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B. Adams

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  1. Some amps have noisy outputs, especially older ones, which is why it's standard industry practice to use a DI box on bass. You'd plug the bass guitar directly into the DI, then the 1/4" loop out (using another guitar cable) to the input of the amp. The XLR output of the DI box would go to your mixer, and you wouldn't use the XLR output of the amp at all. And before you say "but then you wouldn't get the tone of the amp", that's often another part of the reason to do it that way. In the professional world, it's rare to use the direct out of an amp, although it happens occasionally. Amps are generally better quality these days, so it's a little more common than it used to be. If the amp itself is noisy, and you can hear it in the speaker, putting a DI before the amp should solve the problem. It's also possible that it's the guitar and not the amp, then you've got a slightly bigger problem on your hands. DI's don't usually have XLR inputs, since they're made to take an unbalanced instrument level input and turn it into balanced mic level. The closest thing would be an iso transformer, and there are a lot of options out there for those. The Radial ProAV1 DI can take a balanced XLR line level signal and turn it into a balanced mic level signal. Actually, the ProAV1 is a great all-purpose DI, it can take mono or stereo inputs from pretty much any device and turn them to mono mic level. One of my most used DI's, since it can do just about anything.
  2. Reminds me of when I worked full time for another sound company about a 15 years ago. We were using a pair of EV Xi1183's for sidefills (or maybe mains for a smaller show, I don't remember), stacked on QRx218's. For some reason my other guy wasn't around at the time, so I lifted them into place by myself. I just lifted them up straight until I could slide the back edge onto the sub, which I remember being really difficult, but that was that. It was the only time I was dumb enough to try lift anything that heavy by myself, but I don't remember anything hurting afterwards so I guess it was fine. For those of you not familiar with the Xi1183, it's a horn loaded 3-way trap box with an 18" driver for the low mid, and they sound awesome. And the listed weight is 215lbs. That's probably almost what I weighed at the time, and I'm only about 25lbs heavier than that now. I'm not bragging, because there's no way I'd lift them myself again, even if I was at my peak, but I guess it's a good story. Since then I've done my best to work smarter, not harder!
  3. Sorry for the late reply! I assume you've figured this out by now, but if not (or for anyone else struggling with this) here's my best answer: Recently (and quietly) Behringer merged functionality of the apps for the X32/M32 and X-Air series mixers into a single app, MXQ. It looks very different but runs a lot like X32-Q did, with the main difference being that the 4 DCA (MCA?) groups now have hotkeys to quickly access the channels in a group from the main screen, which makes them much more usable than before (IMO). It also has tabs for the DCA's vs channels, so screen orientation doesn't matter anymore. X32-Q still works correctly on some devices, but not those with recent OS updates. Sometimes it will work but the channel names won't be there, just the symbols (if any). The best solution in any case is to change to MXQ. I think it's an improvement, once you get past the new look.
  4. Looks like ProX. Fairly new to the market (a couple years, maybe). Cheap but decent Asian-made gear.
  5. This is a pretty well documented issue. If you're using the internal wifi, stop using that and use an external router/hotspot, same as what you use with your X32. The internal wifi is not robust, and will fail on you, likely at the worst possible moment. Which is exactly what happened. You might be able to get away with the internal wifi in an isolated environment, such as your rehearsal space, but once you're in a public place all bets are off.
  6. Not quite the same thing, but I use and recommend Denon DN300Z, which is a CD/SD/USB player with Bluetooth capability. It will play back pretty much anything you can throw at it, and the Bluetooth functionality is great for shows. I can leave the player at FOH and still run it from stage, and it's great when someone wants to play something off their phone but their phone can't plug in normally for some reason (thanks Apple). I'm guessing that either of the products you linked to will give you the results you're looking for, but I've never used those particular models. I like the fact that the Switchcraft doesn't have protruding switches, but the Rapco can run on battery, which may or may not be good for you. As stated, Bluetooth has too much latency for anything but general playback. Getting a signal to a speaker wirelessly is possible, but a cable is always better (and much cheaper).
  7. I have 3 cases that are exceptionally heavy, two of which are 30x45" cable trunks (one audio and one power). Each of those is probably around 500lbs, but my large mic stand case takes the cake. It's a 300lb case with 350lbs of stands in it. It's a monster. The 2 workboxes I normally carry aren't light either, but they're only 300-400lbs all loaded. They don't seem so bad in comparison. I have smaller stuff for smaller shows, but that doesn't happen all that often, so my normal load is pretty heavy.
  8. My best ramp is from B&P Manufacturing, it's 38" wide, 6' long, and rated for 2,.00lbs. It weighs about 60lbs, but it handles my 600lb cases just fine, and occasionally heavier stuff than that. Something smaller would fail with my cases, I'm sure. Depending on the weight you're moving, a wheelchair ramp might work. Just like anything though, some are better than others. If you want a serious ramp, you're looking for what's called an apron-end walk ramp.
  9. I check here often as well, but nothing is ever going on. I think it has a lot to do with the lack of email notifications for subscribed threads, but I could be wrong. I know it bothers me though.
