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wesg

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Everything posted by wesg

  1. Hey, Jon, you missed a whole class of products -- power packs with built-in outlets, car batteries, and interverters. I have seen these as large as 28AH. The solution is equivalent to the inverter you discussed, but it avoids most of the DIY cons and looks more professional. Here's one example: http://www.duracellpower.com/portable-power/power-packs/powerpack-600.aspx Wes
  2. Bill, your lights always look freakin' amazing!
  3. That mixer is pretty limited........there is no monitor mix. Typically, with a small mixer, you connect the "monitor out" to your belt pack, and plug your in-ears into your belt pack. The Behringer Powerplay P2 is cheap and is the belt pack I use.
  4. "Just humour me and it, if you don't hold it, I might not get paid"
  5. Seriously, this is a no-brainer. "Sorry guys -- but you drafted me for a one-off gig and I had a great time. But I don't have time to commit to another full-time band right now". Outta there.
  6. How shredded are the speakers? Paper towel, wood glue, black paint time?
  7. Amplifiers power speakers. Speakers with amps built in are called "powered speakers" Mixing boards with amps built in are called "powered mixers" The "engineering" I speak of includes - correct matching of amplifier to speaker - correct limiting - some EQ correction to make the speaker's response flat If you're thinking of building a PA, consider acquiring good quality powered speakers. If you're just playing your basement and have all this crap kicking around, though - no harm in hooking it up as long as you don't overpower the wedge.
  8. I wouldn't use the bass amp unless you KNOW it is flat...most bass rigs I know (I am not a bass player) are optimized for making bass guitars sound good. Smiley-face EQ, compression, etc. Try a Crown XLS1002 or something like that. Or better yet, buy powered speakers and get really good system engineering baked into the box.
  9. I'm with madjack on the "flashlight" effect. Look, it depends what you are trying to do. Normally, my band is set up so that I need about 90 degrees coverage from the kick drum. I can do this EASILY with a pair of speakers on sticks. Guitar amps, on the other hand, have a coverage pattern of about 30 degrees. Get out a pen, ruler, and protractor and draw this crap all out. I put guitar amps in the PA not to make them louder, but to make them cover the venue evenly. As a bonus, we can run the back line amps a bit quieter, so the band members can hear other better. HF frequencies also fall off the fastest. You can "throw" high-frequencies a lot farther with a PA speaker than a guitar amp. I have stood beside and 25 feet from a LOUD guitar player....that I could barely hear. Flashlight-like directionality of guitar amps is very real. Stick a mic in front of the amp and run it through the FOH. It works.
  10. I've been on both sides of this. I don't mind doing a "mixed" gig, but I prefer a clear line of demarcation. This situation would have caught me off guard, though....but ordinarily I insist on either supply everything on stage (as a band guy) or console + FOH. Monitors, I can go either way and have ample powered wedges to take up slack. Never leave home without some. I prefer to supply monitors when I am the sound guy; as a band guy, I will only use them to augment what's badly missing from the provider's rig. When that happens, I also bring some XLR turn-arounds, a positive attitude and a big smile. I've also been the guy begging for gaff. ONCE. I felt awful. I needed six inches, used six inches, and tried to buy the roll owner a beer. That won't happen again. The one thing I won't do if there is any way I can help it is to share crap like cables and mics. If I'm a band guy, I'll leave ALL my cables in the van even though they are labelled. And I'll take a 57, 58, whatever the guy wants to point at our stuff. As long as it doesn't say "Samson" or "Behringer". Luckily that has never happened.
  11. Take some pics. Maybe we'll be able to tell how it's supposed to go.
  12. Hey, Doug -- are you saying that there is a way to get a steeper crossover than LR24? Best I see on Main L/R and matrix busses are 24 db/octave. I used to run my DRPX at 48db/octave. I can't hear the difference, though. BTW, I have been plugging inputs mics into the TRS inputs when desperate for channels. Usually tom mics. I used to use the preamps in an analog board via the insert points, but I find that I have enough gain without them. I just use XLR->TRS cables and route the aux ins to channel strips so that I can use gates and compressors. I do see a stage box in my future, though. I think the Behringer stuff sounds fine, but the Midas warranty is intriguing. So I listed everything except the Soundcraft board and case last night at highish prices to see what will move, and I'll stop short of selling one EQ. Hopefully the DOD because it's nice and compact and in perfect shape and has both XLR and 0.25" I/O but I'd be okay with keeping the dbx 1231 too. Wes PS - I recognize that photo. We must be in a common Facebook group. Or maybe PSW LAB. [ATTACH=JSON]{"data-align":"none","data-size":"medium","data-attachmentid":32172409}[/ATTACH]
  13. Hmm.....definitely some wisdom from some industry veterans here. The digital desk/generator issue is an interesting one. I wouldn't *expect* problems with a decently-designed switching power supply, but I suppose you never know. These things are computers, after all. Perhaps an "online" UPS would be something worth acquiring. BTW "remote power via donated generators" - plural - this would make me nervous as hell as a sound provider. I would refuse the gig if I knew about that ahead of time, unless there was a master electrician or P.Eng EE or similar involved in the power distro.
