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  • #16
    My PA system is a fast growing boy. I've ditched recording, bass, electric guitar and now acoustic guitar thanks to it. Whenever I find I have enough money to buy gear -it goes straight to the system. I figure once I am completely satisfied with my system (will I ever be???) I will probably invest in up to date recording gear as I still sport an ol' Boss BR8 and maybe buy a digital piano so I can learn the keys. In the meantime I find live sound to be the most addicting and dollar consuming -but also it brings back by far the most money. Its cool having my own lil' business.

    I started at harmony central in the recording forum a while back but then veered here as I wanted my band to have more show scheduling freedom... umm yes, my first post here was the "PA for around $400" thread... But instead I ended up spending around 7 Gs or so on this stuff:

    FOH Cabinets: 2 MTS Bullfrog PR1512 cabinets. 1 15" eminence delta driver, 1 12" eminence delta driver and a 1" compression driver. 94 lbs.

    PROS: Got them for VERY CHEAP as MTS was just at the end of closing out their stock of all speakers. Push good SPL strong high end, very solid for the price I paid -even my coworkers were impressed by them when they heard them. Quite compact too -as they are only 13.5" deep.

    CONS: High end is strong, but seems to get a bit broken up/harsh at HIGH volumes (which I guess could be expected to a degree.) They are relatively heavy for their size, the side handles on them are very cheap and alone, without subs dont have the greatest bass response, but thats no biggie because I do use subs after all.

    Subs: 2 MTS bullfrog B215s. 2 15" eminence delta LF drivers. 105 lbs.

    PROS: Also got for very cheap. Very strong SPL, definitely delivers that "kick in the chest." Everyone was very surprised and impressed with what they did. Quite compact for a dual 15 sub. Cannot be beat for what I paid.

    CONS: Could be a wee bit tighter in sound I guess. Did not come with corners. They are solid subs -its hard to find a good weakness.

    Monitors: 2 Sonic D12 wedges. I use them for mains when I do small events such as speeches.

    PROS: Again, good price point. Very smooth sounding and lightweight. Seem to be well constructed.

    CONS: They are a little quiet. We used them along with an EV force 12" monitor and they were a bit quieter than the EVs even though they were a little smoother in sound.

    Amplification: All three be QSC.

    RMX 1450 for FOH (450w@4 ohms)

    RMX 1850HD for subs (600w@4 ohms)

    RMX 850 for monitors (200w@8 ohms)

    PROS: Sound great, will run all night and keep cool -in fact after running them all night , the air coming out of the amps feels cooler than the outside air -like a nice cool breeze. They also offer alot of flexibility for their price point. NEVER ran into a problem with them.

    CONS: They are heavy!!! especially when you stuff three of them together in a mixer case and you live on the 3rd floor !!! Thank goodness I took care of that problem.

    Mixing console(s)

    1: Allen&Heath Mixwiz3 16:2. Everyone knows this one by now.

    Pros: Superior reliability, sound and flexibility at its size and price point.

    Cons: Sometimes I wish it had RCA inputs on it somewhere -even though its a problem thats easily solved .

    2. Behringer Eurorack 2004A. small board 8 XLR inputs.

    PROS: I can fit it in a SKB dj 2 space mixer rack with an RMX 850 and have a little "powered mixer" to use for speeches and real small stuff. I also now have a back up board God forbid anything happens to the Mixwiz (it would seriously take something quite drastic to render that board useless).

    Another pro is that the Eurorack is easier for people who rent the PA for real small stuff. It also has RCA inputs . It also still works after 6 years.

    CONS: It lacks headroom, and I dont like the way the faders feel. Only really useful for small occasions.

    Rack Case: Odyssey 14 space mixer rack.

    PROS: I can put everything in it. Look professional, has good wheels.

    CONS: I put everything in it. The cats tear up the carpet on it no matter what I try to do to. The wood doors are warping on it a little. With everything in it ---it wieghs over 200 lbs and I have to get it up and down 3 flights of stairs ...

    Snake: Proco 16/4 100 ft.

    PROS: I got this for REAL REAL cheap. Like any snake, it allows me much more room to work, and it allows me to take my amps out of my mixer case!!! I just got it though, and havent tried it. Still a few more cables and cases I gotta get before I do this.

    CONS: Not the most flexible snake in the world, but I cant complain too much for now considering I didnt pay much for it.

    Other: Dont really have processing yet, but I do have a dbx266xl compressor, 223xl crossover and 231 EQ I use for my monitors... they work fine -dont have much more to say about them than that.

    Mics: not many... 3 SM57s and a Beta 52 among various other random drum mics. Looking to get a set of Samson Q7s or Q8s -very very solid mics. In fact I think they are the best things made by Samson.

    Future Dreams: Ehh, I'll get processing sooner or later -I'm looking into the TC MOne.

    In the distant future I would like to get a EV QRX setup. Perhaps the 212s and 218 subs...

    I also am thinking about going powered on my monitors and putting some EV SX250As or SX100As down for that. If I ever get those QRXs though it will be after I've got plenty of use out of my current speakers. I'll also have to get rid of all my RMXs and replace them with either PLX or amps made by EV. $$$

    As for now -my PA makes me happy
    <div class="signaturecontainer">&quot;People of all ages love this guitar -especially children ...and adults.&quot; <br />
    <br />


    • #17
      I'm 40, and I do a variety of work (mostly office & shop) for a high-quality sound company in the Chicago area.

      I still do have some of my own odd stuff which I can cobble together for a PA:

      MIXER: A Soundcraft Spirit RacPac, just like Audiopile's. Great little board, though I'd be a lot happier if it had channel mutes. Bought used (and not especially cheap) maybe 8-10 years ago, and I've only had to replace a couple input preamp parts in all that time. Fits nicely into one of the old Samsonite suitcases I use for hauling around stuff. I've also got a big DDA console I got used, which has a few more channels and much better EQ than the RacPac.

