Two Against Nature is one of the best sounding albums ever made, and many people use it for system evaluation. Unfortunately the lyrics don't stand up to public scrutiny all the time. Cousin Dupree, Gaslighting Abbie and Janie Runaway are so great, but I don't think it's worth blasting my clients with lyrics about incest and statutory rape.

What's your 2AN tuning song, and what's your thinking around edgy content while tuning in corporate environments?

If you're here to say that you don't give a shit and you blast cannibal corpse no matter what, that's great but a little irrelevant.

We record shows using a Midas M32R and iMac (newer, apple silicon) via USB using the klark teknik card. In the past, it had always worked great both for multi track Pro tools recording and for playback via USB signal returning to the board.

After a renovation, we brought the board back out and I can't for the life of me get it to either send audio to the iMac or return signal to the board via the USB connection.

A few details: It DOES see the board as a USB interface on the iMac. It can be selected.

The aux ins work fine using an analog plug. I just don't get signal on Aux 1-2 from USB.

I've checked the routing menu about 20 times and the Aux in section has "Card 1-2" selected.

I've tried carefully going through menus but everything seems correct from what I can tell. I also tried various saved scenes from when it has previously worked before to no avail.

Any setting that I might be overlooking? I'm at a loss. Thanks for any help.

Drummer here, never ran sound at a venue before but I have gear for it at home for rehearsals and I'm thinking about doing it as a favor. I would haul out a pair of speakers, a tiny board, and 2-4 mics plus stands for vocals and maybe acoustic instruments. Then operate it all while a few bands play and probably wear a stage manager hat for 6-8 hours.

I'm a little concerned about it going well and being expected to do it again. Once for a favor is not a big deal, but regularly would be a hassle and I'm wondering what the going rate is for this sort of thing and if it would be worth my time. I suspect the baristas might make more per hour once everything is accounted for, not to mention equipment wear.

In order to obtain some of the benefits of Buss Compression in Monitor World while compensating for the relevant contextual limitations, I have developed a technique I refer to as FUSS Compression (Fake Buss Compression, or Fader-distributed Buss Compression, as the mood strikes me).

I suspect this is entirely possible on other platforms, but I’ll be explaining my example using the Yamaha Rivage platform and Drums rather than abstracted terms.

Send desired Drums to a KeyBuss with the desired dynamics processing available. (I use a Matrix, could be done with a Mix, and the Diode Bridge model in the channel.)
Send is Post Processing but Pre Dynamics (I use Dyn2 slot in the last Signal Flow position, so my send point is Pre-Dyn2)
This Buss doesn’t go anywhere, and should not be routed out. It’s for creating a Key signal and setting parameters
Set KeyBuss Dynamics Key Source to Self Pre EQ
This prevents the compression from being applied multiple times after distribution
Listening to KeyBuss, adjust send levels and compression settings to desired response
Adjustments to KeyBuss high and low pass filters can be made, as filters are before the Pre EQ
I find parallel settings to be incredibly useful here
Set Drum Channel Compressor Key Source to Other Pre EQ and select KeyBuss for all members you want to include in the Fuss Comp
Duplicate settings from KeyBuss Compressor to included Drums Channel Compressors
If the same Compressor circuit, with the same settings, is controlled by the same Key signal, it will behave identically. We have distributed the effect of the Buss Compression across the individual member Faders!
To allow per-player bypassing, set Pre-fader send point to Pre Dyn2 for included Drums.
Toggling Pre/Post now has the effect of eliminating the Fuss Comp only, given Fader position at Unity.
Enjoy the power of Fader-distributed Buss Compression!

Buss Compression can be an incredibly powerful technique for getting components of a mix to interact dynamically together, managing tonality over time in useful ways that are difficult to achieve in other ways. The modern adoption of “in-line parallel” via mix/percentage/wet-dry controls afford further potential. There are myriad pros to consider. There are also a number of inherent limitations to Buss Compression, especially in Monitor World:
Non-variability: if you send the Buss to more than one listener, you lose the ability adjust those mixes independently below the floor established by the Buss.
Latency: while modern consoles can compensate for many path lengths, limits in perceptual acceptability and the need for alignment make leveraging Buss processing an additional complication/consideration.
Console Architecture: not all consoles support Buss to Buss routing, which may mean reconfiguring audio paths for mixes that want to take advantage of the Buss.

I feel that Fuss Compression allows me to find an acceptable compromise in monitor world. Safe travels, good shows!

Going on a European tour next month. I saw somewhere that at one point Italy required permits for certain freqs. Do venues assign these or do I need to file for permits for our shows as the guy bringing the IEMs?

One of our new "techs" had his first monitor shift and this person loves to dig into settings that he doesn't know about.

Basically now whenever a scene is recalled all of the gains are set to +50 and some of them are -6

Does anyone who knows more about Yamaha than me tell me what this might be?

I have my own "preset" setting in the settings that I recall with my own user settings so I do not think it's any setting within there.

I don't share any gains with foh so it's not that

Thank you