  14. Most recent complaint from a band: "The audience can hear us talking between numbers" Well, I guess you should stop doing that, then.
  15. So, I bought an X32 Producer and have no desire to mix on analog anymore. If you're not familiar with the Producer, it's essentially the X32 version of the M32r. A rackmount-sized mixer with the same I/O as an X32 Rack but most of the physical controls of the X32 Compact. I mostly do bands I am in (Classic Rock, Grateful Dead, Big Band) plus bottom of the barrel stuff like power trios in coffee shops. Trying to expand my work ATM to get some regular gigs doing the community big band circuit etc. I don't see me getting any bigger than I am right now, only busier. I'm using the X32 to mix FOH, monitors, and as a system processor. It seems to do everything I want it to do. The crossover is limited to LR24 but I don't see that being a problem. So, now I want to move some of my analog gear, so I can buy more microphones and whatnot. I'm thinking about keeping my Soundcraft Spirit E12 and a single stereo GEQ as an emergency backup in case the X32 goes down. Will I miss anything else? I have a couple of Peavey FLS GEQs, a DOD GEQ in like-new condition, a dbx 1231, a couple of Sabine FBX 1200s, a DriveRack PX, a Behringer RX1202FX 3U mixer (was bought as a keys submixer - I play keys), and a 20U shock mount case up for grabs. Also a plastic Gator 12+4RU mixer case that fits the Spirit E12 plus an EQ. Might hang on to that, even those I have a "briefcase" case that also fits the E12. I also have a 4U Levi case that would be good for an EQ, but I use it for my light controller. Perhaps I could find a better case for THAT - it's way too deep anyhow. Trying to figure out which EQ I'd be smartest keeping. Maybe the DRPX? I'm thinking it would fetch the most money, but it can double as a crossover, and it's plausible I might need one if the X32 goes down. Although I doubt it, I only use powered speakers (even when renting) and everything seems to have built-in HPF/LPF nowadays. The console and Lexicon I had been mixing larger shows on are already up for sale, I didn't own those and I'm not going to buy them. Thoughts? Have you sold any analog gear in your transition to digital and then regretted it? Wes
  16. In that range, there is a ton of stuff. QSC K10s come to mind. But the lightest ones will be in-ears.
  17. The biggest thing for me is figuring out the start time. Some groups I work with specify the arrival time. Others specify the time we are expected to start playing. I prefer the latter!!! But there is nothing more annoying than getting this wrong. One more tip - for cover acts - have the commercial recordings available so that you can reference them if needed. We just had an entry point question last night; one member was convinced his part started on 2 but was supposed to start on 4. 3 minutes of messing around did not yield an obvious answer. 30 seconds of listening did.
  18. I just went X32 so I guess IEMs are coming at some point. Any of you guys have a limiter recipe for the desk? I'm thinking I should be able to get better control squashing the output at the desk than the belt pack, although having a limiter in the belt pack can't possibly hurt. I'm thinking of mixing the aux buses with a -15 target and putting a fast soft-knee 8:1 at -10. Then tell folks to set their volume wherever it's comfy..? Or maybe I should run closer to 0 dB to give the belt-pack compressor a better shot of kicking in?
  19. Update - first rehearsal on X32 Producer tomorrow. I am totally in love with the plethora of parametric EQs. I have GEQs configured, but I don't think i will need any. There is a lot to this mixer. I have literally invested roughly 30 hours toward learning it now. Perhaps more. The only thing that's annoying me is it doesn't seem like there is a way to have monitors on adjacent mix buses have different "taps". I usually mix myself post-fader and everybody else pre-fader. That way I can do things like boost solos without running completely blind. I haven't bought an Android device yet, but the latest X-Edit for Mac is REALLY good. The iPad app feels a bit clunky, it is trying to mimic the console rather than taking advantage of the soft nature of the iPad. The iPhone app is decent, though, for what it does. Wes
  20. Maybe you should get Mickey Hart to design a pickup for you. I'm fairly certain you will find flaws with the frequency response graph for every microphone. His "Beam" is flat from 20Hz to 20kHz. The only other alternative is to point mics at your drums and listen to the result.
  21. Why don't you just point an MD421 at it from a couple of feet back and see what it sounds like? I wouldn't use a shotgun mic because I don't want a tight, focussed, pickup for the frequencies above ~2kHz, which is basically the definition of a shotgun mic. I want to hear the entire gong shimmer. By the way, both the guys using the gong I work with like to get very subtle effects out of it, although this one is only about three feet across. Think trippy psychedelia. But it's loud enough that we can hear it anywhere on stage, which is why the drum overheads work. The gong sits centered behind the drum kits. Or maybe it's the snare mics.....I never really gave it much thought beyond making sure it sounded good. Maybe I should.