      SPEAKERS: A pair of EV "Force" 1x15 cabinets, originally purchased for playing upright bass. Tall and square, great low end. Not especially good at the power handling, though. Better-sounding than anything else I looked at on the cheap end, though.

      AMPS: For quiet stuff I've got a 3-channel 100 watt amp I built out of a couple salvaged chassis from a now-defunct power speaker company (Red Acoustics). For loud stuff I've got the classic QSC RMS 850.

      PROCESSING: A dbx Driverack 260 for system EQ and such - great swiss-army knife box, I can get extra outputs with separate parametric EQ for other feeds, solve various routing problems, etc. A dbx 1066 dual compressor, which I bought used last summer and really haven't used all that much. Also have a FMR "Really Nice Compressor" which is great for vocals, terrible on bass.

      EFFECTS: A TC Electronics M2000, bought used a year or two ago. Wonderful reverb, plus a bunch of other effects I never use. Completely different from the Yamaha reverbs I'd grown up on.

      MICS: A real odd lot, since I got more interested in trying out various mics instead of building a working inventory. I've got an SM-57, SM-86, Sennheiser 421 and 441, a pair of the original CAD E-100 mics, three of the CAD C-195 condensor vocal mics, and several Oktava MK-012s. Plus the mics I build myself, several "Alice", "Audrey", and a couple "Earl" mics. All of my own mics are condensors built more for acoustic stuff than loud sources - the Earl is specifically built for doing the live bluegrass "one mic" setup. The CAD E-100 mics are interesting, and I almost always use one for kick drum.

      DIs: A pair of EWI actives (LDB-101) from Audiopile. They sound great on bass guitar, plenty good enough on everything else I've tried, and have a ground lift switch which actually works.

      CABLES: Assorted cables, sometimes built as needed.

      I never really set out to build a show rig, I just accumulated pieces as needed for various odd jobs. Not really interested in making a living from hauling a PA around - mainly I don't like bars, but also because I'm more of an electronics and computer guy. With my current job I work the occasional show, but mostly I'm in the shop dealing with repairs, rentals, and other odd jobs like IT and website management.
      <div class="signaturecontainer">&quot;I would kill the children of a thousand planets, just to see you smile&quot;</div>


      • #18
        33 years old, I work in law enforcement. I am primarily a bass player in a local 80's/ 90's pop-rock cover band on the Northshore of New Orleans. We are a fairly popular band who plays most of the good clubs and all the fairs / festivals. Until recently, we had been renting a good PA system for our club gigs at a very reasonable price ($300) that included an outstanding "sound man". This PA guy is no longer available to us and we have been scrambling for PA for the past month or so. Some of the guys are good and others are so so; however we are finding ourselves to be paying $400 and more on a consistent basis. What I have noticed is that these sound companies 9 times out of 10 are providing us with a system that is serious overkill. I have PA experience and owned a Peavey system that I used in a previous band. I made the decision to put together a simple but effective compact system that would work for "most" of our club gigs. I have purchased the following:

        Mixer - Allen & Heath Mixwizard 3

        Subs - JBL MP418S x 2

        Mains - JBL MP412 x 2

        Monitors - JBL EON 15P x 2 (note: 3 of us use IEM's)

        Power Amps - QSC PLX2402 (mains) and QSC PLX3002 (subs)

        Racks - 14 space top X 4 space bottom custom made mixer rack and 8 space custom made amp rack

        In addition I purchased a DBX crossover, DBX compressor limiter, and DBX EQ for FOH. (still need to get an EQ for the JBL monitors)

        Snake - 24 X 4 bought used not sure of brand but all channels work.

        I have not yet had a chance to use this system, July 8th, will be the first time. I believe it will suffice; however, I am a little concerned about having enough "low end". I'm starting out with the single pair of MP418's. I have read alot where people love these cabinets but usually need more than 2 to get the sound they want. I will purchase another pair and another QSC amp but only if needed.


        • #19
          About me: I'm a 24 yr old software engineer-turned-audio guy. I don't own any gear aside from a 57, some headphones, and an RNC, but I work for a regional provider.

          The Gear:


          Vertec 4889s

          Yorkville LS1004 subs

          Crown MacroTech amps

          Driverack 480

          Midas XL-200 (FOH)

          Midas XL-250 (Mon)

          K-T graphic EQ

          ART & DBX comps

          Drawmer gates

          Lexicon PCM 81 & 91

          TC Electronics 2290

          some other fx, I forget


          A-rig speakers, amps, & processing

          Midas Verona (FOH)

          Midas Sienna (Mon)

          K-T graphic EQ

          DBX comps

          Behringer gates

          Lexicon PCM 91

          TC M-One & D-2


          Yorkville TX2M w/ QSC power

          Ashly Graphic EQ's


          Yorkville TX8's w/ Yorkville power

          Racks: New stuff is all R&R - great racks & caddies that truck pack nicely and are practically indestructible. Old stuff is a mish-mash.

          Cables: Whirlwind snakes, miscellanious cables - we've pretty much sworn off custom-built stuff from CBI. Too many incorrect & poorly-built shipments.

          Bar rig:

          JBL 4732 tops

          Yorkville LS1004 subs

          Yorkville amps (4040 & 6040)

          Behringer comps & gates

          TC M-One & D-2

          Alto graphic EQs

          Mackie 24-4 or 24ch Yamaha M3000

          JBL XR-100 or Mackie SRM-450 monitors

          Other stuff:

          A&H ML-5000

          Yamaha M-3000A

          Yamaha M-2000

          Opinions: It's hard to complain about the expensive stuff. It sounds good and it works. I doubt that a line array is the best solution for all of the shows in which we employ them, but we don't have anything in between 4732's and Vertecs, and having only one system that's scalable makes it easier to keep things straight in the shop.

