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trevcda

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    Coeur d'Alene, Idaho

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  1. Here's the reality for you: Every shit-hole with a liquor license is calling themselves a "club" as if they're upholding some sort of higher standard. Some owner's punk-ass nephew is calling himself a booking agent with absolutely no experience in booking bands. He is probably in a subpar band himself and is booking his and his all friend's crappy bands in the place and nobody shows up because the place is now known for having crappy bands. The owner blames his nephew, who in turn blames the establishments crowds for having bad taste in music. In my reality a "club" is place that you go, where you know they are going to weed through the crap bands and provide you consistent entertainment from groups with a consistent product presented through an impressive, appropriate and again reliable system. I think it's time any place that decides to host music, take some initiative and provide their audiences with a quality product and build their own crowd and a reputation in their community of having good bands all the time. If you're going to hire Grease Monkey and the Skid Marks and the $200 Crate PA every weekend for beer money and 10% of the door, hoping they'll be able to drag their parents out one more time, you'll get exactly what you deserve. A bunch of drunks watching a bunch of drunks who could barely play their instruments before you decided to get them inebriated as their only form of payment.By now, I'm sure someone out there is saying, "it's just not like that anymore!" Yeah? And guess who let it get that way? You and your audience. You let the idea of what's acceptable dwindle down what it is today. The reason I was able to "tour" most of the Western United State and then some earning a living at it, was because patrons had expectation of their bars, their entertainment and what they would throw their money at. I feel like I'm starting to write my own article here, so I'll shut up now. As is often said around here, it's like a race to the bottom around here. Just when you think you can see the finish line, they lower the bottom.
  2. The first problem with your question is that you're generalizing the capabilities of speakers by driver size. There are higher end 10" speakers that can wipe the floor with lower end 15" speakers. To get valid answers to your question(s) you need to define specifically which speakers you're talking about. With appropriate power and DSP behind them, it's possible for most any combination of quality cabinets to sound good. Active cabinets take a lot of the guess work out of it.
  3. Exactly how subsonic do you need to go with your live sound? How low and how loud?
  4. "Just shut up and play when you're told to", in any language, is reason enough for an abrupt departure from that situation. That your efforts are not only unappreciated, but not even acknowledged, is just salt in the wound.
  5. I would tend to go for the normally open switch, as it's probably the most common. Some keyboards would check the switch and default to which ever position the pedal was in when it was powered up. You could get this switch and be prepared for either scenario: http://hosatech.com/product/fsc-604/
  6. FWIW those speakers are not designed to be flown. You would be better off placing them on a captive shelf that can handle their weight or wall mounted speaker stands if they have tree mounts in the bottom. You could solve both your volume control issue and your interface issue by using a Bluetooth receiver. Almost any device with Bluetooth would be able to connect, your would use that devices volume control to adjust the volume and you can set the maximum desired volume on the amplifier in the closet. All without risking the liability (rightly or wrongly) of physically connecting to someone's several hundred dollar device. There are more expensive and elegant solutions, but this one is cheap and will most likely suffice for your application: https://www.parts-express.com/in-wall-stereo-audio-and-bluetooth-receiver-wall-plate--183-339?utm_source=google&utm_medium=cpc&utm_campaign=pla . You could either find a way to plug up/disable the aux input or put a very obvious sign near the interface stating that "Use of the aux input is at the users own risk".
  7. 4099... Sounds like a Beach Boys song with a stutter. I've yet to figure out why those guys were singing about a kitchen cleaner.
  8. Since I went digital last year, it was hard at first to find something tangible to "adjust" to make the expert of the moment happy. I put an ART TPSII above the media player in a small rack and routed an output from the board for signal and let them have at it. Nobody really knows what those knobs do and if needed I explained that it was a high resolution device that I inserted on the money channel (which ever one they were concerned with) and that the adjustments were subtle. These days is still in the rack, but I've found that whipping through a few layers of motorized faders (thank you fader glow!) and adjusting a third octave eq on an unused output will pretty much leave them looking like a deer in headlights and mumbling, "Thanks, that's much better." as they wonder off to complain about a non-existent problem to someone else.
