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Posts posted by SteinbergerHack

  1. 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....

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  2. 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!

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  3. 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:

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  4. 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!

  5. 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.

  6. 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.

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  8. 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.

  9. 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!


  10. I am glad you two had that chat but one thing I forgot to mention is; dose she have the ability to learn at a reasonable speed?



    She only worked that song for three weeks, and that was concurrent with playing a lead role in a musical theater production and working the other two pieces she was competing with. She did have one coaching session with a pro teacher, but otherwise worked it up on her own.


    That's not fast by pro standards, but for a high school student....?

  11. Thanks for the input. I sat down with her this evening and had a serious conversation about what she needs to do if she is serious about moving forward. She not only took the criticism to heart, she welcomed it. She's pretty circumspect for her age, and realizes that she has to stop thinking like the big fish in a little pond, and start treating the serious pros as the target and competition. She knows that it ain't easy, even if she doesn't yet knw what that really means.


    The sad part is that the only comment she got from the judges in that competition was to be more active and move more during her pieces....facepalm.gif Given the other singers I heard on Saturday, I guess I can understand. I just feel that the "judges" who tell these kids that they are "perfect" when it is clearly not the case are doing the kids a disservice. Just because you are the best among a couple of hundred high school kids does not mean that you don't need honest criticism and feedback in order to improve.


    Again, thanks for the input - it is much appreciated.

  12. All:


    This is a crappy cellphone video of yet another 16-year-old high school kid doing a musical theater piece in a regional competition - just the stuff most adult musicians roll our eyes at. That said, it's a VERY difficult piece (Girl in 14G), and she got both a perfect score and the most effusive judge's reaction I've ever seen in one of these events. That's nice to know, but not helpful at all from a coaching perspective.


    Here's the reason for posting: She wants to use this piece as an audition number for colleges, including Berklee, Juilliard and St Olaf. Thus, I'd like to get some legitimate critique on things she can work on to improve - and I'm betting that a few of the regulars here will see things that I've missed. Also, if you think she's kidding herself pursuing music as a career, say it - it would be better to pull her back before spending lots of cash and years of her life if she just doesn't have what it takes.



    Thanks in advance!

  13. Aqualung - Jethro Tull

    Steely Dan - Aja

    Pink Floyd - DSotM

    Pink Floyd - Echoes

    Supertramp - Breakfast in America

    Stanley Clarke - School Days

    Al DiMeola - Elegant Gypsy

    DiMeola, McLaughlin, de Lucia - Passion, Grace and Fire

    Stanley Jordan - Magic Touch

    Eagles - Hotel California

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