          The Verona & Sienna are both brand new, so I haven't had any trigger time w/ them. The Verona seems to have a few quirks - all channels look the same, but some are stereo and some are mono.

          Regarding the bar stuff... The boss doesn't spend much money on outboard gear - his attitude is that if he can get it to sound good with a certain rig, then that rig should be enough for anybody else. I can't say that I disagree with him, but it would be nice to have some better eq's. Those alto units are ****************.

          Wishes: Most of my wishes deal with the organizational side of the business. I realize that rock-n-roll has an inherent amount of flying-by-the-seat-of-your-pants, but I think we take that a bit beyond what's necessary.

          For gear, I'd like a digital console to replace the 24 ch M3000, which is used with only one band. There's 10 of them and 8 have IEM's, so we need something with enough auxes.

          Originally posted by Axisplayer

          ABOUT ME: I am a 53 year old computer geek for NASA.

          Houston, Florida, or elsewhere? My brother works for USA in Houston.

          <div class="signaturecontainer"><i>Well, I've been to one world fair, a picnic, and a rodeo, and that's the stupidest thing I ever heard come over a set of earphones.</i></div>


          • #20
            I've got a small system and for about the past ten years or so, I've hooked up usually w/a steady band, for extra income to supplement my main gig as a recording engineer.


            A&H Mix:Wiz 16:2, Series II

            Ashly 15-band graphic, Comp/Limiter 1RU thingie for FOH - might like to upgrade to a Driverack...

            Ashly 7-band parametric EQ for monitors, works fine, but you've got to know your numbers.

            Lexicon MPX100 in dual mode for 'verb/delay, on two sends.

            dBX 166 comp/limiter, inserted on lead and main BG vocal channel

            Alesis D4, to trigger kick (my secret weapon)

            The rack stuff is racked in a 6RU Anvil shallow rack.


            JBL SR-4722 for highs

            EV S-18 front-loaded subs. Small, and sound great in small venues. Someone in the band carries these for me, in exchange for a small fee reduction.


            EV S-200 molded plastic ones - small and sound GREAT. I've also got 3 EAW 2x10 + HF horn wedges, but I can only fit one in the car. The drummer uses this.

            One mix, presently, but I may go to two soon. I've got another Ashly Parametric EQ and a space in my rack...


            QSC PLX-3002 for mains

            QSC PLX-2402 for monitors

            LOVE 'em. One 4RU shallow Anvil rack, 42 lbs.

            Mics, etc.:

            EV 457s, Shure SM-57s, Shure Beta 58, AKG D880.

            Whirlwind Medusa 16x4 100' snake

            Whirlwind speaker cabling, mic cables are a variety. I wind them carefully and have only had a couple go bad in ten years of heavy usage.

            Cables go into two Rubbermaid tubs, which seem to be indestructible. Over ten years of HARD use and no problems. Hard to find now, tho.

            Walmart -28dB earplugs. I've worn these for years, and after the first song, in they go.

            I run the mains off of "R" buss, and the subs off of "L." This allows me to blend different sources. Both are run full-range. Not sure if this is a great idea, but it's worked for years for me - I've never blown a driver.

            Except for the subs, the whole rig fits in my Ford Escort sedan. Many are dubious when they see how small it is, but they usually like the way it sounds. I've put a great deal of thought into optimizing all the components for greatest performance/size ratio.

            Sometimes I wish it had a little more kick, as I have to run everything right on the edge at some shows. I also would like to be able to get a little more out of my monitors, there's a certain midrange freq that just will NOT go away, and it rings sometimes. Other than that, I've made thousands of dollars over the years and had some good times.

            "Thank You, NASA!"


            • #21
              I have much less of a system than most people, but seem to have something closer to what people seem to ask advice on frequently.

              I'm a guitar/bass player who just wanted decent vocal monitoring for rehearsals so I got :

              16-channel MixWiz

              QSC PLX 1602

              2 Yamaha Club V 12" monitors


              It's a very simple setup but works fine for what I wanted it for.

              I originally expected to have buy a 31-band EQ to deal with feedback, but haven't found one to be necessary at the volumes we usually rehearse at.

              The board is definitely massive overkill for this setup, but it will come in handy if I ever feel the need to buy FOH speakers and use it as a performing PA. Most places around here have a house PA, so it hasn't been an issue yet.

              The speakers & amp aren't the absolute cheapest things available like most people seem to want to buy, but they have worked well without any hassles, so to me the price has been worth it.


              • #22
                Age: 25

                Day Gig: Consultant for Big Blue

                Fun Gig: Cobra Sound - A/V Systems Contractor and SR Provider

                Disclaimer: We are dealers as well as end users for most of the items in our inventory. Like Audiopile, we don't sell or recommend anything that we wouldn't use ourselves.

                On the live events side, we do mostly acoustic music festivals and civic events (aka street fairs). Most applications are large coverage area but lower SPL. However, we also handle some DJing and club work.


                Yorkville EF500PB's (up to 3 per side). We now have 8 of these available so we may try 2 over 2 for a large event. Speakers are usually stacked on scaffolding or speaker poles on the subs. The EF500PB's pack incredible bang for the buck, excellent throw from the HF horn, good output, nice looks, reliability/durability, etc. For their size and price it's hard to beat.

                If we make a move from these, it will probably be to something of the Tom Danley SH-50/EAW KF-650z/QSC Wideline Caliber. Crowd size is anything from 100-2000 people mostly outdoors.

