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witesol

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  1. I've done quite a few gigs with the DBR12 since I bought them. little gigs, stage monitors, front fills and mains. Saturday I used one as a front fill at a 1300 person concert. Sunday I mixed a 7 piece horn, blues band outside with the DBR as mains and two HPR181 subs. Everything was mic'd up. 4 mon mixes from FOH. It was a small park with about 300-400 people sitting in chairs on the grass. I had to put up a side fill to reach the people way off axis. Anyhow, the little DBR did a surprisingly good job. They are darker than you might expect. I used the 100hz HPF Xover built into the QSC181 subs and chained the DBR to them. I was snaked out at FOH, about 75' from the stage. I was hitting 89-93dB average, which seemed correct for this crowd. The DBR did just fine. Easy to carry. They exhibit a lot of backwash since the cabinet is less substantial than a DXR. The DXR will go louder, has a nicer input panel. But still, for what i paid for the DBR pair, they've been good so far. btw, it was 90 degrees. the EV ELx would have probably thermal shut down... last night the DBR made a decent bass amp in a pinch.
  2. incomplete. ask again when the rest of the band shows up. No need to write a novel about this when 50% of the band isn't here.
  3. any time you put up fabric it's important to make sure your trussing is braced correctly for it. There are blow-through specs for fabrics, most common are the 30 and 40% blow through mesh but can go as high as 70% blow through. Rose Brand is a popular company for large scrims
  4. Everyone thinks everything they do is important and that people want to hear about it. "I'm working with so & so but I think maybe i'll be doing blah, um, I guess we'll see, um.." It's funny, I have friends who post these kinds of video blogs, thinking everyone should be intrigued when they themselves do not watch these kinds of things. Facebook, youtube, blogs...they have some value but they have become home for people thinking their life, work or hobbies will be/should be interesting to the "world" Just one problem with these kinds of video blogs is that people now have become video producers, and nearly all are not good at it. Cameras, framing, lighting, editing, sound for video, post production...these are all vocations unto themselves. The equipment has become really inexpensive. That's not even taking into account if you are compelling on screen, or if you plan out what to say, script anything, storyboard, etc.. . Personally, I don't want to watch or read everyone's day to day life unless you can make it intriguing. So tired of the long important looking youtube introductions "produced by...blah blah" which look at least a bit more than amateur, but then the content hits.
  5. you'd probably not notice much difference. the 152 is a bit louder. it has the narrower horn pattern. it's a better box when used by itself I think. Outside the 152 will be better. 15 lbs doesn't seem like much but a 65 lb 152 can be a pain in the back to get on a stand. how about find a deal on a pair of k12 and keep the 152. then when you get that bigger gig, set them up as front fills, monitors or delay distribution fills...
  6. sounds like a cool band. who gives you the most broad dynamic issues that might could use some subtle smoothing? do you have and use sub masters on your mix, like all vocals, drums or horn section? I rarely use one on snare drum, especially on a gig size where PRX mains would be enough. I always use a comp on kick drum and lead vocal. if the bass amp is really small, sometimes on a bass amp. You could submix your horn section to a sub master and comp it. That keeps it off the mon mix too.
  7. If you're not one to read manuals, learn the digital mixer's quirks, or mix with a pad, you should consider the regular an along mixer with knobs. it's really easy to walk up and grab a knob during a show. in one bar of any song you can make a change...not as much with some digital mixers. The digi mixer benefits might be to memorize your mix so if you plug in the same way, all your settings come up. Of course if you're careful, you can do that with an analog mixer too...by not touching it. go with the A& H or the Peavey. The Peavey PV series, even though they are made really robust, have simple EQ and often not enough monitor sends.
  8. yea, the FOH position shows a boost on the highs and lows but it seems to boost the low end more. I did find the DBR to have more top end clarity than the EV Elx12p.
  9. maybe a dumb question but might there be more ways to actually find people's gear(in order to steal it) in a reverse fashion should this system be hacked?
  10. As an update to this thread, I bought a pair of DBR12s to try out. I wanted something small, light and of course decent sounding. I used them on a job Friday. A two hour concert, mostly kids singing to tracks, a few piano/vocal and guitar vocal pieces. Real good group of performers, many of which were/are on famous TV shows. I brought one QSC hpr181 sub. Big room and a couple hundred people milling about looking at Christmas trees. So, these were not pushed or taxed. Line6 WL mics into my Presonus 1602. I like them. They are not as bright as I thought they'd be, even with the switch set to "FOH" mode, which has boosted highs and lows. Pretty smooth. plenty of headroom but I noticed on line input I had the input gains at around 2:00, higher than I thought. I love the dual handles, weight. They look like they will not scratch. No fan... They sounded good on my TV , which I used to initially test and burn them in on.. I bought these because I had 3 gigs where I could use something small and light. Also my wife can take one and plug a mic right into it. So, two more gigs coming that are live bands, more taxing material.
  11. and that's on a tripod stand or a pole into the sub?
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