electrical lead, including the console, receivers and rack processors. Ask them to define distribution and protection before setup. If an amplifier changes, update the sheet: retaining the same number of loudspeakers does not necessarily retain the same consumption.

During rehearsal, document which devices started together and which part of the program was tested. Operation and power teams should work from the same list so a last-minute replacement is included in the request.

Leave space for the rack to work and be serviced

When positioning the audio rack, also draw its ventilation faces and the area from which a technician will service it. Then compare that drawing with the setup: backdrops, curtains, cases and cables may occupy space that was clear on the plan.

One specific example is the QSC RMXa: air exhaust is at the front and intake at the rear. Keeping only the front clear does not satisfy both requirements. Use the manuals for the models actually arriving at the event to identify both faces.

Coordinate that space with stage and décor teams before closing the backdrop. Take a photo when complete and document any rack replacement. The operator then knows what setup was received, and the scenic team can work from a specific reference instead of a vague request to leave some air.

When handing over the rack, document its input setting

An operator handover becomes difficult when everyone moves knobs to recover volume. Leave a photo of the front panel, the console output name and an agreed listening reference. The replacement operator then knows where to start.

On QSC PLX 1202/1602/2402/3002/3402 models, the gain controls have detents that help repeat a setting. The manual identifies the scale as voltage gain, not watts delivered to the loudspeaker.

Keep that setting on the system sheet with the patch and the signal used to check it. If the connected equipment changes, review the chain again. A position that worked on another rack does not validate this one.

Sub and top with GX: a mono signal path

For a DJ set, choose the audio path before counting available equipment. In CROSSOVER, the GX's two outputs are assigned to different frequency bands.

The QSC example sends the sub to CH1 and the top to CH2, crossing at 100 Hz. It is mono; for stereo, it calls for another amplifier.

Ask the technician to review that crossover against the actual loudspeakers. Test speech and music from the audience before deciding whether the system works. Prepare the DJ monitor path separately.

Audio request worksheet organized by program segment

Create one row per segment: time, room, people speaking, music or videos and audience location. Mark participant changes. If an artist is still unconfirmed, write that down.

Add who collects each band or DJ's requirements, who coordinates speakers and who checks with the venue. Also note which needs another provider already covers and who must confirm them.

Date the worksheet and name its owner. When the program changes, mark the revision and send the current version to those preparing audio. They can then review the request's scope.

Choose the audio scope you need

You can inquire as a direct client, producer, agency, venue or AV company. You do not need model numbers: start with the date, venue and what needs to be heard. If the floor plan or rider is missing, mark it as pending.

GLMedia is responsible for the contracted technical scope. The client or production team confirms the program, participants, content and permissions; the venue confirms access, power and conditions of use. We agree on connections with other providers and on who listens to and operates each destination. Overall event organization is contracted separately where applicable.

On SLX-D, check the battery before handing over the microphone

Before handing over an SLXD1 or SLXD2, check its battery. If it uses AA cells, set Battery to the installed type so the indicator reads correctly; the initial setting is Alkaline. This is explained in the SLX-D 7.0 manual, page 24.

For a new SB903, the first full charge is done by placing the battery directly in an SBC10-903 or SBC203. Afterward, you can charge it inside the transmitter in the SBC203, as described in the SB903 section, page 25. Schedule changes between segments and test the spare before handing it over.

SQ-6: check what you are hearing through PAFL

If you cannot hear an SQ-6's EQ in headphones, review Setup > Audio > PAFL. To compare pre-fader, leave Input AFL Off. In the V1.6.0 guide, pp. 94–95, Post Preamp takes only the preamp; Post PEQ includes the equalizer.

During rehearsal, compare those points on a channel whose EQ is already adjusted. Keep gain, faders and sends unchanged, and document the selected tap for handover. Complete the test by listening to the actual output.

SQ-6: agree on what changes when recalling a scene

Before preparing scenes, agree on which settings must remain between talks. In the V1.6.0 guide, pp. 71 and 74, Recall Filter limits what a scene recalls; Global Filters apply to all scenes and take priority.