  22. Well, the reason *I* wouldn't choose a shotgun mic is because it's a shotgun mic. (Is that answer simple enough? LOL) As for gongs, I think you're going to have a hard time finding anybody who regularly mics gongs. One of my acts uses a gong, but I don't bother mic'ing it. The drum overheads pick it up just fine. PVM 480s, a small-diaphragm condenser.
  23. So, if I want to have CHANNELS -> MIXBUS1 -> MATRIX 1 CHANNELS -> MIXBUS2 -> MATRIX 1 Then I want to process MATRIX 1 with light compression. Can I get MATRIX1 to the L/R bus somehow, without a physical patch cable? The only thing I can figure out is that I would have to dump both to a third matrix bus, dump the LR bus to matrix 3, and map matrix 3 to XLR outputs 7 and 8. But I really want the soft fader and LR-controls-M/C features that are only available on the main bus. I'm pretty sure the answer is "you can't have that" but I figured I'd ask in case I was missing something obvious. Wes PS - if anybody hears tell of XM32 running on jailbroken Blackberry Playbooks, please let me know. My company has several dozen unused Playbooks. The hardware is great, the software, not so much.
  24. Do you live some place where you can rent FOH relatively easily? I really like pro rental houses, because not only do you get to "try before you buy", you can usually tell the guy the type of music and the venue and he can recommend something that will work for you. My napkin math suggests that the PS12Ps would do it for you, just barely, unless you need chest-thumping bass. In that case, $$$$$$$. I like PS12Ps for this application because they have a built-in multiband limiter, and so respond better than most to being run hard and incompetently. I find it hard to be competent at PA when I'm playing on stage ... So, the deal with the multiband limiter is that you can be inadvertently limiting the crap out of your kick drum, without affecting the vocals, even with no subwoofers. That is a REALLY big deal. The PS12Ps have a -3dB point of 45Hz, which is really low for a 12" speaker that makes 128dB SPL @1m continuous. Peak is 134, I think. If they weren't available, the next speakers I would be looking at are the JBL PRX612Ms. These are about as loud, but are down 10dB at 50Hz.....you will have quite a bit less bass unless you also buy subwoofers. In which case, the PRX718S-XLF is tough to beat. The 612M + 718S-XLF will sound better than the PS12P. QSC K12, KW181 is another such pairing. But remember, none of these are in the "pro provider doing 500 people" category. But I would use them for my bar band in a park as described. I have also used JBL PRX515s on sticks with a pair of center-clustered 618Ss outdoors for a crowd like you've described. What are you running right now, anyhow? Pro-am tip: if you are doing sound outdoors and have multiple subs, run them center clustered to avoid power alley caused low frequency phasing effects. Wes
  25. To expand on ModulusMan's post -- you need WAY more power outdoors than indoors to achieve anywhere near the same SPLs. And you need 6dB more SPL every time you double the distance between a listener and a speaker to maintain the same SPL. To get 6dB SPL, you need 4 times the amplifier power. Okay, so how does this affect you. Let's say you are doing an outdoor show and the volume is acceptable 20 feet from the speakers and you have a 1000W speaker on each side of the stage. If you want the same experience 80 feet from the speakers - 4 times as far a way - you need 12dB more SPL, which translates to 16 times the amplifier power, or 16,000W a side (all else being equal). The other thing to remember is that if you're making it really damn loud up front, you need to make sure the speakers are up really high, so that you don't deafen the front row. But you also don't want the front row off-axis, or the sound will be bad. This might mean tipping the speakers, providing auxilliary coverage, etc. ........ doing some napkin math with a 120 degrees of coverage ..5 sq ft per person, 2500 sq ft for 500...let's assume a front row that is 37' feet wide, to seat 500 people, your back row will be 137 feet wide, the person at the back corner will be 58 feet from the stage, and the person in the back center will be 30 feet from the stage. When I do outdoor shows with my rock band, I rent a pair of Yorkville PS12Ps. These give acceptable loud rock sound for about 25 feet covering around 110 degrees. Folks who sit further than 25 feet from the stage get quieter music (lots of people want this, thank God). At 100 feet, these could be drowned out by a nearby transistor radio. I sell this system as covering 100-150 people outdoors at party volumes (not as loud as a concert). Going back with the math I ran above, I get 751 square feet of audience, which is 150 people. But we usually find a 200 square feet dance floor, which reduces capacity to 110 people. And this is "theatre-style seating". No guaranteed they will be packed that tight. The Yorkville PS12P is rated for 128dB SPL continuous at 1m. My furthest audience member (that wants it loud) is 25 feet away, which is 8m. 4m, 2m, 1m - three doublings means 18dB. So this system is able to deliver 110dB SPL or better throughout my audience, in theory. My goal is a minimum of 93dB SPL, so I have some headroom there. I'm kind of curious if some of those more experienced folks, like BillESC and Agedhorse will chime in with how they do capacity planning. I'm just a bar band guy. Wes
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