                Yorkville LS800PB subs (up to 2 per side). Great subwoofers for the money. Ditto on everything said about the EF500PB's. Again any changes would probably be to upgrade to Danley's/BassMaxx/LAB Sub/etc.

                Smaller events make use of FBT Maxx4A cabinets for mains/monitors. We recently added the FBT line and picked up some of these cabinets after reading glowing reviews for so long. These are the best plastic 12" cabinets that we have heard yet. 'nuff said.

                Monitor duty is tackled by another FBT Product, the PSR212MA. I think anyone looking at Microwedges (especially those on a budget) should check these out. We just used them on their first bluegrass festival over the weekend and EVERY band that took stage commented on the excellent stage sound. These are a BIG step up from the Mackie SRM-450's that were on monitor duty. GBF and clarity is excellent.


                Mackie TT24 for larger events. We love the mic pre-amps and EQ. The Effects are OK and useable. I love the layout and I/O. However I wish it had a few of the features from the 01V that we moved up from. Definitely a very capable console and NO outboard processing racks needed (at least for our events)!

                Allen & Heath MixWizard for smaller events. Great sound,good layout, reliable. Considering moving to a 01V96 for it's greater processing capabilities.

                System Processing:

                Our DriveRack 260 has been replaced by a Sabine Navigator 3600 3*6 DSP. We run L/R stereo and aux fed subs. They sound great and are fairly easy to use with the software. Operating the unit without computer assistance is a little cumbersome but doable. We use a second Sabine NAV-3600 for the monitor mixes feeding the FBT PSR212MA's. The DriveRack has more flashing lights and minor features but the sabine sounds great and gets the job done without fuss. Bonus points for Ethernet control too.

                Amps and Racks:

                There aren't ANY! Everything is self-powered! The Sabines and some FOH storage drawers are in an EWI rack from Audiopile. Very nice case for the money.


                Vocals - Beta58A's or Audix OM6's

                Instruments (acoustic/electric/overheads I haven't had them sound bad on anything yet) - Audix Micros 1290 and CX-112

                Drums - Audix D Series (Micro-D's on Toms, D4 on Floor Tom, D6 on Kick)

                DI's - BSS AR133's and Whirlwind Directors

                Snake - Whirlwind Medusas

                Cables - Homegrown Neutrik/Canare or Whirlwind MKQ Quad

                Power Distro:

                1 - Motion Labs RacPac w/50 Amp 240 volt Twists

                1 - 10 ft tie-in Tail

                1 - 25 ft 6/4 SOOW extension

                1 - 60 ft 6/4 SOOW extension

                Tons of 10-3 and 12-3 SOOW extensions and quad boxes.


                1 - ThinkPad T30 running SMAART with a Sound Devices USBPre

                1 - ThinkPad T40 running Sabine Navigator and Mackie TT24 control software

                1 - PC running Adobe Audition for multi-track recording straight off the TT24 ADAT Outputs through and RME Audio HammerFall soundcard


                8 - ETC Source Four PARS

                1 - NSI MC7300? Console

                1 - Innovate Show Controls PC based DMX controller

                It's taken me years to assemble this system and we have progressed through several different FOH mains configurations. We're pretty happy with how things are at this point now though. It's scalable from SOS gigs to festivals and sounds great. The next step up from this would be a large one (note Danley/EAW lines above) so we'll probably have to be comfortable here for a while until we break into a large market.
                <div class="signaturecontainer">Cobra Sound<br />
                <a href="http://www.cobrasound.com" target="_blank">http://www.cobrasound.com</a><br />
                <br />
                An authorized Allen &amp; Heath, Ashly Audio, Audix, BenQ, Danley Sound Labs, FBT, Mackie TT24, QSC Audio, RCF, RME Audio, Sabine, Sennheiser, Whirlwind, and Yorkville Sound dealer.</div>


                • #23
                  Great thread idea Mark!

                  In an effort to provide equal representation to the "just above entry level PA on a Stick" end of things, I'm going to post my humble little PA, as well as comment on how we arrived at owning what we now have.

                  I'm 38. By day, I manage/sell exhibit space and event sponsorships for major Association based professional trade shows. When I'm not taking care of my wife and new baby girl, I sing lead vox and play poor rhythm guitar in two bands by night, one "party" cover band w/ some originals and another jam/roots rock band with all original material.

                  From 2003-2005, We were running a 8 channel powered mixer (Mackie 808m then a Yorkville m1610) for vocals, bass and kick only into some Yorkville nx350's and one Yorkville ls700p via a rolls xover and having some headroom problems and channel shortages, as well as not having to mix to the guitar amps stage volume etc. Finally this year we moved the Yorky m1610 to rehearsal duties and bought a 16 channel passive board/powered speaker set up. MAJOR inprovement.

                  My current PA is meant to provide decent and managable sound with minimal fuss to small rooms holding no more than 150-200. There are 4 of us in the cover band and this PA is pretty much used exclusively by that band. Anything bigger and we rent a whole system and techs or the venue provides.


                  2 x Yorkville nx55p. These are relatively new to me, and I am extremely pleased with them. They sound excellent to my ears, very clear and crisp but still smooth with plenty of SPL for my applications. They are also a breeze to haul and store in the closet I rent at my rehearsal space.


                  2 x Yorkville ls700p. Much like the nx55p, these are very solid bang for buck subs which can be hauled and stored with ease. One guy can carry one of these subs as they are less than 100lbs each. I find them to be a very good match for the nx55p power wise and they deliver nice bass for the classic rock/blues type music we play in rooms approximately 25' x 75' (typical Chicago tavern foorprint).

                  Mains are telescoped on top of subs in most cases, but I can couple the subs and place tops on separate speaker stands if desired.


