Technical Rider
Hot N' Spicy Disco
Signal chain
Equipment — DJ provided DJ brings
Mixer
Condesa Carmen V
Rotary mixer — XLR or RCA output
Qty: 1
Turntables
Technics 1210-MK5
Professional direct-drive
Qty: 2
Cartridges
Ortofon MKII
Mounted on headshells
Qty: 2
FX Unit
TC Electronic Flashback 4
Delay / reverb effects
Qty: 1
Media
Vinyl Records
All-vinyl performance
—
Venue requirements Venue provides
FOH board must accommodate a high-output line-in signal
The Carmen V has no per-channel gain trim — the rotary volume pot is the sole level control. The onboard phono preamp applies 42dB of RIAA gain, and at full rotation the master can push up to 10dB above unity. Because there is no way to attenuate at the channel level, the transformer-balanced XLR output will deliver a signal that exceeds standard +4dBu line level when operating at 0VU on the meters — which is normal operating practice for a rotary mixer.
What the venue needs: A line input on the FOH console with a pad switch (−10dB or −20dB preferred), or sufficient gain trim range to bring the incoming level down to nominal. The line input should not be set to mic-level sensitivity.
Recommended workflow: Engage the pad, connect the XLR, then bring the mixer to operating gain (0VU) before raising house faders and amplifiers. This allows the FOH engineer to calibrate input trim against a stable reference level rather than correcting on the fly.
What the venue needs: A line input on the FOH console with a pad switch (−10dB or −20dB preferred), or sufficient gain trim range to bring the incoming level down to nominal. The line input should not be set to mic-level sensitivity.
Recommended workflow: Engage the pad, connect the XLR, then bring the mixer to operating gain (0VU) before raising house faders and amplifiers. This allows the FOH engineer to calibrate input trim against a stable reference level rather than correcting on the fly.
XLR connection from mixer to board — preferred
The Condesa Carmen V supports both XLR and RCA output. XLR (balanced) is strongly preferred for noise rejection and signal integrity over a long run. Please have a balanced XLR line available at the DJ position. RCA is an acceptable fallback.
DJ table — height and weight capacity
The combined weight of two Technics 1210-MK5 turntables, the Condesa mixer, and associated gear is significant. The table must be stable and able to bear this load without flex. A sturdy 36" banquet or equipment table is ideal.
Important note on table height: Standard 30" banquet tables make vinyl DJing extremely difficult due to the low working height. If a 30" table is the only option available, please notify the DJ in advance so they can bring risers to elevate the turntables and mixer to a comfortable operating height (approximately 36"–40").
Important note on table height: Standard 30" banquet tables make vinyl DJing extremely difficult due to the low working height. If a 30" table is the only option available, please notify the DJ in advance so they can bring risers to elevate the turntables and mixer to a comfortable operating height (approximately 36"–40").
Power — standard outlets at DJ position
Minimum 4 standard power outlets at the DJ position (2 turntables + mixer + FX unit). A single power strip / surge protector is acceptable. Please ensure the circuit is not shared with high-draw stage lighting or smoke machines.
Before the event: Please confirm table height and XLR availability at least 48 hours in advance. If the hot signal level needs testing with your FOH engineer prior to the event, the DJ is happy to coordinate a brief soundcheck.
Turntable isolation
Promoters and bookers — please read. Turntable feedback is unacceptable during a performance under any circumstances. It is a predictable, solvable problem when the right materials are in place. Please supply the items listed below and arrange a soundcheck at least 30 minutes before doors, at full volume, with the sound engineer present. Thank you in advance.
Standard isolation setup — venue provides
Layer 1 — Mass
Concrete paving slabs × 2
Minimum size: 20" × 16" × 2" per slab, one under each turntable. The heavier the better — mass is the key variable. Available from any garden or home improvement centre for under $10 each. One 60lb bag of concrete per slab if making your own.
The mixer can sit on the same concrete slab as the turntables, but must not make contact with the sides of either deck — physical contact bypasses the isolation entirely.
The mixer can sit on the same concrete slab as the turntables, but must not make contact with the sides of either deck — physical contact bypasses the isolation entirely.
Heavy mass resists vibration. The slab acts as an inert platform that absorbs and blocks low-frequency energy coming up through the table surface.
Layer 2 — Decoupling
Hudson HiFi Hemisphere Bumpers
8-pack, 2.5" hemisphere size — one under each corner of each concrete slab (4 per deck). Made from Durometer 20 Shore A silicone with a flat adhesive face; they stay put without stands, won't roll, and won't scratch the slab or table surface. Available at hudsonhifi.com.
The concrete slab should bounce very slightly when you press down on it — if it doesn't move at all, the bumpers may be over-compressed and need to be sized up.
The concrete slab should bounce very slightly when you press down on it — if it doesn't move at all, the bumpers may be over-compressed and need to be sized up.