Test two scenes during rehearsal and check both protected settings and those that must change. Document filters for handover: saving a scene retains all mix settings even when you limit their recall.

SQ-6: test the USB-B return alongside SQ-Drive

Under I/O > Inputs > Input Channel, route USB to a channel. Prepare an aux for the call and unassign the return with On/Off under Routing. Under Outputs > Mix Outs, send that aux to the USB input received by the application.

The V1.6.0 guide, p. 110 states that SQ-Drive playback changes all USB inputs to SQ-Drive. Rehearse clips and the call together: to restore USB-B, stop playback; pausing does not restore that source.

QL5/QL1: check the mix assigned to the connector

MIX 1 is a mix; OMNI OUT 1 is a connector. Check SETUP > OUTPUT PORT and the channel assigned to the port. The V5.8 reference describes that selection.

Before changing the patch, confirm destination and level with the venue technician. If using a Dante I/O device, also review its assigned output (page 16).

ULX-D: there is RF, but check the transmitter's mute

With ULXD1/2 and ULXD4, look for AUDIO MUTED on the transmitter and TxMuted on the receiver. Setting UTILITY > MUTE MODE to ON changes the switch to audio mute while keeping RF active. Check the intended state with the operator and listen to the output.

Shure ULX-D 6.8 (2026-I), pp. 12–14.

EW-D EM: distinguish steady yellow from flashing yellow

On EW-D EM, steady yellow LINK indicates a connection with audio muted or, for EW-D SKM-S, a missing microphone module. Flashing yellow indicates clipping. Document which appears before changing settings.

Sennheiser EW-D EM: LINK, v6.1, 09/2026.

X32 Rack: the application plays through USB, but nothing reaches the outputs

The X32 Rack manual, §§7.4.1/7.4.2/7.4.5, pp.39–42, distinguishes Card as an input source, analog outputs and Card Out to the computer. We propose following DAW → Card → channel → mix → connector, documenting each assignment on the worksheet.

Compare firmware and screen with that document before changing a block: you could replace inputs in use. Also check house/stream separation (Spanish).

X32: Aux 5/6 in Monitor does not mean listening to Aux Out 5/6 connectors

The X32 manual, §§7.4.3/7.10.1, pp.52/60–61, distinguishes physical Aux Out connectors from auxiliary returns 5/6 or 7/8 as Monitor sources. We propose checking the auxiliary channel source and Monitor selection, then listening on headphones and checking the actual streaming destination.

Document source, solo and result on the worksheet. The document says Preliminary and does not specify firmware: compare it with the unit. To organize destinations, consult the hybrid panel guide.

X32, S16 and P16: I selected pre-fader, but still hear fader changes

The setup was X32 4.06 with P16-D/P16-M; after reverting, the problem persisted even with S16 2.5. The exact mode is missing.

The S16 V0.0 guide, §§5.1/5.8, pp.11/14, shows Ultranet from AES50 A 33–48 in Standard and states that Master retains that routing. It does not confirm the cause of the 2021 case.

We propose documenting mode, clock, LEDs and the source sent to Ultranet, then following one signal and checking the tap. Rehearse outside the show with the worksheet. Do not treat changing the master as a universal fix. To review returns, follow this guide.

Two S16 units: the second repeats the first unit's outputs

The S16 V0.0 guide, §§5.2/5.3/6.2, pp.11/16, distinguishes XLRs fed by AES50 A 1–8, 9–16 (+8) or 17–24 (+16). We propose following one output to its XLR and checking its destination; rehearse outside the show with the worksheet.

To identify mode and clock, review this guide.

S16: the link is green, but inputs from the second unit are missing

Reversing the cascade worked briefly, then failed again, even with another cable. Those tests did not confirm a repair or a cause.

