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Posts posted by SteinbergerHack

  1. As an aside to this, my observation is that those Yamaha Club Series 112s have the flattest response of any cabinet I've heard in that price range. They just flat sound great for the money, and require very little EQ to get to optimum.


    I had a set of them and sold them, then replaced with the new DXR12s. The DXRs are definitely more convenient, easier to set up, smaller overall package, etc., but they just do not sound as good. I end up spending a LOT more time tweaking to get them to sound right than I ever spent with the Clubs.


    JMO, YMMV, etc.

  2. Redux:


    I gave up on sequencing and we just used recorded tracks. Drummer is nailing it with a wedge - he has this skill set from past experience. Bass has in-ears, as well.


    We opened last night to really good audience response, and the production staff is 100% happy with the pit musicians. 8 more shows in 3 venues....


    • Like 2
  3. Wedges won't work for a cue feed. At bare minimum the drummer (and / or conductor) will need a headset (or IEMs) and a click track in order for the orchestra to remain in sync with the sequencer (regardless of what sequencer you use), and you really don't want the audience to hear the click via the wedges / floor monitors.


    Also, it's important to know whether the drummer is experienced and comfortable with playing with a click before deciding to proceed.


    We have feeds available if someone wants to run their own IEM, but there's no budget to provide them.


    Every sequenced part has at least one percussive key line (harpsichord or equivalent playing steady repetitive rhythms) that runs throughout the piece or drops out partway through. Beyond that it's either percussion or loose wash FX. They are VERY easy to follow (easier than trying to stay with a pianist who won't watch the baton - my personal pet peeve).


    The pit group is quite good, and even n the first read-through they were following my conducted timing.

  4. What about a cue feed for the drummer and / or rest of the band? If you're all going to play with sequences' date=' that's absolutely essential...[/quote']


    We have two individual monitors for the pit, and we're using a Behringer X32 console so we can set mix easily. Shouldn't be a problem (famous last words before disaster strikes....).


  5. How many songs do you need to sequence' date=' and how many parts per song?[/quote']


    5 songs, 2 or 3 tracks per.


    Would a hardware sequencer (like say, a used Alesis MMT-8) be able to meet your needs?[


    Maybe, if I can program it easily and validate against the score


    Will you be creating the sequences in advance or live on the spot?

    All in advance, and they need to be very precise and timing must be predictable.



    Pro Tools does allow you to edit using standard notation, but I still think C-Lab / Emagic did it better with Notator on the Atari ST back in the late 80s - MIDI has never been the strongest area of PT, although it certainly got better after versions 7-9. Nothing beats it IMO for audio editing though.


    Steinbergerhack, are you running a Mac or a PC?




  7. A big concern is timing. Are you going to play to a click/cue track?


    A programable MIDI foot controller such as the Yamaha MFC10 may help you trigger the parts in real time.




    Good thought! I have an ADA MIDI board that I generally use for my guitar rig, but might be able to get by without for this gig. I'm only playing a few of the tunes, conducting the majority.


    Um...he actually made most of it by plagiarizing "Under Pressure." When he got sued, he worked out a deal to buy the rights to the song.


    As it turned out, it was the best career move he ever made.


    Sure - we all know that. Are you going to suggest that his lyrical styling was an example of epic songwriting? Yes, he ripped off a great bass riff, then added absolutely nothing of substance to it.


    Now let me ask YOU one: Which would you rather have - a great song and a mediocre production / recording, or a fantastic production of a mediocre song?


    If I want to make money, I'll take the great production of a mediocre song every day, The airwaves are littered with well-produced dreck, while there are tons of great songs that never saw the light of day because the production didn't make the song go anywhere.


    Don't believe me? I have one shining example of well-produced shlock that made a ton of money: Vanilla Ice. Second exhibit - Van Halen.


    I would also submit for your thought experiment the majority of 3:30 country songs coming out of Nashville. For every really good songwriter, there are 10 weak ones who manage to fill out the cuts on a top-tier album....and they make money doing it. You can't take anything away from the Nashville studio circuit - those guys are as good as it gets anywhere on the planet, and it is their talent and skill that drives the Nashville money machine. JMO, YMMV.