  10. I used to have a pair of LS800P's. Great subs. Low and loud. They needed a little EQ to sound their best, but everything does. If you plan on replacing the drivers, which you probably should, just realize that you're paying $125 each for cabinets. But if you think they'd work for you despite their size and age, go ahead and get them. If you're not pairing them up with more LS808's, maybe you can get by with the drivers that are in there now, at least for a while.
  11. 20-20kHz is the limit of what most people with "good" ears can hear, but more than most people with normal or worse ears can hear. If I had to guess, I'd say that very few people can actually hear 20 or 20k, although you can certainly feel frequencies below 20Hz. Those frequencies are also pushing the limits of what speaker systems can produce, even top-quality systems. A PZM or PCC mic would not be my first choice. They tend to have very uneven frequency response, and I've never used one that would satisfy your low self-noise requirement, especially if the self-noise of a C414 is too much for you. Honestly, I think you just need to try a few different mics and see what works best for you. It's possible that a C414 won't be up to your standards, but on the other hand it might be perfect. You also might be fine with a normal small-diaphragm condenser like a KSM137, or perhaps something even cheaper. In any case, in a live setting, I don't think the frequency response and self-noise of the microphones will be the limiting factor. You can easily find a mic that will be flatter and quieter than the rest of the system you're running it into. Some mics will certainly be better than others, but I wouldn't get too hung up on noise levels if I were you. I think anything reasonably quiet will do fine, as long as the frequency response is suitable. You may even find that a mic with an uneven frequency response works better for you, or helps make up for inadequacies in the PA system. I can't say for sure what mic will work best on your gongs, but I think good large diaphragm condensers are your best bet. In my inventory, I'd reach for my C414's first, because I think they'd sound the best based on what I have. There's no way to know for sure unless you try a few though. If I didn't like the way my C414's sounded, I could try some KSM32's, SM81's, KSM109's, AT4041's, ADX-51's, or even DPA4099's, to see if I liked them better, and a few other options before I was reaching for the bottom of the barrel. I have more options than some people, since I have about 200 wired mics in my inventory, and about 80 of them are condensers. See if you can find someone in your area that would let you try a few things out. The best way to narrow down your choices will be to try the available options and see what works best.
  12. The Galaxy ESM3 lists a max SPL of 110dB, so it will likely distort heavily at singing levels. You may be able to handle some distortion, but I don't know how good those mics will sound when pushed past the (very low) limit. I like Galaxy in general, I have a bunch of powered Hot-Spots that are great, but I don't think that mic would be on my list of options for musical theatre. I'm a Point Source Audio dealer, and their lowest priced single-ear headset, the CO-3, which is also $99 and is intended for voice only, lists a max SPL of 116dB. So 110dB on the Galaxy seems really low. For comparison, PSA's more expensive CO-8 mics have a max SPL of 136dB (and are waterproof). The CO-8 has quickly become my go-to recommendation to my customers in need of headset mics, even more so than DPA, which I also carry. I'm fairly certain that something like that isn't in your budget though. Microphone Madness headsets often get recommended as budget-friendly headsets with good performance, although I have no direct experience with them. They're worth a look though. The absolute cheapest thing I'd kinda-recommend is a Pyle headset. I've used them on plenty of occasions, and they sound much better than their price point suggests. Their max SPL is listed at 130dB, although they have some distortion at any level. They're a little fragile, especially where the cable exits the headset, but they can last a while if they're taken care of and their gain before feedback is actually pretty decent. I think they're only available with a TA4F connector, not Hirose, so that would be an issue if you plan on buying AT wireless. But if you want something super cheap that actually works OK, these fit that description. I've included an Amazon link for reference.
  13. Only 6 mute groups on the X32 series, not 8. The X32 is definitely a much more flexible mixer though, which may or may not be a good thing for you. The X32 app is A LOT better than the XR app. It takes a lot more time to get around in the XR app.
  14. Gongs and bells should be fairly easy, I'd guess any decent small-diaphragm condensers would do fine. I'd probably use large-diaphragm condensers on the bowls though. In my inventory I have 2 choices for LDC's, KSM32's or C414's, and I'd probably tend toward the 414's in this situation. I think the C214 would do well also since they're very similar to a C414 sonically, assuming the 414 is set to a cardioid pattern. The 214's are very underrated mics. They sound really nice, and they're not super expensive, just not quite as flexible as the 414's. I'm surprised that you like the sound of a shotgun mic on these things. A shotgun would be far from my first choice here. Unless you're talking about the mics built into the Q8, in which case, that's not a shotgun, it's a pair of plain ol' small-diaphragm condensers, and it totally makes sense that you'd like the sound of them. A ribbon is not the right tool for this job, in my opinion. If you can afford a pair of C414's, give them a shot. I'm sure you'd love them. If the 414's are too much money I think you'd enjoy a pair of C214's, which would be a lot cheaper.
  15. I agree with the others. The problem is that the speakers aren't elevated. You'll have the same problem with any speakers. Why isn't it possible to get them any higher?
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