                  Peavey RQ2318 16 channel board. Reliable, light and simple to operate mixer which I purchased used for $300 including a road case and shipping. OK sounding pre's, intuitive/simple layout. Major downside is only 2 auxes for two monitor mixes. I also have a little Mackie 1202 for submixes, extra channels if needed, but I have yet to use it for this purpose.


                  2 x Yorkville nx350 and 2 x EV FM1202.

                  The nx350's used to be my mains until I bucked up for the nx55p's a few months ago. Incredibly light but seemingly sturdy speakers. Thus they are not quite as efficient as a ply cab, but we knew that going in. Very nice sounding monitors which are plenty sufficient for our uses as we really don't play that loud at all. Wish they had two speakon connectors in the back of each one for daisy chaining though.

                  The EV FM1202's are some older 1x12 heavy ply wedges that I scored on craigslist for $75 each. Compared to the old Yamaha club IV wedges, I find them a bit more bulky but much clearer and smooth sounding. More watts RMS and better sensitivity I believe. But they are heavy and take up a lot of space. No pole mounts is another detraction. They do have 2 speakons per speaker though.

                  Monitors are powered by one QSC EX1600 amp (which I got for $150 from the same guy who sold me the EV wedges). Given the limit of two monitor mixes, we daisy chain the speakers off of the one QSC. (2 yorkies in channel 1, 2 EV's in channel 2). The guy soild me a second one of these amps, which we use to power some EV subs he also sold me in our rehearsal room.

                  Processing (and rack):

                  Super basic here as this rig is my step up from the powered speaker world and I'm a newbie to outboard processing. No gates or comps etc. 6 rack heavy duty C-stock Audiopile case containing 1 dbx 223 crossover, 1 dbx 231 dual 31 band eq for FOH, 2 Rane ME30, 31 band EQ's (1 for each monitor mix), T.C. Electronics M300 FX processor (for vocals only)


                  All of my XLR and speaker cables come from our friend Audiopile. For XLRs, I have 2 50', 8 10', 10 20', 8 30' and few each adapters M/F to 1/4" trs as well as splitters and longer trs-trs cables. Probably have about $500 in cables alone. Excellent quality to price ratio and have been very reliable. Liz and Mark are a pleasure to deal with. I also have one of Audioeast's CMI Multi-outlet extension cord that is 50' with outlets every 10' feet. This item is solid, heavy duty 10 ro 12 guage and is invaluable for backline (and sometimes FOH speaker) power in some of the dives we play in. Black extension cords from Audioeast and a bunch of quality Tripplite power/surge strips


                  All boom stands, short and tall for micing drums, vox, guitars etc. Some or higher end, heavy telescoping booms and others I got from MF on the 6 for $100 On Stage stand deal. I much prefer to play using booms - straight stands get in the way of my guitar. Yorkville telescoping speaker stands and Audiopile's regular tripod speaker stands. I have a SKB tube case w/ wheels to carry all the stands, which is useful to keep them tidy (but a pain to lift!) Audiopiles speaker stands are heavy but very solid and built well. The Yorky telecopes are well built but dont fit into the pole mounts as snug as I'd like.


                  2 x Shure Beta 57 (great mics for vocals and many instruments. I use one for my lead vox and one for my guitar amp)

                  2 x AKG D790 (reasonably priced mic, good hot signal, sound OK, I use them for 1 spare dynamic vocal mic and my soft singing lead guitarist)

                  2 x Shure sm58 (backing vox, the workhorse standard)

                  3 x sm57 (1 for snare, 1 for lead guitarist's amp, 1 for backup/general instrument use, guest horn etc.)

                  Audiopile's new 6 piece drum mic kit for drums. These work very well for the price, and it's all my drummer would buck up for. We may mocve to the Audix kit when he gets more cash and keep these for sloppy outside gigs etc.

                  I also have some condensors (2 Octava 012's, AT3035, CAD E100, 2 AKG c1000s etc.) but these pretty much stay in my rehearsal space along with our Spirt 24 channel board, Aesis HD-24, powered mixer, 2 Sonic t-15 mains, crate monitors, 2 EV subs, Audix mics, stands, cables etc.)


                  1 75' 12x4 Rapco snake. Another clist buy for $100. The casing is a bit flimsy and "light feeling" but it's been OK for us so far

                  1 75' 8 insert snake for use to mic drum kit. CHEAP MF purchase (Jade?) and a piece of crap. I really need a 16x8 snake, but that will come later.

                  And last but certainly not least, we have added to this rig a dedicated SOUNDMAN!! No more mixing from the stage and I can't stress enough how much more pleasurable it is to set up/ tear down and how much better we sound because of this addition. Probably the biggest improvement vs. investment we make now.

                  So, that's about it. We're definately bereft on distro and a bunch of other areas, but for our purposes, this is the rig we plan to stay with for a while. Does a nice job for the small rooms/crowds we play in/for and for our style of music. Definately a HUGE step up in quality from our old powered mixer set up - to make a major understatement. Now everything is miced and we sound a ton better. The result? We're getting booked more often for more $$$. So we're happy for now.
                  <div class="signaturecontainer"><font size="1">Main Guitars: ES339, '73 Tele Deluxe, '73 Guild Bluesbird, '74 Guild S-100C, Heritage H140, G&amp;L ASAT, Rick 330-12, SG Classic, Martin D-1R, Carvin C980</font><br />
                  <br />
                  <font size="1">Amps: bassmen heads (BF'65 &amp; SF '67), '68 Champ, '69 VibroChamp, '72 SF NM Super Reverb, '73 Deluxe Reverb, '72 Bandmaster Reverb, Mesa Boogie Studio 22+, Winfield Cyclone head, Traynor YGM-3 &amp; YGM-4, misc. cabs</font><br />
                  <br />
                  <font size="1">FX: Fender Reverb Unit, Keeley BD-2, Fulltone Fulldrive 2, Dano Fish N' Chips EQ, SD-1, L.R. Baggs PADI</font></div>


                  • #24

                    Originally posted by Mark G. Hinge

                    aha... sorry I missed/forgot about that.

