agedhorse

Quiet is a word I wouldn't use for any of those boards.

I'm sure those SP-1 frankensteins sounded great... But if they did sound so great how come nobody's using them and how come Peavey doesn't make them any more. Ahhh, the good old days weren't as good as you may remember. Today's modern speakers (including Peavey's own) are lightyears ahead of the SP-1. The Mark IV board was Peavey's best attempt but had all kinds of problems due to the style of construction and they were pretty clunky too. Way better than the Mark III which was an embarrassment to the audio world. The Mark VIII was a pretty good board, but not viable at the price point and reputation Peavey earned at that time.

Hey Bill... note that the Wharfdale, A&H and most Soundcraft stuff isn't British. They are made in China.

Originally Posted by danm3607 I am interested in the HT94 horns that you have for sale. I had to laugh out loud after reading your post saying that the HT94's are constantly blowing up! That is why i want to purchase your HT94's. This is going to be the third time that i am replacing the HT94 because it BLEW UP! Please contact me. Thanks. Daniel You have a PM.

Did you hear about the guy who left his accordian in the back of his locked car while he and his wife went to dinner? He came out from dinner to find that his car had been broken into... and now there were 5 accordians in the back seat! Works for banjos too.

Originally posted by Ear Abuser Where I come from, they have been amplifying accordians since the early 60's. Every wedding reception had a guy playing an accordian through some kind of amp. You might also try and find the oldest music store in town and ask around for someone who does accordian repairs. They may have some ideas as to a better mic/pick-up arrangement. Good advice.

Originally posted by Singin' Dave A couple quick and random thoughts here.... This 1/4 output - what kind of cable have you been using? A guitar cable (unbalanced)? You might want to try a balanced, TRS cable, which may or may not reduce the feedback. Will make no differece in feedback. Micing a reed body is difficult since the reeds will vibrate when they pickup sound from monitors as well. Also, the cavity will tend to resonate and cause feedback when excited by sound from outside the instrument. Was this a factory installed pick-up system or somebody's home-grown attempt?

As an engineer's complete translation.: Heavy Metal Rules... Ugh, perhaps 23/30 is being generous

If you don't like your "gain killer" Yamaha 2031B, and it's in good condition for sale let me know. I've got about 10 of them and they are a pretty good eq regardless of urban legend.