  9. Like Phil said, those inputs aren't designed to be used as separate inputs. The bass amp did not have a horn on it, so it would be less than ideal for full range kit amplification. What your looking for would be a Peavey KB-300. This was essentially the same amp with a horn, three inputs.and in some cases a mic input. Just pretend that's not there. These things are indestructible and a great back up for almost anything from the intended keys, to bass to almost anything that needs amplified. The horn doesn't cover an especially wide area and is probably best used in a stage amp capacity, as your high end will fall off dramatically when off axis. The Combo 300 is a good bass amp, but not as utilitarian as the KB and probably not for your intended use.
  10. I had a pair of the Subcompact 18 subs, as well. Two things to remember; It's a band pass design which means that any content above or below it's designed output disappears quickly and sometimes not so nicely, so you will still need a crossover and tops that cover as low as the sub requires. It does not play well with other sub woofer designs. Early on, out of necessity, I used these with some front loaded subs. Between polarity issues, bad EQ habits and the two different designs, my low end was pretty chopped up with cancellations in some areas and combining in others. But using them by themselves with a decent top they do what they're supposed to do. Not what I'd call musical or accurate, if you're not currently using subs it's a good first step down that road and will add a new dimension to your sound.
  11. Why Bluetooth? Bluetooth stutters the stream rather than just dropping out and has a small range. Use a pair of these at home https://www.amazon.com/Sennheiser-RS120-Wireless-Headphones-Charging/dp/B0001FTVEK and can wander fairly far away when listen to parts or tracks. Bluetooth is fine when just listening, but the latency is too hit and miss for live work.
  12. Is the cable from the mixer to the powered speaker an XLR to TRS or XLR to TS? If it's the former, you may be experiencing cancellation. Get an XLR to XLR in it's place before trying anything else.
  13. Yeah, hopefully jbjr28 will chime in. My concern is that anything placed post mixer/pre active speaker(s) will affect everything in the mix and not just the vocal channel where the issue is present. So while that pre-programmed eq curve (ugh!) in the Go Rack might be beneficial to the vocal channel, it also might be detrimental to the keyboard channel and now you're fighting for accuracy/ clarity from your keyboards. Personally, I would start at the beginning of the problematic chain. Your voice and the mic. The Sennheiser e935 mic is a good mic, but perhaps it's not good for your voice. Try a few other mics that might have tamer upper mid. Start with the old reliable SM58 and see what you get. Try others. Maybe the 935 will work. Try setting that channel flat and then adjust it so that the upper registers sit well in the mix. Once that's dialed, add a little low end EQ to get the "silky low-mid" back into it and learn to work the mic and utilize the proximity effect that is present on most mics. That stuff is free (other than the mics) to try. Another thing to keep in mind is that three feet from your head and twenty feet into the audience will sound drastically different. If you need a personal monitor get one, but don't confuse what you're hearing from the speakers as what your audience maybe hearing. After you've been using them for a while in the same venues, you may be able to extrapolate what they're hearing with what your hearing, but that takes a lot of experience to get close and there are still a lot of variables that will change it.
  14. Just curious; where are you putting the limiter in the audio chain? In line with the mic, inserted on the mic channel or on the whole mix? Also, where is the DBX Go-Rack in this scenario?
  15. I keep most of my boxes, justifying it with the "if I ever move" scenario. I have boxes for almost everything I have purchased, including some old cell phones and most of my home audio equipment. This is the story that immediately came to mind, though: I have a fairly extensive 80's ADA guitar midi tube rack system that I've enjoyed building over the years. At one point, a mint condition box for an ADA MC-1 controller pedal came up for auction on eBay and I decided I had to have it. I won the auction for a dollar and paid five dollars to have it shipped. Rather than putting it into another box to ship it and maintaining its pristine condition (the reason I was buying it), he wrapped the ADA box in packing tape, slapped a label on it and proceeded to let UPS all but destroy it in shipping. I thought about filing a claim and raising a stink, but for six bucks I thought the story was better than any resolution I'd gate. Basically a testimony to my idiocy. Added: I still have the stupid thing a decade later.
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