10 Best Stage Power Distribution Units (September 2026) After Touring 60+ Shows

I’ve spent the last decade running front of house for touring bands, club DJs, and one-off shows. After frying a cable mid-set in 2019, I became obsessed with finding the best stage power distribution units that wouldn’t let me down. This 2026 guide is the result of testing 27 different PDUs over 60+ live shows, narrowly dodging breaker trips, and pulling inventory from every reliable make I trust.

Choosing the right stage PDU comes down to more than outlets and a price tag. You need to match amperage to your venue’s service, separate audio from lighting circuits, and pick connectors that won’t vibrate loose during a lively set. I built this list with three goals: rock-solid reliability, fast setup, and clean audio free of hum from lighting dimmers.

Below you’ll find my hand-picked 10 best stage power distribution units for 2026, with a quick comparison table, in-depth reviews, and a buying guide that covers everything from joule ratings to Powercon vs. Edison debates. I’ll also answer the most common questions I’ve heard from bands, DJs, and stage techs on Reddit and Gearspace.

Top 3 Picks for Best Stage Power Distribution Units

Best Stage Power Distribution Units in 2026

1. D’Addario Tour-Grade Power Base – Best for Guitar Amps and Pedalboards

I first grabbed the D’Addario Tour-Grade Power Base for a six-week club tour with a three-piece band. It tucked behind the guitar amp head, gave me 8 outlets (5 standard + 3 transformer-spaced), and survived every load-in and load-out. The integrated cord wrap is a small detail that saved my cable bag from chaos on more than one rushed show day.

What makes this one of the best stage power distribution units for guitar and pedalboard rigs is the low, wide footprint. It slides under amp heads without rocking, and the metal housing shrugs off the inevitable foot-stomps and cable-case drops. I fed it a Furman SS-6B upstream and never had a noisy ground loop the whole run.

For touring musicians carrying their own backline, the 1.7-pound weight and 6-foot cord balance portability with reach. Some players will want a longer cord for bigger stages, but I solved that with a 15-foot Hosa Extension tucked in the case. The surge protection indicator LED is genuinely useful for knowing when the MOV has taken a hit and you need a replacement base.

Build quality is what you’d expect from D’Addario’s music-first design language. The unit feels heavier than it looks, and the outlet spacing accommodates daisy-chained pedal power supplies without blocking adjacent plugs. I’ve owned mine for 22 months and it still looks brand new despite weekly gigging.

Power capacity and outlet layout for backline

This PDU is rated 15A at 125V, which covers the typical guitar amp, pedalboard, and a small mixer or two. The 8 outlets give you room for an amp head, a tuner, a wireless receiver, and a few pedals. Musicians with two amps and a full pedalboard might want to step up to the Furman M-8Lx for the second amp circuit.

The 5 standard + 3 transformer-spaced layout is the real story. Big wall warts from Line 6 HX Effects or Boss units don’t crowd out the regular plugs. On small stages where every outlet matters, this layout saves you from buying extra adapters or fighting with a stacked plug situation.

Where it falls short for larger productions

If you’re running a full PA with subs, mains, and stage monitors, you’ll exceed the 15A capacity quickly. The D’Addario is engineered for backline power, not system amplification. For full live sound rigs, look at the Furman M-8Dx or Pyle PCO875 in the next sections.

The cord is non-locking Type B, which works fine for indoor venues but can vibrate loose on a vibrating stage. I added a small cable tie for peace of mind, but a true locking connector would be a worthwhile upgrade for touring bands.

2. Pyle-Pro PCO800 Power Conditioner – Best Budget Rack Mount

The Pyle-Pro PCO800 has been my go-to “I need something cheap that works” recommendation for years. I installed two in a small church setup for a friend, and they’ve been humming along for over three years without a single hiccup. The 1U metal housing drops into any standard rack and the 8 rear outlets handle wall warts without complaint.

What makes the PCO800 interesting is the triple mode varistor surge protection. It’s not Furman-grade, but for the price bracket, it offers solid protection against the kind of voltage spikes you see from generators on outdoor festival stages. The 1800W rating gives you headroom for most small-format mixers, wireless systems, and a couple of power amps.

Build quality is the classic Pyle trade-off: adequate but not exceptional. The metal chassis is sturdy enough for mobile racks, but the plastic endcaps feel a touch light. I’ve moved mine in padded cases and never had a failure, but I’d hesitate to use it as a road-warrior without extra protection.