    On the other end, I would point out that while Elton John and Billy Joel are fantastic songwriters (Scenes from an Italian Restaurant, Funeral for a Friend / Love Lies Bleeding). they wouldn't have had a career without great producers turning their piano-bar songs into complete orchestral works. Again, JMO, YMMV.


    Finally, I would pose this question: Can you name a single album that has gone platinum that was really poorly produced?

    • Like 1
  10. I would use ableton live and push. You can select various midi scenes in real time using the push controller. Large lighted buttons and made for live performance. https://www.ableton.com/en/push/



    Its not just for beats or EM music, this can be used for much more than that.


    Does Ableton allow you to enter and view parts on a standard score? Everything I've seen of it online seems to be oriented to everything BUT standard orchestral score notation.


    I've got several hundred pages of multi-staff orchestral score to track against, so I really need that capability....

  11. Although I've never seen that come up as an issue' date=' I would worry about drive sensitivity to loud music.[/quote']


    That could be an issue, but my laptop has a solid-state drive.


    I'm more concerned about the basic issues with having to use mouse clicks or a touchpad during a time-sensitive performance in a dark orchestra pit. Big buttons that are easy to see and ID are very helpful in this sort of application.

    • Like 1
  12. Has anyone here wver used sequenced keyboard parts in a live performance environment? What have you used, and what was good/bad/ugly about it?


    I have a mini-tour coming up that will require sequencing for a few numbers (it's scored that way, and no budget to add another player for just a few songs), and while I've done this in a studio situation, I've never dealt with it in live performance, so looking for recommendations and/or warnings.

  13. I got a Two Notes Torpedo Live, and it has absolutely changed my approach to playing live gigs. It is the only load box / cabinet emulator I have ever tried that actually sounds like the real thing, and it has made gigging 100% easier. I can finally run direct and have it sound like my Bogner or Marshall, which had been an unobtainable goal of mine for years....

    • Like 1
  14. Update: I listened to PRX, EKX, DXR and DSR, and ended up getting a pair of DXRs to try for a few weeks before getting the whole package. The PRX wireless DSP feature came close to winning me over, but the DXR just seemed to be a better value while being lighter weight, and probably the least expensive flyable option.


    Thanks to all for your input!

    • Like 1
  15. Very, very nice work, Phil. Thank you for sharing.


    My father-in-law loves astronomy - he teaches a university course and has made a few 'scopes. I've always enjoyed seeing photos of these more interesting iterstellar structures.


    Of couse, what is really cool is the idea that it only looks like a horse's head from our vantage point. What would it look like from any other direction?:idk:

    • Like 2
  16. In the list you have, I prefer the Yamaha's for 2 reasons. The DSR112 top is the cleanest and most powerful top in the bunch by quite a margin (to my ears). I haven't heard the DXS myself yet, but people who have compared it directly to the 718XLF (not the 818) have sold their XLF's to go with the DXS18 (do a search on the web).


    Also, for spoken word, the DSR112 is the most articulate speaker in this price range.


    If you are willing to up your budget, the RCF745a's are a wonderful top as reported by people who I consider to be very knowledgeable.


    The budget is probably fixed. In fact, it may have to drop a bit, as we lost one of our funding sources over the weekend.


    Thanks for the comment on the Yamahas. I've spent a lot of time with their club series, and they really do a great job for that price point, IMO. I need to step it up a it, though, for the gigs I'm starting to work.


    Thanks again!

  17. With you doing many different bands' date='groups I'd want a real control surface with faders yet small. I have a Midas M32r and its a great mixer, Midas input preamps in/out and Pro series faders. Can be had much less than seen at general Big Box stores if you shop....[/quote']


    That's where I started, and the budget pulled me back to where I ended up with the rack version. You make a good point, though, that some aggressive shopping might allow me to get a physical console. Honestly, I'm more comfortable with that approach to begin with....I'm a bit old school at heart.


    I like the turbosound tops but the subs... eh so/so.


    Thank you for the input - that's what I'm looking for.


    As it stands it has the same 16 xlr and 6 aux inputs as the X32 rack and can be used as a stand alone unit.


    Yes, though this would mean I have to run a physical snake, run all the wireless mic heads at the console, etc. Would get local inputs at the console for break/intro music, announcer mics, etc, too, though. There's both good and bad with this approach.