The silicone hemispheres decouple the heavy concrete from the vibrating table — the concrete "floats" on the compliant silicone, breaking the transmission path for low-frequency vibration. No rolling, no stands required.
Extreme cases only — if the table itself is vibrating severely (e.g. a festival stage with sub directly underneath, where a drink placed on the table moves by itself): the tabletop must be damped first. Strap heavy concrete blocks or full jerry cans of water to the underside of the table, then apply the ball-and-slab setup on top. This creates a two-layer system: the weighted table damps gross surface vibration, and the decoupled concrete handles the rest.
Isolation stack — front elevation
Soundcheck protocol — for the sound engineer
1
Basic checks first
Verify both decks are working — check both sides of a record through each channel. Confirm no ground hum, no distortion. Resolve any wiring or earthing issues before continuing. The turntable ground cables should be connected to the earthing screws on the back of the mixer.
2
Set levels from a digital source at full operating volume
Use a CDJ or other digital source to establish nominal levels on input gain, master, and booth. Bring the system to the maximum realistic volume — ask the engineer if they'll turn up further as the room fills, and if yes, test at that level now. Go into the room and confirm you're happy with the output level before moving on.
3
EQ the system before testing
Dial in the system EQ with the engineer to taste before beginning the feedback test. Any changes to the system EQ after testing will invalidate the results and may require retesting.
4
Match gain to the quietest record
Select the quietest record in the bag — typically an album cut with 4+ tracks per side, requiring the input gain to be pushed high. Adjust phono input gain until the meters show the same level as the digital reference. Note: the Carmen V has a hot phono preamp — you may need to work backwards from a lower gain position rather than pushing up from minimum.
5
The feedback test
Start the turntable and drop the needle into the silent locked groove at the end of the record. Pull the channel fader to maximum. Tap the turntable firmly and listen carefully. With proper isolation, you should hear only the amplified tap. A low-frequency drone or tone swelling in volume indicates structure-borne feedback. A mid-pitched howl indicates airborne feedback. Both are solvable — see the reference below. If clean, nudge the input gain further to verify you have headroom.
6
Note the gain before feedback threshold
If feedback occurs, pull the input gain back until the system is just at the edge of feeding back. Note this setting. This "gain before feedback" figure is the best single measure of how effective the isolation is, and is a useful reference to track across the night as room conditions change. Adding isolation should raise this threshold — more headroom means more flexibility with quieter pressings at full volume.
Feedback types and remedies
Type 1 — Most common
Structure-borne / low-frequency rumble
Sound
Low-pitched drone or rumble, typically below 100Hz
Cause
Sub frequencies from the PA vibrate the table surface. Vibrations travel through the turntable feet, are picked up by the needle, amplified by the mixer, and fed back into the PA — a closed loop. Worsens as volume increases.
Diagnosis
Carefully lift the turntable off the table while conducting the test. If the feedback disappears, it is structure-borne.
Remedies — in order of preference
- Concrete slab + Hudson HiFi Hemisphere Bumpers as described — solves ~90% of cases
- Check no part of the turntable frame is touching the mixer or any adjacent object
- Ensure turntable cables are not stretched tight — they can transmit mechanical vibration directly
- Ensure turntable feet are level, not tilted, and not screwed in too tight
- Weight the table itself if the surface is vibrating severely before applying isolation
- Notch EQ or low-cut below 30Hz as a last resort — prefer mechanical solutions
Type 2 — Less common
Airborne / mid-frequency
Sound
Howling tone, typically 200–500Hz. Ortofon cartridges tend toward the higher end of this range when susceptible.
Cause
Sound pressure transmitted through the air rather than the table surface. More common in reverberant or concrete rooms. Cannot be solved mechanically — the concrete isolation setup will have no effect.
Diagnosis
Lift the turntable during the test. If feedback continues, it is airborne. Note: it is possible to solve structure-borne feedback and then encounter airborne feedback on top.
Remedies — in order of preference
- Mute main PA and monitors in turn to isolate which source is causing feedback
- Ask the engineer to sweep a narrow notch filter (high Q, parametric EQ) on the relevant channel — cut as narrowly as possible at the feedback frequency
- Reposition booth monitors if possible — angling them away from the turntables helps
- Note: airborne feedback often improves significantly once the room fills with people
Approaches that do not work
✕
Foam or rubber mat
Better than nothing, but far too little isolation for anything other than the mildest cases.
✕
Flight case / lid
Case walls contact the turntable body and bypass the damping in the turntable feet, usually making the problem worse.
✕
Inflatable cushions
Precariously unstable and not effective at preventing feedback. Do not use under any circumstances.
✕
Turning down the bass
Treats the symptom, not the cause. Degrades sound for the room. Not an acceptable solution.