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witesol

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Everything posted by witesol

  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?
  12. it's probably just me but i'm sort of leery of speaker cabs with a lot of processing, LCD screens and lots of mixing functions. I own and use some but still i'm uneasy about putting what seems like delicate processing in the cabinet. At the same time I'm excited about the newer and better processing happening. Why is it worrisome? When I think of what takes the most abuse, at least by me, it's the speaker cabinets. DSP, mixers, effects, dynamics used to all stay in racks/cases and I would pick up and load more gently. So, perhaps it's my behavior that needs changing! But still monitors take way more abuse than a mixer or FOH rack. Typically, for many of my small jobs I load my cabinets raw into the van or truck, or they have covers, but not cases. When I first saw an LCD screen on the EV cabinets, which were the 2nd generation of the ELXp , which were pretty fragile and mediocrely(is that a word) built it immediately seemed like something a marketing dept (or designers who don't gig much) might design. This is not aimed at Don in particular other than to get his take on the design and reliability of these new active speakers. . As I think of a day to day gigging, end of the night, tired musician behavior, doesnt it seem that lots of fancy dsp in the speaker, subject to constant vibration and abuse might be a failure point? I realize that much/all of the processing needs to be in the cabinet. Xovers, filters, limiting. maybe this belongs in Don's DSP post…
  13. I think I'll buy a pair of the dbr12 . I got rid of my 1st gen ELX which I didn't care for. But, I do love having something small and light for little gigs, for monitors, watching movies on my projection screen, etc. I trust yamaha
  14. As far as gear or method technique ideas, there are a few things I've done that have worked over the years. Of course nail your parts like everyone has mentioned. My particular voice doubles nicely but my consonants pop out and I'm "Ssss'y" . If there is time I will break out my darkest, often crappyest( don't know I've ever written that word) to do the double. If I've used a nice LD mic on the lead, I'll break out a beater sm58 for the double. Lately it's been an EV PL10, the darkest mic I own. Also I've tried the Fathead with good results. Even something weird like a harmonica mic can add personality. On my double track I tend to use HPF and LPF to narrow the freq range, especially the LPF can really soften the sibilant consonants. Sometimes I'm running the double totally dry, sometimes it's wet and the lead is dry. By having two tones you can choose what the reverb or delay sounds like. If you put delay on the softened double it can sound more analog ish and tuck into the track while still being felt. Try standing back a couple feet from the mic when doing the double. That can bring some interesting room tone into the piece. Then it can be added only during a bridge or chorus and the subtlety of widening the space can be nice sans plug in... Just ideas, hope they help.
  15. I don't have much interest in this product for what I do. I can see this being a great IEM rig brain. Perhaps if I did primarily corporate events or shows where one cannot set up a proper FOH, it would make sense. nearly everything I do can accommodate a console and proper FOH. deal breakers for me mixing on a surface: no talk back...that's big I like to have 4-8 fingers on multiple faders quite often slow response time of virtual faders. often, surface type control is difficult in daylight sometimes the function doesn't go to the page I want on an iPad type control...tap, tap tap.. I have to take in consideration battery life and/or AC power wifi bandwidth and future seems scary. I could see it being relatively easy for Presonus to take an AI2442 board for instance and make a physical control surface. Are not the knobs, faders and controls all encoders anyhow? take off the need for any preamps, XLR, TRS, A/D etc and maybe they could make a pretty cool control surface. ..just spitballin'
  16. The AT4040 is a good mic, you can find them used too. The Shure Mark suggested is a great choice too. The NT1 is a bit brighter but well made. I'm quite impressed with the CAD E100s too. Don't overlook an old school approach, like an RE20, SM7b A Cascade ribbon is magic on guitar amps but can be a bit too dark for vocals.
  17. Is this an " under radar" type gig or official? Do they serve drinks, beer/wine? Ok with neighbors? I have an awesome yard and we've had private events here, wedding reception, parties, band. But, I'm planning a mini private concert series with a couple platinum, Grammy type artists...to be recorded and video'd ... Invite only which gets around permits but still I wonder how some do these kinds of gigs...
  18. cool gig! I love weird gig settings like this. I love the secret exit under the banner! Lots of LED uplights. decent clean mix for iPhone. The KLA , at least on the video, give the impression of one cab sort of pointing up into space a bit, and the other sort of down into the front peeps. That seems to be a problem stand mounting them, no? if you get it tall enough so the bottom cab washes over the first 1/3 of audience, the top cab is curved upward.
  19. cold turkey , huh? I understand the conflict with family time; Memorial day, 4th of July, Labor day, New Years eve, weekends, etc.. You'll miss it on some levels; the music, crafting a good mix, a great act, the cheering crowds, the pay, the exercise, the learning, being outside, people watching. On the other hand, just think about what you won't miss: "it's too loud" "it's too quiet" "here's you electrical circuit, there are 4 places to plug into" "I can't hear my boyfriend's guitar" "that's my tone" "your load in spot is over there(you have to use binoculars to spot it)" "can I get my windchimes in the monitor"? Friggen cables mic stands suck busted up fingers sunburn crappy food "bandwhiches" sore back did I mention cables two Modeling amps that sound like Angry hornets in a mason jar with a Lav mic Who took my hand dolly? Who took the gaffers tape? "dude, you're not gonna mic the bottom snare"? "by the way the auctioneer needs a wireless mic and we added a kids dance troupe before the band, here's their iPhone" mic stands cables "we're mixing ourselves and will give you a feed" rain thanks for driving over my snake
  20. Listening. I think the good news is the group sounds like a very decent band. The singing is good, solid drumming, guitars in the pocket. Rehearsing and evaluating that stuff would only make things even better, It's not a good recording and mix , but you know that and that's why you've asked. Did you have a PA in the room for the vocalist? The whole thing suffers from lots of bleed, phase cancellation, comb filtering or whatever you want to label it. Everything in that small space is leaking everywhere else, making for a hollow thin, non distinct sound. You have a "lead snare drum" going, no kick, and yea, the cymbals. The bass is washy, mushy and without a kick to help define some backbeat. I am not hearing much stereo. I see 5 people in the band so I assume two guitars playing same part then one plays rhythm in the solo. Panning those L & R would help, so would using 20-40% less distortion. the distortion guitar sound is nearly in direct conflict with the washy cymbals. Put an ear on Zepp original version and you can hear the boogie parts like on the V-IV "been a long time, been a long time..." That's from more of an overdrive sound rather than preamp distortion. There is a lot of upper midrange fighting for space here. Some of the same tones you may need from your vocal can also make the cymbals sound trashy. More gobos between players would help, as would soft blankets against the wall behind the vocalist. I really think trying to get 4 tracks going, (since your interface and mixer can do it) would really help. I would not be that bothered with bleed of drums into the vocals on a live thing but careful positioning and gobos can sure help. Also, the quieter you can keep the bass amp, the less it will bleed onto every open mic washing it out. Same for guitar amps...aiming amps right at players and keeping them down...almost to the point of "I can't hear you that well" lol. It's a I,IV, V song that you could follow pretty easily with little cueing. Obviously the guitarists can hear the drums and you can see each other. anyhow, that's my $.04, adjusted for inflation
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