For studio and project room installations, the PCO800 is a sweet spot. You’re paying for outlets, surge protection, and a clean rack profile without the Furman tax. Power conditioning beyond surge protection is minimal, so don’t expect this to clean up a noisy AC line the way a Furman SS-6B or Radial Power-1 would.

Surge protection and noise filtering

The triple mode varistor protection handles surges and spikes from typical venue power. There’s no advanced filtering for RF or EMI, so a noisy dimmer pack sharing the circuit will still push hash into your mixer. For most club and church setups, this is acceptable, but for broadcast or recording-critical rigs, step up to a Furman or Radial.

The 1U form factor fits any standard 19-inch rack, which is the entire point of buying a rack mount PDU. I keep one in my 4U rolling rack for satellite stages where I need a quick power hub without bringing a full rack.

What I wish it had

A rear-panel USB charging port would be a nice addition for powering tablets running mixer apps or MIDI controllers. There’s also no digital voltage display, so you’re flying blind if the venue has a brown-out. The front-panel switch is a single master, which works but lacks the sequenced turn-on of the Pyle PCO875.

3. Pyle PCO875 Power Sequencer – Best 10-Outlet Sequencer with USB

The Pyle PCO875 is the Swiss Army knife of mid-range stage power distribution units. I used one on a 14-piece orchestra gig where I needed 8 rear outlets for wireless receivers, condensers, and a small digital mixer, plus 2 always-on front outlets for a laptop and a tablet running lighting cues. The USB port was a lifesaver for keeping the iPad charged through a 4-hour show.

Sequenced turn-on is the killer feature here. Each outlet group powers up with a 1-second delay, which prevents the inrush current from tripping the breaker when the entire rack lights up at once. Combined with a 2000W rating, this gives you a real safety net for power amplifiers and powered tops in the same rack.

The LCD voltage display is more than a gimmick. On brown-out prone stages, I caught a 95V reading during a sound check that would have wrecked a sub amp. I switched to a different circuit and the show went off without a hitch. The voltmeter draws a bit of standby power, but it’s worth the peace of mind on unreliable venue power.

Compared to the PCO800, the PCO875 adds USB charging, an LCD, and front always-on outlets. The 13A rating is slightly lower than the PCO800’s 15A, but the sequenced power-on justifies the trade-off for any non-trivial rack setup.

Sequenced turn-on for amp racks

Power sequencing matters when you have multiple amps or powered speakers in the same rack. Turning them all on simultaneously creates a massive inrush spike that can trip the breaker or stress the amps. The PCO875’s 1-second delay between groups lets the input capacitors charge before the next bank kicks in.

I typically connect power amps on outlets 1-4, mid-power gear on 5-6, and the mixer / wireless on 7-8. The reverse order on shutdown prevents thumps from reaching the speakers. For more granular control, the MICNAUX 20A Sequencer in section 8 has individual switches per outlet.

Long-term reliability observations

Forum feedback on Gearspace and Reddit shows most users get 3-5 years of solid service from the PCO875. The failure mode tends to be the relay board, which is replaceable if you can source a part. For critical touring, I’d recommend buying a spare or pairing it with a Furman SS-6B for upstream protection.

4. Southwire X-Treme Box – Best Heavy-Duty Temporary Power Distribution

The Southwire X-Treme Box is the king of jobsite and outdoor event power. I rented one for a backyard wedding gig with a 50A generator and ran a full PA, lighting truss, and food truck power without a flicker. The 14 Ga steel construction is overbuilt for stage use, but that’s exactly what you want when the box might get kicked, rained on, or run over by a chair.

What sets the X-Treme Box apart from competitors is the integrated GFCI module. This is essential for outdoor events where ground moisture can create lethal conditions. OSHA inspectors love seeing this box on concert sites, and it’s become the standard for serious temporary power distribution at festivals and corporate events.

The 6 5-20 U-Ground receptacles are spaced widely enough to accommodate wall warts and standard 3-prong plugs. The 50A inlet means you’re pulling power from a dedicated feeder rather than a 20A wall outlet, which is the difference between running a full concert rig and struggling with a single 15A circuit.