    I use the M32 Pro Mixing station app. and mix in the room and have other tablets for the band members monitor adjustments. The "Pro" version is well worth the $5-6 dollars extra as you can configure it to have available or out front when I'm doing a new band. I setup the user buttons for monitor mixing and effects via the layer function available in it.


    Hadn't thought about that. Could run the actual console at the stage, use a tablet at the house location....hmmm....that solves the snake and wireless mic range issues..hmm....


    Thanks - you've given me some good stuff to think about.

  18. No response yet, so I'm going to narrow it down a bit. If' I assume the X32 rack/iPad console and one S16 snake box, that leave me ~$8500 for powered cabinets. If I go with the same cabinet for mains and monitors it makes things a bit simpler, so I am assuming 7 mains cabinets and two subs. The choices that initially look good are:


    Turbosound TSP1222, iQ18B

    EV EKX-12P, EKX-18SP

    JBL PRX-812W, PRX-818XLFW

    Yamaha DSR112, DXS-18


    Are any of these flyable? Any good reason to go with or avoid any of these? I've had very good experiences with Yamaha and Turbosound in the recent past, but I don't want to ignore a good option for no good reason. Have I missed any other good options at this price point?


    If you walked into a club and some band was doing your music

    Would you want to hear their spun on it ?

    Or how would you feel if they did an exact cover of your song ?


    I have had this happen. It was an odd feeling; on the one hand I was a bit ticked off that they were playing one of our songs in a venue that we played in. On the other hand, I was flattered that they felt my song was worth covering. They did as close to an exact cover as they could....I think I would have preferred to have them do their own take on it. When you hear a close cover, I think you listen for their mistakes; when they make it their own, you're listening for their creativity. As an artist, I prefer to hear the creativity.


    That said, I play with a couple of groups where the job is to be a human jukebox. OK, I can do that, and thanks for the paycheck. I will do whatever the gig calls for musically - I have other things that make a bigger difference in my enjoyment of the show.

    • Like 1
  20. Having sold most of my existing sound gear, I am now looking at re-buying a new system as an upgrade. Total budget is $10K, excluding cables, mics, misc. I know that there are some really solid engineers on this site who can provide thoughtful input, so...:


    Venues: Largely theater stages, seating from 200-2000. Portability is a requirement, ease of set-up/load-out is important, but not the primary factor.


    Primary customer: Regional and community theater groups (musicals), with some band jobs (primarily 6-10 piece ensembles in smaller venues).


    Components covered by the budget :


    (2) stage boxes. One for the pit, one for offstage/mic receivers. Minimum 16 channels each (that may be a bit weak for the pit)

    Console. Open to suggestions, iPad/tablet control of a rack unit would be usable, though I have the old-school mentality that likes physical faders. X32 Core?

    (4) wedge monitors

    Subs / mains. Flyable would be nice, but may not fit the budget. (Lighting and rigging for this project is being handled by someone else, but can handle the weight).

    Amps, if cabinets are not powered.


    Is it possible to put something decent together for $10K that will hold up to fairly regular use? If not, what is the minimum budget to get something like this assembled?


    In the real world, how much acoustic output should I plan for to cover a 2,000 seat auditorium at a moderate volume (not pop/rock concert level, but "heavy" musical theater).


    Thanks in advance for any and all input.

  21. I'm in the early planning stages of production for a musical theater run that will need 8-10 handheld wireless mics (yes handheld, not body-pack headsets - it's what the director wants). This will be a touring group that will do a weekend in multiple venues, so the systems need to be rugged and easily portable (preferably rack-mount receivers and mics hat are easy for the performers to understand and use). I also have to assume that the performers will not have handheld mic skills, so easy-to-use would be helpful. The portions where the mics will be used are intended to come off like a "rock concert", so something that acts like a SM58 would fit the bill.


    What I think I need is something similar to this:




    Given the price point and source, I am assuming that this is probably not what we really need. What I like, though, is having a bunch of the receivers in a single rack piece, the case, and having the mics color-coded without tape/labels that will peel off at the most inopportune moment.




    What handheld wireless mic system would you guys suggest for a small touring theater group using 8-10 mics at a time?




    Is there anything else I need to be thinking about in using these systems in a variety of places with very little tech time to get them dialed in? Any features or accessories that would be particularly helpful?


    Thanks in advance!


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