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Audiopile

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    Farmington WA usa

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  1. Either is fine depending on personal preference. I'll suggest in-ears may involve a steeper learning curve... and I sense that folks are generally pickier concerning their mix with in-ears. From personal experience, I recommend that stereo in-ears are likely preferred by most. Picking the right ear buds can also make a considerable difference... I run custom molded buds and now that I have them and have gotten comfortable with them, I'd have a difficult time going back to standard buds. And we all self mix our in-ears in our band, which really works well. One problem with in-ears vs. wedge monitors comes when doing festivals and such when there's more than one band... it seems it's much easier with the change-overs of bands when running wedges.
  2. Yes, but I also suggest reading-up on Fletcher Munson: https://en.wikipedia.org/wiki/Fletcher%E2%80%93Munson_curves
  3. I suggest taking a survey of your likely market/venues per venue supplied systems. There can be a Catch 22 in-that a band may need to be self sufficient PA wise, especially when starting out, to make it far enough up the ladder to perform at venues where the production gear and operator(s) are supplied, and/or: Relying on the production gear being supplied may seriously limit your opportunities. The band I'm a member of... maybe 10% of the shows we do, the PA is supplied, the other 90%+ we supply our own production gear. There's a few other venues we routinely play that have house systems we could use... but those house systems are so lousy, we run our system anyway. I have a good acquaintance who plays in a regional level band, they have a nice sound and light rig, but almost always play high-end shows/venues where the production is supplied... so they almost never supply their own system... but even though they're not routinely packing a sound and lighting rig like our band, they're hauling as-much or more gear as our band... because the types of venues/shows they're playing and their genre, they're using full Marshall stacks, SVT 810 bass rig, monster drum kit, high-end IEM system, etc... We run much smaller backline stuff, and a fairly simple sound & lighting rig. I think we generally gross as much per show as they do, and we both stay about equally as busy... although they travel a lot more than we do. I'll suggest attaining and keeping a capable BE can be a challenge. We self-mix (from stage), simply due to the unavailability of capable sound folks in our area. With that, if you're self-mixing (mixing from stage), I suggest video & (decent) sound recording your shows for critical review can help tremendously. Multi-track recording for critical review of isolated instruments and vocals can help a bunch too.
  4. Sounds like a perfect reason to buy a tool. I'll suggest a Irwin Quick-Grip or similar should do the job nicely... as well as being a handy item to have around.
  5. Chances are I have some spare parts per your need... or you could hit-up the manufacture of the stand... that's a fairly common fail spot. Otherwise, if you still have both halves of the broken part, I'll offer consider JB Weld-ing it back together... I've done that before concerning the same seeming problem with seemingly good success.
  6. As others have said: "It depends." But I'll suggest that if you find you're routinely performing through a PA, then consider routinely practicing/rehearsing via a PA... preferably a PA set-up for practice that as reasonably as possible approximates your typical performance situation.
  7. The in's and out's are likely simple parallel jacks... the "in" and/or "out" designation per jack is likely functionally meaningless. As long as the jacks are in good condition, you likely won't loose anything by chaining the speakers vs. individual direct wiring to the box mixer... presuming you're driving the speakers with the same amplifier per the box mixer. However, if you're driving one speaker with the box mixer's "main" amp, and the other speaker per the box mixer's "monitor" amp, there could be a difference vs. chaining both speakers via the "main" amp, in-that the "two amp" operation would likely be nominally 8 ohm loads on each amp, where-as chaining off-a one amp would likely be a nominal 4 ohm load on the one amp... you'll likely have more head-room with the two amp operation vs. the single amp operation. Or maybe not... Maybe depending partially if there's a single power supply for both amps or dual power supplies.
  8. That was my first thought as well, but I didn't see any pan knobs on the input strips... so I didn't know how "stereo" the stereo operation might be.