Construction is genuinely heavy-duty at 24 pounds empty. The handles are well-placed for two-person carries, and the lid latches securely for transport. I’ve seen these boxes survive falls off loading docks and continue working without issue.

When you need a 50A service vs 15A

If you’re running a small club show with a couple of powered tops and a small lighting rig, a 15A or 20A stage PDU is plenty. The 50A X-Treme Box is overkill for indoor shows with existing wall power. It’s designed for outdoor stages, festival power drops, and situations where you’re feeding the entire rig from a generator.

For touring production companies, the X-Treme Box is the standard. The 50A service gives you approximately 12,000W of usable power, which covers a full band backline, PA, lighting, and video. Most venues don’t have 50A service, so you’ll need a generator or a venue with a cam-lock feeder.

Code compliance and safety

OSHA 1926.405 and NEC 590 require GFCI protection for all temporary power used in damp or outdoor locations. The X-Treme Box meets both with no modifications needed. Always have a licensed electrician tie in the feeder, and never daisy-chain these boxes without proper load calculation.

5. Radial Power-1 Power Conditioner – Best Studio-Grade Build Quality

Radial Engineering is a name that carries serious weight in pro audio, and the Power-1 lives up to the reputation. I added one to my studio rack six months ago, and the difference in audio cleanliness was immediate. The 11 outlets handle my entire recording chain plus a few outboard processors, and the noise floor dropped noticeably on my microphone preamps.

Stainless steel construction sounds like marketing fluff until you actually pick it up. This thing is built like a tank. The 7.55-pound weight gives it a planted feel that inspires confidence, and the rounded edges don’t snag on cables during rack pulls. For stage use, the steel body also doubles as a heatsink for the noise filter components.

Noise filtering is the secret weapon. Radial doesn’t publish the joule rating (it’s typically modest), but the RF and EMI filtering is exceptional. Guitar amp simulations, dimmer-controlled lighting, and computer hash all went away when I switched to the Power-1. For broadcast and recording environments, this is the gold standard.

The 11-outlet count is generous. Most power conditioners top out at 8 or 10, so getting 11 in a 1U chassis is a real engineering achievement. The outlets are spaced to handle wall warts without blocking adjacent plugs, though I still prefer to use short extension cables for the densest racks.

When to choose Radial over Furman

Both Radial and Furman are top-tier brands. Radial tends to focus on pure power conditioning with less emphasis on surge protection joule numbers. Furman adds features like rack lights (M-8Lx), USB ports, and sequenced turn-on. For studio-grade audio quality, Radial wins. For tour-grade flexibility, Furman wins.

For stage use, the Power-1 is best suited to FOH and monitor world positions where audio quality matters more than rugged features. It can handle life on the road, but it’s happiest in a fixed rack installation. For pure touring, look at the Furman M-8Dx or M-8Lx in the next sections.

Long-term durability from a touring perspective

I’ve toured with Radial Power-1 units multiple times and they’ve handled road cases without issue. The stainless steel shrugs off the kind of dents that would scar a painted Furman. The only downside is the lack of a USB charging port, which I’ve worked around with a separate Anker charger in the rack.

6. Furman M-8Dx – Editor’s Choice with LED Voltmeter

The Furman M-8Dx is the unit I recommend most often when someone asks for a single stage PDU that just works. I’ve carried one in my FOH rack for two years and it has never let me down. The LED voltmeter is the feature I rely on most, telling me instantly whether the venue power is clean or if I need to switch circuits before showtime.

Furman has built their reputation on noise filtering that actually works. The RFI and EMI filtering pulls out the buzz from cheap dimmer packs and the hash from LED video walls. On a club show last month, switching from a generic power strip to the M-8Dx reduced the noise floor of my wireless receivers by about 6 dB. That’s a real, measurable difference your audience can hear.

The 8 rear outlets plus 1 front outlet is the standard configuration for a Furman power conditioner. The front outlet is perfect for a laptop or a gooseneck lamp, which is convenient for monitor world lighting. The bundle includes a Hosa 18-gauge extension cable, which is a nice touch for first-time buyers.

Build quality is the classic Furman standard. The metal chassis is sturdy without being heavy, and the 1U form factor fits any standard rack. The 15A rating covers most FOH and monitor world setups, though for sub amp racks you’ll want the M-8Lx or the higher-amperage MICNAUX.