The same S16 guide, §2(5), p.10, defines green as a synchronized link; §6.2, p.16, shows B on the first unit to A on the second. We propose documenting ports, range, LEDs and duration when testing each S16 separately outside the show.

Document it on the worksheet; for the DAW, follow this path.

X32: Trim appears where you expected Gain

The X32 Preliminary manual, §7.5.6, p.57, distinguishes HA Gain Split—independent local Trim—from HA Remote—control from another console over AES50. Seeing Trim alone does not identify the cause.

For two consoles in a Standard cascade, the S16 V0.0 guide, §6.3, p.17, assigns preamps to the console connected to A on the first S16.

We propose documenting source, operator and values at both destinations, then testing what changes with Gain and Trim outside the show. Use the worksheet and review mode/clock.

X32: I lowered Gain and want to retain it when recalling scenes

The same X32 manual, §§7.13.4–7.13.5, p.66, distinguishes parameter protection, including HA, from channel protection. We propose testing two copied scenes without audio to PA/monitors, documenting Gain before/after and what must keep changing. Record it on the worksheet.

The manual does not declare firmware: check the scope on your console. For shared preamps, follow this guide.

X32: scenes, snippets and cues

The X32 Preliminary manual, §§7.13.1–7.13.3, p.65, separates scenes and snippets. Snippets select inputs, outputs and information when saved; Home lets you add cues and choose a scene/snippet.

We propose copying the work, naming each change and checking what each cue recalls. Document it on the worksheet; also review Gain.

X32: recalling monitors between bands

Document settings and results so the check can be repeated.

The same manual, §§7.13.3–7.13.5, pp.65–66, describes Safe for scenes without establishing its scope for snippets.

We propose rehearsing copies without sending audio to PA/monitors: compare sends and a parameter that must be retained. Record both on the worksheet. We do not assume firmware or results; follow this distinction.

X32: save a scene and verify the backup

The X32 Preliminary manual, §7.13.2, p.65, documents saving/importing scenes through USB. The archived Behringer guide, PDF pp.22–23, distinguishes shows from preset export; it does not define a complete firmware 4 backup.

We propose listing scenes, cues, snippets and presets, retaining originals and rehearsing recovery outside the show. Compare results on the worksheet. Review scenes and snippets.

X32: scenes are missing after importing from USB

The archived guide, “Saving a Scene,” PDF p.22, warns that importing a show overwrites loaded scenes. It describes an old interface; verify operation and firmware.

We propose documenting the current file/list, preserving the venue's work and rehearsing copies without audio to PA/monitors. Compare lists on the worksheet; review the backup.

X32-Edit: I can see the console, but it remains disconnected

That result applies to their setup.

The archived Behringer guide, “PC / Mac Control Configuration,” PDF p.18, uses Ethernet, distinct IP addresses and subnet mask 255.255.255.0. It describes the old XControl.

We propose documenting both devices' IP addresses/masks, checking duplicates and adapter connection, and testing outside the show. Record the result on the worksheet.

X32-Edit: what to check before synchronizing console and PC

The archived guide, PDF p.18, shows console→PC and PC→console in the old XControl. The X32-Edit 4.4 notes, “Changed,” PDF p.1 inside the official ZIP, describe individual preset export; they do not specify the full scope of synchronization.

We propose backing up both sides, identifying source/destination and rehearsing a copy outside the show without audio to PA/monitors. Compare settings and libraries using the worksheet; review USB backup.

Mini Converter SDI to Audio: select the group you need to hear

For the Mini Converter SDI to Audio, the July 2024 manual, pp.56–57, distinguishes four analog outputs from eight AES/EBU channels. Switch 8 selects analog at OFF and AES at ON; switches 6 and 5 choose the group. The table applies to analog mode on that model.

We propose identifying one channel at a time and documenting connector and destination on the worksheet. Before reusing 15/16, check whether they carry intercom. For languages, prepare the interpretation matrix (Spanish).

ATEM SDI Extreme ISO: check audio even when you change the video output

We do not treat their delay figure as an equipment measurement.