OK, since I sold off my "other" A rig and monitor rig, here's the rig I've got as my house system in a 1000 seat theatre: FOH Console: Yamaha M-2000 (Spare console PM-1200... same PSU's) Pros: Solid, reliable, built on a PM style frame w/ PM style PSUs, industry standard interface... if you know PM's you know this console. Cons: Pretty 'spensive for a 32x8 console FOH EQ: DBX 1231 (replaced KT DN-360) Pros: Quiet, functional performance, reliable. Sounds as good as the DN-360 IMO. Cons: Not as sexy as the DN-360 but infinately more reliable. Monitor EQ's (from FOH): Yamaha 2031B's Pros: Reliable and quiet, decent performer but not quite as good as the DBX 1231 or 231. Cons: long in the tooth though they are in dead-mint condition. X-overs: paired DBX DRPA's (to allow for sub fed or composite sub operation Pros: Excellent performance and better than average user interface. Cheap as hell too. Cons: Turn-on/off noise. No basic password lock-out. FX: Yamaha SPX-990, Lexicon PCM 90, SPX-90 Pros: Industry standard and good performance Cons: cost, LEX's rough user interface, SPX-90 limited performance. Comps/Gates: DBX 1046/1074 Pros: Very good sounding units, more reliable than previous DBX units Cons: Cost (relative) and a bit difficult to read in dark. CD Playback: Marantz PMD-320 Pros: good compatability, easy track cue Cons: doesn't read every CD... but what does? Cassette Playback: Tascam 112-II Pros: solid machine Cons: expensive for a cassette deck at about $1k list. CD Burner: Tascam CDRW-750 Pros: easy to do a good job with Cons: If you lose power or shut the machine off after recording but before finalizing, there's no way to recover the data on the disc as the TOC and header info is no longer available. Intercom: Custom Clear-Com compatable Pros: Industry standard and works every time Cons: people can now get hold of me even if I want to ignore them. Main speakers: Custom 4 box + subs line array, 2 x 12", 2 x 1" and 2 x 18" sub (about 10 years old now) Pros: Very dependable and natural sound, especially for acoustic music, very lightweight and compact, very inexpensive by comparison to the other commercial boxes available. Cons: Early implimentation of a solid design, but there are better component choices these days. Still not cheap as they have full ATM flyware built in. FOH AMPS: QSC PLX-3402 x 4 Pros: Excellent performance, size/weight ratio, inexpensive and very reliable. Cons: none really Monitors: Our custom 12" x 2 way biamp wedges ( 8 avail in house w/ additional inventort at shop Pros: Very natural and user-friendly, lightweight, stack to a cube condition 4 to a road case. Biamped by design and very flat. Cons: not as efficient as some, traded off efficiency for flatness. Monitor Amps: QSC CX 4 channel w/ TDM 4 x 2 way crossovers Pros: cost effective but a lot of performance and mixes in a small package. Cons: limited power, but not an issue for my application as I almost always double-box the lead positions anyway. Cabling: anout 60 mic cables, are all Belden 8412 w/ Switchcraft or Neutrik connectors. All speaker cables are 4 cond NL-4's and there's a 4 channel (biamped) speaker snake to get monitor connections to the stage. Plenty of sub-snakes for mic inputs as well. Lots of AC quads and some 4 wire break-outs. Pros: All pro quality, reliable and easy to deal with. Cons: Expensive and a bit heavy. Distro: Built into stage w/ ckts SR, SL and FOH mix position. Amp power is contactor controlled from FOH. All distro is on isolated technical grounding system and system is dead-quiet. Additioal distro lives in shop. Main Snake: 40 pair w/ passive split in house, all XLR including the split to allow for assigning split channels as needed and where needed. Pros: Simple, we installed this 20 years ago and have had NO problems. Cons: Wish I had xfmr isolation in this, but I also have an xfmr isolated split at the shop so if I'm splitting to a recordinbg truck I bring that in. Monitor Rig: Can be a Crest XR-20 all self-contained for 6 mixes, DBX 231 EQ's w/ Yamaha REV-500 and DBX 1046 comps OR a Yamaha MC-3210-II w/ similar processing. Pros: simple, effective reliable rigs. Reasonably inexpensive. Cons: not big enough for real hard R&R etc... but that's ok as I'm not doing those kinds of shows in house anymore anyway... too old for that kind of shit and I get paid better for production managing those shows anyway. Mics: about 35 mics of various flavors, nothing too special but I can bring something in if needed. 12 transformer isolated DI's and a few active DI's, plenty of 1:1 isolation transformers, 24 output transformer isolated press box, pads, adapters etc Pros: Generally I've got just about anything I need Cons: finding it can be a challange since there's so many small accessories; Wireless Mics: 6 channels of AT-5000 w/ large area ground plane antennas, all systems have body pack and hand-held transmitters, antenna DA's. Additional 8 channels of Shure UHF series w/ HH and bodypack transmitters are available at the shop. Pros: Works very well, excellent quality pieces. Cons: expensive-expensive-expensive. So that's what makes up a typical [intermediate] pro-level rig for this kind of application.

Originally posted by JRBLE Peavy Mains Cons: The HT94 driver sounds bad and blows up periodicley (but nobody really misses it much) I've got a pair of spare HT-94 drivers w/ brand ned diaphrams available cheap. Love to get rid of them Yamaha GA 32/12 Pros: Soon to be replaced with a PM5D (this board was bought as a "temporary" measure 8 yrs ago) It's been in service constantly and still sounds as bad as day one, Cons: Poor Mic Pre's I believe the mic pre circuit itself is identical to both the M-2000 and the PM-3500, as well as the PM-1200, 1800 and 2000. Klark-Technics DN360 Pros: Great EQs, Sound great, Old as dirt and still work perfectly. Cons: phase is Pin 3 high (both in and out so it really doesn't matter until you try to run unbalanced, shorting pin 2 to ground passes no audio) If you do not have the optional isolation transformer output installed, the units may be configured pin 3 hot UNBALANCED. It may depend on the version you have. They are easily updated to unbalanced pin 2 hot if you wish.