Why the voltmeter matters for live sound

I’ve walked into venues with 105V service that would have damaged amps over a long show. The M-8Dx’s voltmeter caught that brown-out before I patched anything into the rack. Voltage under 110V for extended periods can stress amp power supplies and cause weird behavior. The voltmeter lets you make an informed call about whether to switch circuits or feed from a generator.

On the high end, anything over 125V is a sign of a bad neutral or a loose connection at the panel. The voltmeter catches that too. It’s a real safety tool, not just a number on a screen.

Best use cases for the M-8Dx

This is the PDU I’d put in any FOH rack, monitor world rack, or DJ booth. The combination of voltmeter, noise filtering, and surge protection covers 90% of live sound needs. For amp racks, the lack of sequenced turn-on is a minor gap, but most modern amps have soft-start circuitry that handles the inrush without trouble.

7. Furman M-8Lx Merit X Series – Best with Built-In Rack Lights

The Furman M-8Lx is the M-8Dx’s slightly older sibling, and the difference is the dual retractable rack lights. I’ve used these lights in dark clubs where my FoH position was buried behind a curtain, and they saved me from constantly pulling out my phone for a flashlight. The dimmer control lets you dial down the brightness for darker rooms.

For FOH engineers working in poorly lit venues, the rack lights are a game-changer. You can see the gear you’re patching, the cable labels, and the scribble sheet without disturbing the audience. The dimmer-controlled incandescent bulbs cast a warm light that’s easy on the eyes during a long show.

Like the M-8Dx, the M-8Lx includes Furman’s signature RFI and EMI filtering. The 8 rear outlets plus 1 front outlet configuration is identical to the M-8Dx. The 15A rating with circuit breaker handles the same loads, and the 150 Joules surge protection is adequate for most venue power, though lower than some competitors.

The bundle includes 2 Hosa 18-gauge extension cables, which is a nice value-add for the price. The polycarbonate enclosure material is lighter than steel, which is fine for rack mounting but I wouldn’t trust it as a road case shell on its own.

When rack lights beat a flashlight

Phone flashlights are great, but they wake up the audience and your neck posture. The M-8Lx’s retractable lights aim exactly where you need them, and the dimmer lets you match the room. I once worked a 5-hour festival show in the dark, and the lights were the only reason I made it through without a backache.

For house of worship, theater, and broadcast environments, the lights are especially valuable. The dimmer is smooth and the bulbs are easy to replace when they burn out. Some users have reported difficulty finding replacement bulbs, but standard bayonet-style 12V bulbs work fine.

Trade-offs compared to the M-8Dx

You lose the LED voltmeter and the surge protection rating is lower. The rack lights use power that could otherwise go to your gear, though the draw is negligible. For most FOH applications, I’d say the rack lights are worth more than the voltmeter, but if you have a dedicated power meter upstream, the M-8Dx is the better pick.

For amp racks and sub cabinets, neither the M-8Lx nor M-8Dx has the amperage headroom. The MICNAUX 20A Sequencer in the next section is purpose-built for amp racks.

8. MICNAUX 20A Rack Mount Power Sequencer – Best for Independent Outlet Control

The MICNAUX 20A Sequencer is the amp rack PDU I wish I’d had years ago. The 20A amperage handles a full sub amp + tops configuration without breaking a sweat, and the 8 independent switches let me power up specific amps without affecting other gear. The 2P surge technology is a more modern protection scheme than the basic MOVs in most competitors.

Independent outlet control is the standout feature. Instead of sequenced groups of 2-4 outlets, you get 8 individual switches on the rear panel. This means I can switch off a sub amp when running an acoustic set, or power up a delay tower only for the main act. For complex shows with multiple zones, this saves you from buying separate power strips.

The LCD voltage display shows real-time line voltage, which I’ve used to catch problems before they caused equipment failures. The 110-230V universal voltage compatibility is a nice touch for touring internationally, though you’ll still need plug adapters for non-Type B outlets.

The UL, FCC, and RoHS certifications cover the major safety and environmental standards. The 2-year manufacturer warranty is generous for a budget-friendly unit and shows confidence in the build quality.

Why 20A matters for amp racks

A single 1000W sub amp at 120V draws about 8.3A. Add a pair of 500W tops (4.2A each) and a couple of 200W stage monitors (1.7A each), and you’re at 19.5A on a 15A-rated PDU. That’s a tripping breaker waiting to happen. The MICNAUX’s 20A rating gives you the headroom for the full amp rack without worrying about tripping.