The June 2026 manual, p.97, describes selecting the video source; p.56 relates the master to USB webcam and SDI program. Those sections do not document Mic 2 → Aux 1 as an independent mix. Bus Mapping, p.95, replaces video sources. Page 91 adds USB Digital Audio/Fairlight Live: verify software and routing before applying it.

We propose identifying Mic 1 and Mic 2 separately, changing video and listening to house and streaming. Document what changed on the worksheet; prepare mixes with audio systems and the streaming guide (Spanish).

Fairlight Live cannot find the ATEM: first record its model and firmware

The Fairlight Live manual, August 2026, p.66, requires checking compatible model and firmware. For a supported device, connect USB, select ATEM Switcher under Preferences > I/O Engine, then close and reopen Fairlight Live. Do this preparation during rehearsal.

The 2 M/E Constellation HD specifications describe a USB webcam output. That does not confirm a multichannel USB interface: check support for your variant before finalizing the rental.

We propose documenting model, versions, detected device and listening at the destination on the worksheet. Then follow the return check and the streaming guide (Spanish).

ATEM SDI Extreme ISO: who controls the mix when receiving USB audio

For ATEM SDI Extreme ISO, the June 2026 manual, p.91 instructs selecting USB Digital Audio and pressing Set. When return audio is detected, mix controls in ATEM Software Control and on the switcher are disabled. Review Fairlight Live's output patch matrix; the table distinguishes when this happens according to the show.

We propose comparing a source before and after the return and listening to program. Document control, destination and result on the worksheet. To prepare the mixes, consult audio systems.

Fairlight Live: what each guest hears in the Mix Minus return

The Fairlight Live manual, August 2026, pp.32–33 describes a mix that excludes selected sources. Create the bus in Bus Management; the Mix Minus row lets you assign with + and remove with Remove Bus Output.

We propose rehearsing two independent connections according to the table. Listen to each destination and the recording. If both guests arrive on a combined input, check what you can separate before designing individual returns. Document the patch on the worksheet.

Also consult ATEM USB detection, echo in streaming (Spanish) and audio systems.

X32: Zoom audio returns through a matrix even after you close its send

The X32 DIGITAL MIXER Preliminary manual, p.11 and §§7.2.6–7.2.7, p.49 documents matrices fed by Main LRC and buses, sends with level/mute and assignment to Main. Review Sends and Main separately: closing a send does not remove the source from Main LR.

We propose listening to the output toward Zoom with only the remote guest speaking. If their voice remains there, check which buses feed that matrix, including LR. Then check program/recording and move the fader and DCA separately. Document firmware and results on the worksheet.

To locate the physical output, follow the X32 patch; to plan the setup, consult streaming (Spanish) and audio systems.

Fairlight Live: is that value the complete delay?

The manual, August 2026, Audio I/O, pp.13–14 describes the displayed values as approximate. Under Preferences, Auto depends on the I/O Engine; distinguish these controls before changing a number.

We propose measuring input→output with a documented method and reference, first without plugins and then with them. Keep the route unchanged, change one setting at a time and document delay and dropouts on the worksheet.

Related: recording and rehearsal and audio systems.

Digiface Dante: recording and monitoring through separate paths

If you need to record around 40 tracks and return eight stereo mixes, review capture and monitoring separately. A high buffer may affect monitoring; measure the complete path before choosing an interface and configuration.

The Digiface Dante manual 2.0, 02/2026, §§18.1–18.2, pp.32 and 34 allows Hardware Inputs and Software Playback to be mixed to Hardware Outputs. In Submix View, select the output and adjust its sources. TotalMix normally does not alter recording; Loopback is the exception. This model does not provide DSP effects.

We propose comparing TotalMix with the DAW return, listening to one path at a time to avoid double monitoring. Review the recorded take. The direct path changes the processing available; measure through to the destination, including Dante devices, using the worksheet.

Related: mix-minus return and audio systems.

