Imwithpepe

Did some updating on my original post. Nothing to write home about. Just some thoughts about my gear and some background info.

28 y/o systems designer and installer for a high end home audio/video and automation company. I've been working with bluegrass based music for about 8 years now. I was part owner and operator for www.bluegrassjam.net (closed down now, but a hell of a lot of fun when we were running it). I work as FOH engineer for a few regional bands, I work for a couple local venues and I am looking to pick up production at a small outdoor venue this summer, and I freelance through a few mid to high volume production companies in the area doing festival work during the summer. I am currently in the process of building my first personally owned rig. Starting small and systematically began selling off pieces to help fund newer replacements. Right now, I am sitting on: 1x Peavey 24FX 1x Yamaha MX400 24/4 1x Whirlwind Medusa 16/4 100ft snake 1x Proco Stagemaster 16/4 100ft snake 2x Wharfedale LA15Ps 2x JBL Eon G2s 2x Soundtech 318 front firing subs 4x Peavey 1245 SP2 monitors 2x Samson Servo 600 Amps (monitors) 1x Crown XLS 602D Amp (subs) ART 310 2way/3way Crossover FOH Effects Rack (MBT 8 space) 1x Stageworks Power Conditioner w/ lights 1x ART 355 Dual 31 Channel EQ Digitech S100 dual independent channel FX unit Samson S-Com4 Compressors 1x Equation Audio DS-V10 Supercardiod Vocal Mic 1x Equation Audio DS-V9 Cardiod Electret Condenser Mic 1x CAD 217 Condenser (Overhead Drums) 1x Audio Technica Kick/Tom 1x Shure Beta 52A Kick Mic 5x Shure SM58s 4x Shure SM57s 2x AKD D870s 2x Samson R21s (don't think I have ever even used them in a show, just kinda hanging out in the case) Gateway MX6248 Laptop for Soundforge 8 live recording and Smaart v5.4 Various Whirlwind, Shure, Audio Technica, On-Stage cables, adapters, mic stands, speaker stands, etc. - I really, really liked my MX400 when I first got it. I actually acquired it as a trade for a few gig commitments at a local bar. They had it in their storage room and didn't even remember that it was there. The only problems it had when I picked it up were: (a couple of dirty sounding channels, a couple of missing plastic sliders, and no headphone output) It has lasted me about 3 years without problems, not to mention the other 20 it made it through before I picked it up. Not a bad deal really!!! I've recently ordered a Peavey 24FX that should be in this week. I am looking forward to playing with it and seeing if it really lives up to it's claims. I like the idea of the built in Feedback Ferret, effects, and compressors. I am curious to see how these functions eat up processor capabilities. Pretty darn excited to get it in... - I love my Peavey 1245s. I picked them up from a fellow who lives about 30 minutes from me. I bought 2 from him for $150 and picked up another pair for $175 from a used gear dealer. All four were in great condition and look and perform like new. The Samson amps are a perfect match for them. - I am not a huge fan of my Wharfedale mains. They just don't have the power I need. I am thinking about selling one and using the other as a drum monitor, when needed. The Eons provide more power and sound much clearer. The Soundtech subs were picked up from a friend in a band that I have done work for. He got them in as a trade at the music store he works at. Got the pair for $100 and had to refoam them. Like new now. Great full, low-end sound. - As far as my current rack gear goes, the only thing I have been disappointed with is the S100. I knew, out of the gate, that this was mostly a studio unit and that it wasn't famous for it's sound, to begin with. It gets me through the night, but will probably be replaced with a Lexicon MX200 in the next couple of months. (I don't forsee the Peavey built-in effects being suitable for every occassion). The Samson S-com4 has been a good unit and seems nice and transparent and functional. Definitely suitable for my needs at the moment. The Art 355 is a great EQ for the price and definitely gets the job done. Nice and transparent and clean. Same goes for the ART 310. It does exactly what I need from a crossover. - Now for mics. The 58s are 58s and the 57s are 57s. I don't think I really need to say much more. The Equations are awesome mics. I bought the two on a whim and have enjoyed them to no end. Much more responsive than the 58s with a great amount of range. No muddiness to speak of. The DS-V10 is used for my weaker vocalists and really helps to pull them back into the mix with stronger singers in the same band. (I have this problem in a couple of the bands I work with on a regular basis. Several singers in the group with varying abilities as vocalists) The DS-V9 has made it's way to being an amp mic and is wonderfully clear and responsive for that task. I've used it on vocals, with success, but I tend to like it on a guitar cab more. The D870s are ok. I bought them because they were inexpensive and I figured I would give them a try. Not bad to have around as spare vocal mics when needed. As far as the R21s go, lets just say that they might make a good weapon if I am ever mugged during load out. I don't expect much more from them and in turn, don't use them during performances. The Medusa and the Stagemaster have their own reputations and they have lived up to it without fail. I'll keep updating.