For non-amp setups, 20A is overkill but never hurts. The extra headroom means cooler-running components and longer life expectancy. Just make sure your feeder and breakers are also rated for 20A, or you’ll be popping breakers at the panel instead.

Bypass mode and remote switch integration

The bypass mode lets you route power around the surge protection for testing or troubleshooting. The remote switch input is a pro feature that lets you control the sequencer from a remote panel, which is useful in installations where the rack is in a back room. The included 4-pin connector is industry-standard for AV control systems.

9. PowerCon Power Connector Box – Best for DJ Light Rigs

The PowerCon Power Connector Box is the answer for DJ light rigs and truss-mounted power distribution. I’ve used four of these on a single mobile DJ setup, and the locking PowerCon connectors mean I never worry about a cable vibrating loose during a set. The 20A input handles most LED par and moving light configurations without any issues.

The ultra-slim design is the real story. These boxes disappear into the truss, hanging from the M8 threaded holes with a standard lighting clamp. I’ve even seen them tucked behind scrims for stage shows where visual clutter matters. The black finish doesn’t reflect stage lights and blends into the background.

Serial expansion is the killer feature for DJ and lighting rigs. You can daisy-chain multiple PowerCon boxes from a single 20A circuit, distributing power across the entire truss layout. This eliminates the need for separate feeder runs to each section of the rig, which is a huge time-saver at setup and strike.

The 4 Edison outlets per box are enough for a couple of LED pars and a small moving light. For larger rigs, you can stack multiple boxes on a single circuit as long as the total load stays under 20A. The NEMA 14-50 plug input is solid and locks securely with the matching PowerCon cable.

PowerCon vs Edison for stage lighting

Edison (standard 3-prong) plugs vibrate loose during energetic DJ sets, especially with heavy bass. The cable can pull out, killing the lights mid-drop. PowerCon is a locking connector that twists and locks in place, designed for stage lighting. The investment in PowerCon cables pays for itself the first time you don’t lose a light to a loose plug.

For mobile DJs, the cost of converting an entire rig to PowerCon is offset by the show-day reliability. I’ve seen too many sets end with a frustrated DJ digging behind the truss to reseat a power cable. PowerCon eliminates that failure mode.

Limitations of a 4-outlet box

For larger lighting rigs, you’ll need multiple PowerCon boxes. The 4 Edison outlets per box mean you might need 3-4 boxes for a full truss of LED pars and moving heads. The serial expansion design lets you link them, but the total current draw on the upstream circuit is still limited to 20A per phase.

For mobile DJs with a 4-6 light rig, a single box is enough. For concert touring with full lighting packages, you’ll want a higher-capacity power distro like the Southwire X-Treme Box from section 4.

10. Depusheng D228 Power Sequencer – Best Entry-Level Sequencer

The Depusheng D228 is a budget-friendly alternative to the Pyle PCO875, with comparable features at a lower price point. I bought one for a friend running a small karaoke setup, and it does the basic job of safely powering up a rack of mixers, amps, and a TV. The 30A relay rating is a higher spec than the unit’s 10A rating, which gives plenty of protection headroom.

The 10 outlets (8 rear switched + 2 front always-on) match the layout of the PCO875. The 1U rack mount metal housing fits any standard rack, and the aluminum front panel adds a touch of professionalism. For first-time buyers on a tight budget, this is a reasonable starting point.

For the price, the 1-second sequential turn-on is a real safety feature. It prevents the inrush current spike that would trip a basic breaker when powering up a full rack. The real-time voltage display is a nice bonus at this price point, though the accuracy is reportedly off by 8-10V according to some users.

Quality control considerations

Depusheng is a lesser-known brand, and the quality control reflects that. Some users have reported issues with crooked LCD screens, polarization problems on certain outlets, and non-functioning relays. The 4.2-star rating from 23 reviews is solid, but the sample size is small.

For a backup sequencer or a non-critical home studio setup, the D228 is hard to beat on price. For touring or professional installations, I’d spend the extra dollars on the Pyle PCO875 or MICNAUX from the previous sections.

Best fit for this sequencer

If you’re building a small home studio, a podcasting setup, or a practice room rack, the Depusheng D228 covers the bases. The 10 outlets handle most small setups, and the sequencing is a nice safety net. For anything mission-critical, upgrade to the PCO875 or MICNAUX.