                    So my joke didn't make any sense...

                    Your correlation to the analogy is correct.

                    There's a lot about the analogy that relates.


                    • #25
                      I'm another 50 year-old non-singing bass player but I'm mainly a woodwind man (hence the moniker). I have a db Fifty Line pa (3Kw active in three boxes a side) and a couple of db 405 actives for smaller gigs or for use as floor monitors (I'll be getting another pair soon). For rock bands, we rehearse with the 405's, and occasionally put them through the bass boxes of the Fifty Line to simulate what it'll be like on stage a bit better.

                      We mix through my ancient spirit folio 10:2 or Alesis studio 32 - neither perfect but they work. Both reasonably quiet with the knobs set right.

                      Vocal and instrument mics are a mixture of SM57s, SM58s (not often) and Beyer M201s, with a couple of others for special needs.

                      Keyboards are DI'd into the mix and the players use their own amps for monitors. We don't usually bother miking guitar amps but I'll get onto that sometime. Ditto drums - though I might give the drummer a monitor to keep him happy and help keep the balance. I DI the bass as well (why carry a PA and a bass amp?).

                      Being an all-active system, mains distro has been a problem now and again and I've made up a Powercon-based system that seems to be working fine and avoiding the noise problems I got with people plugging extension strips in all over the place.

                      I have two 12 in 4 out snakes to cut cable clutter and try to work with a front line and backline snake or a left and right snake, depending on the venue. Either way, the middle of the stage should be fairly cable free.

                      What's it like in performance? The band likes it, the db 405s make lovely floor monitors though they sound better with bits of carpet underneath on a hard floor. The Fifty Line mains have been plenty loud enough (and very clean) for everything we've done with them and even with three guitars and two keyboards going we can get good, clear vocals (the M201s help, too). Being all active, set-up is straightforward and we can run safely on two sides of a UK twin 13-amp socket. We could probably get a tighter sound with a touch of compression on the vocals, but we've kept everythng fairly simple as we don't have a separate sound man and being infrequent performers a complex setup is not good for us.

                      I should say I bought the Fifty Line PA for reinforcing bands and orchestras, so it's more than I would have otherwise have spent for a rock setup (UK


                      • #26
                        I'm 50, a high-school teacher by day, and have been a player for 36 years. For the last 18 years it's been just weekend warrior stuff, but I play most weekends.

                        My current basic system is:

                        Mixing - FOH Allen/Heath GL2. When I need more channels I use a JBL MusicMix 16 as a submix, but I recently bought a second GL2 which I'll use once I finish installing the sys-link kit.

                        I bought the GL2 new 10-12 years ago for about $1000. I've had no problems with it in that time and am quite happy with the sound. The only thing I don't like is that the channels are very unforgiving in that any real clipping adds an almost digital clipping noise. One must make sure the gains are high enough for good punch but not high enough to clip.

                        Processing - Driverack PA, Lexicon MPX100

                        I have the calibrated mic for the driverack, and use the wizard to get a flat system starting point the first time into a new club, then save the setting. The driverack, while cumbersome, has all the processing I've needed so far. The Lexicon, while quite basic, has a decent unobtrusive reverb which I use combined with a basic echo. I have a foot switch set to bypass between songs, and let me tap in the tempo for the echo for each song. I don't need anything fancier.

                        Amps - 1xSoundtech PS1300 for FOH, 2xRMX1450 for monitors

                        IIRC the soundtech is rated at 350 watts into 8 ohms and 600 into 4 ohms, which makes it a good match for the SX200 tops. The only problem I've had with it in 12 years is the binding posts on one channel took a hit and broke the insulator. I've had a difficult time finding the correct heavy duty posts and insulator to replace it. Each channel of the 1450s drives one monitor. The monitors are clean and smooth enough with enough GBF that I've had no need to put eqs on them.

                        FOH - 4x EV SX200 tops; 2x Yorkville PS210P (the pulse series predecessor to the LS700) active subs.

                        I bought the first pair of EVs shortly after they first came on the market. I think I paid somewhere around $550 each. I bought the 12" subs that matched them, and while I used the subs for several years, I never really liked them. They didn't have nearly enough punch. I bought the Yorkies from a friend for $750 for the pair, and am quite happy with them. They are strong enough that they caused me to pick up the second pair of SX200s, which I bought on ebay for $600/pair. The subs weigh about 70lbs each, and the tops weigh 39lbs each. The sound is smooth and even, with plenty of bottom end. They cover venues of up to 250 seating quite well, and I've used them in outdoor beer tent setups with reasonable success. If I were going to go any larger venues I would at least want another pair of subs, and maybe a third pair of tops.

                        Monitors - 4x Kustom 12" loaded with EV 12L and EV horn.

                        The monitors I purchased sometime in the late '70s, for I think $250 each. They came loaded with SRO12s (predecessor to the EV12L) and very small Renkus/Heinz horns. The horns died after several years, but the cabinets are good plywood construction, and the EV speakers have always sounded good. Thanks to a faulty amp the speakers were reconed about 10 years ago, and 4 years ago I got a deal on some 25 watt EV horns and drivers which I installed in the cabs with replacement crossovers. The crossover point is 3.5K. The monitors sound very good, and as mentioned earlier, I have had no need for eqs or other processing on them.

                        Mics - various. I use an EV757 for vocals, a Sen 609 for my guitar, a pair of SM57s for the leslie. Other mics are provided by the various musicians.

                        Cabling - Most of the cabling is homemade, including the stagebox, snake, multipins, most of the speaker cables, etc.