Originally posted by Vinny D No matter what I post on this forum something I do is always wrong or not good enough for all you so called fucking pro's. Someday I wish to be perfect like all of you So long! Wow, this is a refreshing attitude I was just pointing out something you obviously haven't thought through I guess. Since I have a recone shop, and see this kind of stuff all the time, I was offering advice from a fuckin' professional's point of view but since you already know it all than maybe you will be happier on another forum?

Originally posted by Vinny D I may end up bridging the power amp on the TRX153 cabs if I find I am pushing them too hard, then I will just have to watch how much gas I give them. If you are pushing them too hard w/ 550 watts... what do you think will happen if you bridge . Classic example of where more cabinets AND power is a better choice.

The "rude solo light" operates off of a master oscillator, the LED is eithe on or off unless there is a problem with the input detector to the oscillator OR possible severe leakage with the B-logic switch contact on one of the channels. The fact that the LED gets brighter when you switch on one of the solo switches is very odd in that once the oscillator starts, it pretty much swings rail to rail... unless it's defective. This problem needs a service tech familiar with Mackie to diagnose properly IMO.

Terry, you have probably entertained more folks here the past few weeks than most people get the opportunity to do in a lifetime. I just hope that this piece represents healing in your life and the entertainment was not at your emotional expense.

Originally posted by Michaux Does anyone know where I can find a Kelsey mixer? Michaux 512-581-7651 http://www.michauxmusic.com cmc@michauxmusic.com E-Bay I've got channel cards for a +3 orginal version if you want to roll your own... but you would still need master cards and PSU;)

Output classes as used in push pull amplifiers: Class A - Each half of the output stage conducts at all times. Not very efficient but does not suffer from issues relating to crossover notch distortion. Class B - Each half of the output stages conducts for exactly one-half of the waveform. This is the most efficient of the linear non-switched rail amp topologies. Class AB - Each half of the output stage conducts for slightly longet than one-half of the waveform. This type of amp can be biased from almost pure class B to almost class A, but is generally configured very close to clas B. Class G/H - Essentially a class AB amp with more than one level of main power supply rail voltage (called multi-tier or multi-step) where the rail voltage is switched instantaniously with respect to the needs of the waveform. This amp is the most efficient of the linear amp topologies. Class D - essentially a digital amplifier, the audio signal input is converted to digital representation of the waveform (PWM) then is level shifted to a higher voltage (still PWM) then recovered via reconstruction filters back into analog audio. This is essentially "power D/A converters". This is the most efficient topology, but is difficult to impliment well into tough loads, faulted loads and at high frequencies and levels. As the technology develops and the semiconductor manufacturers develop highly integrated chipsets to support class D technology, this is the future of larger amps.

Very small amount of Caig De-Oxit (red-5). Other solutions will (or at least may) destroy the carbon element and disolve the shaft bushing packing. I may have a complete set of pots for your board. The PC in the serial number designates the "pro club" series, there were several models in that series, I'll bet that yours was a "pro-club +3" but it should have a reverb and a post fader output and no switches between them. If you plug into the reverb sent, it disconnects the internal reverb. It has led meters on the outputs with some meter assign switches, and an internal power supply, the entire console was a bit "wedge shaped". It was originally built for release in September of 1980, and it has transformer balanced inputs. Restored it should be a pretty sweet (though vintage) console. If that's it, I have lots of parts including input transformers, all IC's, caps, and probably all the pots and maybe even new knobs (depending on if they were "D-flat" shafts).

The Pro +3 has a 3 band eq, 1 monitor, 2 effects (switchable 1/2), and solo-on-mute switch, and is actually a "better" board. The pro club series was built into the flite case (no seperate chassis) and was a bit simpler. Neither had inserts. The strongest contact cleaner may have ruined your pots. Generally contact cleaner is the worst things for pots. Kelsey was a very high quality mixer for it's time, kicked butt on Tapco, Peavey, Tangent etc. RickJ probably has some experience too since he's from the East Coast where Kelsey was based. Kelsey (parent company was Dallas Music Industries) became Crest Audio about 1982 or so.

I've probably got them in stock. I was involved with Kelsey (Crest Audio) at the end, so I have a fair stock of parts. I'm not sure if the fader tang on my stock matches yours, but that can be improvised pretty easily. They are pretty cheap parts. e-mail me (agedhorse@aol.com) and I'll check. I am assuming that it's a pro-club 3 series that does NOT have wooden (generally mahogany but a few were oak) chassis frame.