  9. I believe your mixer is "dual mono", having two amplifiers: Amp #1 is for "mains", and amp #2 is for monitors... therefore you could plug a mini-phone TRS (stereo) x left/right 1/4" TS break-out cable into your music source (smartphone), put your left output channel into ch. 1 and pot it up in the "main" and your right output channel into ch. 2 and pot it up in the monitor. Connect one speaker to the ch. 1 output on the back, and connect the other speaker to ch. 2 output on the back, which should result in stereo reproduction of the music in your speakers. I'll suggest 14ga., or even 16ga. speaker cable will work fine... you don't need 12ga. speaker cable (pointless overkill). I suspect the only thing involving "balanced cables" with your mixer are the XLR inputs, which are balanced... which you'll likely only use if connecting a microphone to the system.
  10. I may have told this story here before... I don't remember, but here goes: Many years ago our band was booked to play a "cruise night" dinner and dancing affair at the legion hall in a local small town. We had to be set-up before the event's dinner. We were set-up and cooling our heels as the guests started arriving for dinner. Many/most of the guests arriving where decked out in jeans and white tee-shirts (with a pack of Camels rolled up in a sleeve) and flat top haircuts/ being the guys, and poodle skirts for the gals... and lots of letterman jackets with dates from the late 40's and early 50's... being those folk's own jackets. We thought "we might be in trouble" since we were a late '60's - '70's cover band at the time. As dinner was finishing up, it was time to perform.... so sizing up the crowd we started with "Blue Suede Shoes" (1956), followed by "Rock Around the Clock" (1952)... the crowd was generally sitting, glowering at us. After our second song, two of the couples in the audience, being the car club president and such, came up to us and requested we play some '50's music. So we launched into "Johnny B. Goode" (1958). The two couples remained on the dance floor, standing... arms folded... glowering... and stopped us mid-song: "No, No, No... don't you know any '50's music?!!!" Our lead singer asked "Like what?" They said, "Oh, you know, like "Glenn Miller" or "The Andrew Sisters" (both I'll suggest were most popular in the 1940's) or "Don Ho" (1960's?), etc... It was a long night, but fortunately we knew enough older "county music" to fairly well appease the crowd. One of the highlights of the evening was when we played "Proud Mary" (1969)... the car club president and his wife complimented us on finally playing a '50's song.
  11. In regards to the "offer to "help" to "save a little money" thing": I recall a poster that was common in mechanics shops a few decades ago... it read something like this: Regular Shop Rate: $30/hr. Shop Rate if you watch: $45/hr. Shop Rate if you help: $60/hr. Shop Rate if you tried to fix it first and messed it up, and insist on helping & offer advice on how to do it while drinking my beer: $100/hr. I expect shop rates have gone up since "then". I dunno what the going rate is for: "I insist on helping... I'll bring my crap... you make it work and be in the hot seat." But I dealt with this similar thing this past weekend (plenty of empathy here): Lady singer & keyboardist for the warm-up band for our performance... they used my system... I mixed and tech-ed their performance. All went fine after I changed out the other band's lady singer's supplied but dysfunctional microphone, and mic cable, and keyboard cable, and broken mic stand, and supplied an otherwise missing IEEE power cable for her keyboard, and replaced a dead battery in the guitarist's acoustic guitar and supplied him with an instrument cable, and explained to the other vocalist lady that it would be better if she actually sang into the microphone (rather than her being 3 - 4 ft. away from that mic), and some other stuff... I don't remember (likely purposely)... oh yea: I supplied vise-grips for their drummer to tighten (make usable) some broke-off tighener doo-dad on his 30 year old "vintage" sounds like "factory original heads and tuning" drum kit. EH? It is what it is.