UA874: dropouts and RF Overload at the antenna

The UA874 manual, pp.1–3 recommends compensating for calculated cable loss; more gain also amplifies interference. If RF Overload appears, reduce gain or increase separation. Changing Gain may cause a brief dropout: prepare this during rehearsal.

We propose walking the areas of use, maintaining line of sight to the transmitter and documenting cable, gain and indicators on the worksheet. Compare with the receiver LEDs, identifying the model, and prepare the setup with audio systems.

ULXD4D/ULXD4Q: which indicator turned red?

Identify the LED before adjusting Gain: the 8.3 manual, p.8 distinguishes three indicators as shown in the table.

Pages 57–58 explain that RF bars can show transmitter signal or interference. If several remain lit with the transmitter off, review the channel. For RF overload, Shure proposes reducing transmitter power, increasing separation or reducing active antenna gain; assess the setup before choosing.

We propose documenting which LED changes during the dropout and listening to the output using the worksheet. Also review the UA874 antenna and audio systems.

SLXD4/SLXD4D: what should be powered on during a scan?

The SLX-D 7.0 manual, pp.29–30 instructs turning off the transmitters of the system being configured and turning on other equipment that may interfere: wireless devices, computers, LED panels and processors. This lets the scan detect their emissions.

Connect receivers over Ethernet. Choose Initialize My System for a new system or Add Receiver to My System to add a receiver. After assigning frequencies, turn on the corresponding transmitter and Sync by aligning the IR ports.

We propose documenting conditions and walking the areas of use after Sync using the worksheet. Check the battery and prepare audio systems.

UA844+SWB: five distributors do not mean five serial cascade stages

The 4.2 manual, pp.4–7 documents up to five UA844+ units in two levels. Cascade A/B on the primary feeds Antenna A/B on a secondary; for other secondaries, use available RF A/B pairs on the primary. DC outputs power receivers, not other distributors.

We propose drawing each A/B path before connecting and rehearsing it using the worksheet. Separate the receiver power supply and coordinate audio systems.

QLXD4: the antenna BNC does not replace the power connection

The QLX-D 8.2 manual, pp.8 and 12–13 shows antennas and power supply connected separately. Identify Power Supply Jack for DC, Antenna A/B for reception, and XLR or Instrument/Aux for audio to the console.

During rehearsal, we propose following those three paths and listening to the receiver output. Document source and destination on the worksheet; continue with RF distribution and audio systems.

UA874: at 0 dB it still needs power through the coaxial cable

The UA874 manual, pp.1 and 3 requires 10–15 V DC bias even at −6 and 0 dB. That setting retains the power requirement. Check whether the selected receiver or distributor supplies the required bias.

Shure specifies low-loss 50 Ω coaxial cable. To calculate compensation, find the manufacturer's loss for the frequency and cable length used; length alone does not define gain.

We propose documenting model, band, cable and bias source on the worksheet, before the coverage walk. Review RF Overload and prepare audio systems.

QLX-D: Network Scan and Sync

In #13, the user clarifies that the bodypacks were off. That matters before attributing calculation conflicts to their own signal.

For QLXD4, connect receivers over Ethernet on the same subnet and frequency band; turn them on and wait 60 seconds. Turn off the transmitters being configured and keep the other planned systems active.

With groups: choose a group, open Network Scan and press enter. When complete, enter deploys; menu cancels. Then perform IR Sync. See the manual.

QLX-D: receivers without an assigned frequency

In #18, the user confirms a calculation without warnings and deployment to eight QLX-D units. In #22, they describe difficulties adding the second rack. They report completing the weekend, though still uncomfortable with the system. This is a partial result reported by that user.

Our advice: reserve time to check every channel with the complete setup. An accepted calculation and partial deployment still leave the other devices and listening to be checked. To prepare that test, use the worksheet. The RF guide (Spanish) covers connection with WWB.

For Network Scan, the manual warns that the group may not have enough frequencies. Try another group or repeat the scan with receivers you will not use powered off.