                        The rig is set up for onstage mixing. With the GL2 I can submix the various instument/vocal groups and still have 4 separate monitor mixes. The GL2 is mounted in a plywood mixer rack with the processing below it and the amps in a 10 space anvil rack below that. The mixer rack connects to the amp rack via a multipin cable. The stage box for inputs is on a 15' snake which connects to the mixing rack via multipin. The system can fit in the back of a pickup with topper, be completely unloaded by me, and set up ready to go in about 20 minutes.

                        I have been quite happy with this system for a number of years now.
                        Eschew Obfuscation.


                        • #27
                          I'm 37, been playing bass since I was 10. Also play drums and some guitar. We're a 4-piece covers only rock and funk band that plays clubs primarily. We work about 2 weekends a month, and that's enough for all of us. Pretty decent band with no desire to "make it big". It's just for fun and enjoyment for us. If we can make a few bucks doing it, great.

                          My rig has downsized considerably in the last couple years. That was intentional. The new system sounds great, goes up in less than 45 mins, and I couldn't be happier with it. A lot of the pieces were picked based on countless reccommendations from this board, so thanks to everyone for their knowledge and sharing.

                          Mics: Shure SLX-4 Wireless with Beta 58 for lead vocals. Great sounding mic. Never any problems with dropouts, etc. Remainder of vocals are wired Beta 57a. I really like the sound of the Beta 57 for vocals. Kick mic is the dreaded AKG D112. I may upgrade to the Audix D6 soon. Instrument mics are Sennheiser 835's. Good mic for the 3-pack price. Various other mics are in the mic cases when needed.

                          Mixer: Primary mixer is Allen and Heath Mixwiz 16. Great mixer for the money. Lack of subgroups doesn't bother me at all for our situation, which is me mixing from stage. The lack of a littlelight socket is my biggest complaint. Backup mixer is a Soundcraft LX7 24 channel. Great sounding mixer to me, and I like the layout, but the MixWiz is rack mounted, and we don't need 24 channels for our group. We actually only use 9 typically.

                          Mains: (2) Yorkville NX550P. Love 'em. What a great sounding, self-powered, 47 pound cabinet.

                          Subs: (2) Yorkville LS800P. Love 'em. Nuff said.

                          Monitors: (4) Yamaha SM12V monitors. I like them, especially for the sub-$300 price. I actually bought the last two for $269 each including shipping. Powered by two Peavey CS1800G's with one monitor on each channel for an 8 ohm load. I'd like to switch to PLX amps for the weight savings, but I'm not having any issues with the Peavey's, so why switch?

                          Processing: Minimal gear. DBX 1231 dual 31 Eq. One channel is for the house mix. Usually set flat, except when needed to take out a boomy notch or something. Other side is used for mon-1, which is the lead singer's monitor. Not much going on there either. Since we don't run insane monitor levels, not much eq is needed for feedback control. Actually, the only time I even recall a moment of feedback was the 1st night my wife (lead singer) got her wireless. She was holding it, and forgot and pointed it directly into her monitor. One loud, quick, burst of feedback later, it was over. She's never done that again. DBX 4 channel gate with one channel used on the kick drum. Peavey mono 4-way crossover, using the 4 bands as such: Sub Out -using as a low pass filter at 40Hz, Low Mid Out - output to subs running from 40Hz-100Hz. Hi Mid Out - Running to NX550's from 100Hz-20KHz. High Out - Not used.

                          Cabling: A lot of cabling is from Audiopile. Speakon cables for monitors are from Mark, along with many of the XLR's. Great cables for the money, and great customer support also. Great people to deal with. Liz once went out of her way to get me a replacement package shipped out when she accidentally shipped my original package to the wrong state. I had the replacement two days BEFORE I would have received the original one. I've never had the pleasure of talking to Grumpy on the phone, but have Liz several times.

                          Cases, etc: I have pullover rolling cases with 4" casters for the mains, and each pair of monitors. No case for the subs, but they have wheels anyway. I'm thinking about making some caster boards for the bottom of these, so that they won't have to be kicked back onto the wheels. All power leads, quad boxes, etc. go into a large truck bed box that comes from Lowes with casters mounted to the bottom. GREAT durable cases for the ~$40 price. All speakon, mic, and misc cables go in an identical truck box that I have made dividers for the inside. Each bin is labeled "Speakon", "Mic", and "Misc". Makes it easy when you are looking for a particular type of cord. Mic stands, speaker stands, and lighting stands are stored vertically in a tall rolling cart that I made. We can haul every stand in one trip. Mixer, processing, monitor amps, and lighting controller are all housed in a rolling slant-top rack that my wife and I built. Huge time saver. Everything is pre-wired inside, and the only hookups are the incoming power, mic cables, and 4 speakon outs.

                          My Bass Rig: MusicMan Stingray 5. Shure wireless. Korg rackmount tuner. Ampeg SVT-350H into an Ampeg 6x10. Love the sound, hate the size. I slightly modified the head to use the space underneath the power amp section for a rack mount for my tuner and wireless. They are recessed behind the front grill. I took the old grill material off the original front panel, made a new, more open panel, recovered it in the original material and piping, replaced the logo, put it back on just like the original, and now everything is contained in one unit. I can still see my tuner perfectly. Wireless has never dropped out. You cannot tell it is not original unless you happen to notice the tuner and wireless lights shining out from behind the grill.

                          Trailer: 6x12 Haulmark single axle trailer with ramp door, side door, and interior lights. Hooks along one side to hang pre-lit and pre-wired rear lighting truss. Black exterior.

                          Tour Bus: 2001 Ford F-350 Crew Cab 4x4 Dually. 7.3L Powerstroke Diesel.