  12. Good suggestions. I'll take the opportunity add my perspective on this matter: 1) How much to spend on a "band PA" and possibly lighting rig... and whatever else production stuff? I personally believe that if you're going to go this route, consider capitalizing at least as much (dollar for dollar) on the production gear as the sum total replacement value of the personal instruments & backline equipment the band performs with. It's not a hard & fast rule... but the general idea seems logical to me. For example: If one was fixing to break into the lawn mowing business, capitalizing the business with a new off the dealer lot $40K pick-up truck with another $5K worth of custom wheels and tires and a $10 yard sale lawn mower likely wouldn't be the wisest choice. 2) I believe it's short-sighted to justify a gear budget based on current income, especially starting out, but rather one should capitalize the tool for the job based on some sort of mutually agreed upon business model. IE: Don't capitalize the production gear based on the some-odd hundred dollar (or less) likely beginning performance opportunities in the market, but base the capitalization on the types of gigs the band is striving to attain over the next 2 or 3(?) years. However, if you're already "there" and you're fine with that, then capitalizing for the status quo makes sense. To meet your goals, it may take money to make money. 3) The band should take stock of their resources. If nobody in the band has the means or chops or inclination to deal with the production side, and do a good enough job to be up to the band's standard, consider sourcing a booking agent (either internally or externally), and only book gigs where the production is supplied and is up to the band's standards. Going this route will likely be best served involving contracts and riders (or at least stage plots, minimum equipment requirements, and an input list.) Or consider hiring the production services when the absence of a venue system or other criterion justifies subcontracting the production. BTW: This past Friday our band performed as "the dance band" for an event and there was another group entertaining for the dinner hour. We're a 5 piece dance band with a modest, but "suitable for our market" production rig (sound & lights). The other group was 12 member a cappella. They didn't use a PA... didn't need one for the event... they did just fine just walking on stage and belting it out. Notably though, I suspect the dollar total they'd invested in their collective performance attire they wore for the gig likely approximated our investment in our production gear... and they did look sharp, and sounded really good too, and put on a very entertaining show... and I'm guessing they likely got paid as much or more than we did for playing the gig... and they're likely highly in-demand (they were headed to a second performance in the area that evening).
  13. Reminds me of working with a lighting contractor many years ago: As I recall they were running a 120 can PAR 64 rig on 60ch. of dimming. The lighting fixtures were all on 6-bar, which was cool... and the dimmers to 6-bar cabling was all Socapex, which was way cool too.... except they'd never installed Socapex patchbays on the dimmer racks or Socapex sockets & wiring on the 6-bars... so it was all Edison connections with 20ea. break-in and 20ea. break-outs on all the Socapex cables. On-top of that: As I recall, all the Socapex cables were 100ft. long... talk about a heap of cables at the dimmer rack!
  14. Who knows... maybe the speakers gotta be tucked away behind some plants or something? A story from my past (15 - 20 years ago): I was the sound & light contractor for an up-scale event in a swanky ballroom in a ritzy downtown hotel... coat & tie and evening dress affair... big dollar band. We'd just finished with soundchecks... the band was walking out of the room when the lady in-charge arrived on the scene (blew into the room)... she marched right up to the left speaker stack, hand on her hip and said: "What the H.E. double L is THAT???!!!" And then she pointed at the front and back lighting trusses & lights and said: "And what... what in the H.E. double L is all that crap???!!! And then she pointed at the wedges, mics, and such on stage, and SHOUTED: "Where did all this junk come from... I want some answers, NOW!!!" (she was spitting venom). I rose to the occasion, walked over to her, introduced myself, handed her my business card, and explained: "Those are speakers for the band, it's a Meyer UPA system, the wedges on stage are also Meyer UPA, the lights are also as per contract... 24ea. PAR 64 Thomas fixtures... etc... all per contract. She blew up... said she hired a band... not all this stuff. I handed her the contract, stage plot, input and mix list, etc... and explained "here's the paperwork on the job I was hired to do". She scanned through the paperwork... and threw the paperwork back at me and said: "Well do something." I replied "What would you like me to do?" She said: "Do something with all this stuff." I said: "What would you like me to do with it?" She said: "Move it somewhere that I don't have to look at it." I said: "Under your direction, I can remove it from the building and load it in my truck (and go away) ... but I recommend you check with the band first." She said: "Where's the band?" I pointed "that" direction. That was the last I heard of it... the show and whole event went great (sounded good too with the speakers left where they were).
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