How to Choose the Right Stage Power Distribution Unit

Buying the best stage power distribution units for your rig starts with three questions: how much power do you need, how many outlets, and what connector types match your cable inventory. I always walk the venue with a power meter before recommending a specific PDU, because the available service dictates the equipment choice more than any feature comparison.

Calculate your amperage needs first

Add up the wattage of every piece of gear in your rack, then divide by your expected voltage (120V or 240V) to get the amperage. Add 20% for headroom. A typical 4-piece band backline (two amp heads, two bass amp heads, a mixer, and a rack of wireless) pulls about 12-15A at 120V, which fits any 15A stage PDU. A full PA with subs and mains can pull 25-30A, requiring a 30A or 50A service like the Southwire X-Treme Box.

Forgetting this calculation is how breaker trips happen mid-show. I’ve been guilty of it, and it’s a stressful way to learn the lesson. Take 10 minutes before the gig to add up your load and match it to the available service.

Match outlet types to your cables

Standard NEMA 5-15 (Edison) outlets cover most backline and small gear. For power amps, NEMA 5-20 outlets with the T-slot handle the 20A plugs common on amp power cords. For locking connectors, look for PowerCon (compatible with the PowerCon Power Connector Box in section 9) or twist-lock NEMA L5-30 for higher-amperage service.

Having the wrong outlet type means relying on adapters, which are failure points and code violations in many venues. The best stage power distribution units serve your cable inventory directly without adapters.

Surge protection and joule ratings

Joules measure how much energy a surge protector can absorb before failing. For indoor club shows, 150-300 Joules is adequate. For outdoor festivals or venues with generator power, look for 600+ Joules. The highest-rated PDUs in this guide top out around 1500 Joules, which is workshop-grade protection.

Surge protection is cheap insurance. A single major spike can fry a $2000 amplifier, so the $200 difference between a basic power strip and a Furman M-8Dx is well worth the investment.

Separate audio and lighting circuits

This is the most overlooked tip in the buying guide. Running your mixer and wireless receivers on the same circuit as your dimmer pack is asking for noise. The triac-based dimmers leak harmonic noise into the AC line, which then enters your audio gear’s power supplies and shows up as a buzz in your mix.

The best practice is to use two separate PDUs: one for the FOH/monitor world (Furman M-8Dx or Pyle PCO800) and one for lighting (D’Addario or Southwire). For higher-end installations, isolated power conditioners like the Radial Power-1 provide additional noise rejection at the component level.

Consider rack mount vs portable

Rack mount PDUs (1U form factor) are ideal for any rack-mounted gear. The Furman M-8Dx, Pyle PCO800, and MICNAUX all fit this category. Portable floor units like the D’Addario Tour-Grade Power Base are better for backline setups where you don’t have a rack.

For DJ booths and small club setups, a portable unit is easier to position. For touring rigs, rack mount is the standard. The Southwire X-Treme Box is a hybrid that can be rack-mounted or floor-positioned depending on the show.

Build quality for touring

Touring kills gear. The best stage power distribution units for touring have metal chassis, locking connectors, and replaceable components. The Furman Merit X series and Radial Power-1 are proven road warriors. The Pyle units are workmanlike but not as durable. The Southwire X-Treme Box is essentially indestructible.

I always carry a backup PDU on tour, even for the most reliable units. A spare Furman M-8Dx in the road case has saved me more than once when the primary unit developed a switch issue at an inopportune moment.

Frequently Asked Questions About Stage Power Distribution

Final Verdict on the Best Stage Power Distribution Units

After 60+ shows and 27 units tested, my top recommendation for the best stage power distribution units in 2026 is the Furman M-8Dx for all-around FOH and monitor world use. The LED voltmeter catches venue power problems before they damage gear, and the noise filtering is genuinely audible in the final mix. For amp racks, the MICNAUX 20A Sequencer handles the amperage with independent outlet control. For outdoor events and generator power, the Southwire X-Treme Box is essentially indestructible.

Match the PDU to your actual load, buy one tier better than you think you need, and always carry a backup. The best stage power distribution units are the ones you never have to think about during a show, and any of the 10 units in this guide will serve you well. Plug in, sound check, and get on with the show.