                          That about covers the basics. I couldn't be happier with the system I have now. Thanks go out to a lot of people on this board for their knowledge and expertise. I've learned a lot in the couple of years I've been lurking here.

                          <div class="signaturecontainer">Dancing is just like standing still....only faster.<br />
                          <br />
                          <a href="http://www.myspace.com/coaltrain4" target="_blank">http://www.myspace.com/coaltrain4</a></div>


                          • #28
                            What I run: Yamaha MG32/14FX board into a couple different EQs (Alto dual 15 for monitors, Behringer dual 31 for mains). From there into Samson S1000 power amps for mains and a Yamaha EMX660 that's been reassigned to monitor power amp duty.

                            FOH speakers are old EV Eliminator 3-way folded horn cabs for instruments and lows, Yamaha SE15 2-way cabs for highs and vox. Monitors are Squier and Nady.

                            Why I run it:

                            a) It works for everything my band's done to date. For anything bigger, we'd have to rent a much larger system anyway.

                            b) I'm a sucker for inexpensive gear that works well. Which brings me to....

                            What I think of it:

                            I'm happy with all the components in the system except the Nady monitors. They work, but are kinda harsh. I have yet to decide whether I want to sell them, or use the cabs but load them with higher-quality components.

                            I've found that graphic EQs, if you don't boost frequencies, are all good if they are quiet. So both the Alto and Behringer units are doing the job - no need for anything else.

                            The Yamaha board I did spend a bit on (though I got a special deal on that too), and it's worth every penny. The EMX660 is a great little powered mixer, and does a good job as a monitor amp for us.

                            In general, my system is simple and effective. Just the way I like it.

                            My background:

                            I've been in bands for over 25 years. Played drums & percussion professionally, played guitar in both pro and original bands, played bass in a couple projects, have been playing keyboards in prog-oriented situations for 3 years now. Have performed live on all the above. Have always sung backing vox. While I've often thought my own performances were sub-par, I've always gotten requests from people in other bands who hear me play to come join them.

                            And while I'm not a stickler for detail, I have a rep among those who know me for having an ear for sound. Consequently, I've been drafted many times to do sound for other bands. It usually works out well.


                            • #29
                              We use a pretty basic speaker-on-a-stick setup. We all have day jobs and only play out once a month or so. It's simple but it gets the job done.

                              We've used this setup for indoor and outdoor gigs for up to 100 people with no problem. At the moment, we're only running vocals into the system.

                              mains - (2) Yorkville E12: I like 'em. They just sound great and they're shaped to double as a monitor wedge if needed.

                              monitors - (2) Community MVP28: Acceptable 12" monitors. Seem to be okay drivers in poor boxes. I'm sure they would crumble if they were to get wet. But for $200 ea, they get the job done.

                              amp - (1) QSC 1850HD (600/ch @ 4 ohms): One channel to the mains, one to the monitors. It's heavy. That is all.

                              mixer - Soundcraft Spirit M12: 2 pre-fade aux, 2 post-fade. 12 mic inputs, 4 stereo. The pots are color coded so it's easy to find the one you need. I would buy one again in a heartbeat.

                              effects - Lexicon MPX 110: This is the only effects processor I've owned so I can't really compare to anything. It's acceptable. I somtimes wish I just had a better/simpler reverb.

                              mics - shure SM58's

                              Upcoming gear purchases will include a more sturdy rack case and a snake for mic cables and whatnot. Maybe a dedicated amp for the monitors so we can have a seperate mix for the drummer. A powered sub for the kick drum might be nice too.

                              I have a Ashly 31 band EQ but, as it turns out, I've never even loaded it in the rack. Our band plays a relatively low volume and we've never had feedback issues, so I figure why bother.


                              • #30
                                Speakers: 4 EV SX500+ 15" 2-ways. 2 Community CSX60 4X15 subs. 4 Yorkville NX20 12" 2-ways. 2 Yorkville E12 moitors.

                                Power: 4 QSC RMX1850, racked together for FOH. 1 RMX 1450, 1 RMX 850 and 1 Yorkville AP1200 racked together for monitors.

                                Mixers: Spirit LX7-24, Mackie 1604VLZ.

                                Processing: 1 ART HQ 231, 2 ART HQ215, Lexicon MPX100, DBX166XL, Behringer Quad comp/limit/gate, Aphex Aural Exciter (don't recall the model,)Denon CD/Cassette player.

                                We also have a Behringer powered box mixer and a gig rack with a Spirit 12 channel board, PLX1602, DBX 215 EQ, PV CDS Compressor, and Lexicon MPX100 all racked together.

                                We put the whole mess together using SX 500's for tops and Community's for subs running off the 4 RMX1850's for festivals. We use the Yorkvilles for monitors for larger shows. The gig rack gets used for my acoustic 3-piece with NX20's for tops and E12s for monitors.

                                In addition we do some corporate rentals, using whichever components seem best suited to the job.

                                I'm pretty happy with the gear overall. I'd like to replace the subs, but they do get the job done. If I were starting over, I'd go with a narrower-angle 12" top and better subs and cross over higher than now, but honestly the system sounds pretty good and gets plenty loud. So far everything has been extremely reliable, but we have enough stuff that we could handle a pretty major failure and keep going.

                                A word on the Aphex: We had serious issues getting the "thump" we wanted. The Aphex resolved that problem efficiently and cost-effectively. It can certainly be overdone, and I guess you could get there with some creative EQ, but the Aphex makes it simple and it can be adjusted on the fly to get what you want.

                                Our rig is set up with all 4 of the 1850's in bridge mode running into 4 ohm loads. We're in South Carolina, and we've run this stuff under some pretty hot conditions. They've never given us a moment's trouble. We are careful about clipping and never let the tops clip.