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Author Topic: APB Dynasonics ProRack H1020  (Read 57736 times)

Ales Dravinec 'Alex'

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Re: APB Dynasonics ProRack H1020
« Reply #20 on: August 02, 2007, 04:44:46 pm »

Peter,

you surely made a valid point. Power up/down sequence should always be as you described it.

But on rear occasion, when power in the venue goes down and back on again (not so rare in certain venues or events) in the middle of the act, I wish for quietest possible transition...

It certainly isn't a deal breaker or anything..

Thank you for making a point
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Ales Dravinec
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ADRaudio
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Peter Etheredge

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Re: APB Dynasonics ProRack H1020
« Reply #21 on: August 04, 2007, 11:24:12 am »

Ales Dravinec 'Alex' wrote on Thu, 02 August 2007 15:44

Peter,

you surely made a valid point. Power up/down sequence should always be as you described it.

But on rear occasion, when power in the venue goes down and back on again (not so rare in certain venues or events) in the middle of the act, I wish for quietest possible transition...

It certainly isn't a deal breaker or anything..

Thank you for making a point




You know I didn't even think of that but this is very true.

More incentive for venues to actually supply the right kind of power I guess.. HA!   Laughing
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Peter Etheredge
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Top-Notch Productions, INC.
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Eric Muller

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Re: APB Dynasonics ProRack H1020
« Reply #22 on: September 17, 2007, 09:14:54 pm »

I have a quick question regarding the "external line input" of this mixer. What is the purpose of this input?

I can't seem to route it anywhere else but the headphones (using the red "ext in" button). I was hoping to use this input for pre-show music and not use up a stereo channel.

Thanks,
Eric
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Chuck Augustowski

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Re: APB Dynasonics ProRack H1020
« Reply #23 on: September 17, 2007, 09:45:02 pm »

The purpose of this input is for monitoring of an external signal.  This input is routed only into the monitor section.  Monitoring a broadcast you are generating is a good example of its use.

It would have been nice if we could have used this as another input that could be routed and controlled feeding the output as you suggested for program music but we simply did not have room for even another single switch or pot anywhere on this mixer (sorry).  Even to get a dimmer on this mixer for the lamp connector required us to use a recessed adjustment requiring a screwdriver to adjust the brightness but we felt that it was better doing this this way than not to give you this feature.  We could not figure out how to come up with the additional space needed to make this input a usable program input that could be controlled and routed.

Consider using the bus inputs into the groups as additional line  inputs into the mixer.  From here they can be routed to any of the main (Left - Right - Center - Mono) outputs and controlled from the smaller group faders. If you used all four of these as inputs, you would have the equivalent of a 24 input mixer.  If you are using these inputs for program music playback between sets, they can also be used as subgroups (as long as you remember to reset the fader levels)once you turn your playback source off.

Chuck Augustowski
APB-DynaSonics

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Bennett Prescott

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Re: APB Dynasonics ProRack H1020
« Reply #24 on: October 15, 2007, 03:26:49 pm »

I got a ProRack House to play with for Road Test again, and it happened just in time for an act coming through my stage that was carrying consoles. I still needed to run some tracks and announce mic for the other acts on my stage, but there wasn't enough room at FOH for the setup that had been there for the last two weeks, my 48 frame Spectra T and two outboard racks.

So I ran the headliner through my ProRack and had plenty of stereo channels left over for tracks, walk in and out, two DS mics for the drum act, and a mono channel for our announcer. I could still run my subs off a bus, the swept HPF saved my ass on the DS mics and our announcer, and there was plenty of EQ to make everything work well. The console had no problem with levels from the M7CL the headliner brought, so I went to a 19" wide FOH setup and lost essentially no control.

Most importantly, I didn't feel like I was shortchanging the headliner, the "support" act, or myself with the change. The ProRack was a great asset through three days of 11 a.m. to 10 p.m. shows.

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-- Bennett Prescott
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ADRaudio d.o.o.
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Bennett Prescott

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Re: APB Dynasonics ProRack H1020
« Reply #25 on: November 13, 2007, 01:20:35 am »

I'm finally getting around to writing up a demo I did with fellow LABster Jason Dermer last week in New Jersey at the East Brunswick Guitar Center, which is unlike any other Guitar Center I've ever been to. The people there actually know what they're doing, didn't try to sell me anything, and the head of the Pro Audio department (Rick Rivera) has real touring creds. To top it off, when I pulled out the ProRack and started setting it up, one of the sales guys stopped and said "APB Dynasonics? That's the shit!".

The event was a demo for IK Multimedia, a company that makes a lot of cool plugins for emulation of everything from Moog synths to symphonies to bass rigs. They had a presentation with some hired in musicians, including T.M. Stevens of Parliament fame, all of whom were a pleasure to work with and listen to. The room was the back office area of the GC, and held about 100 people (many standing) plus room for the "stage" area. Here's a shot to give you an idea of what I was working with:

http://www.campuspa.com/images/gcprodemo/Images/2.jpg

With all the performers in front of the mains (by only a few feet!) and the room having the acoustics of a warehouse, it was already looking interesting.

I took stereo sources from four computers controlled by the presenters, each of which had an external sound box of some kind, mostly Presonus. The computers took MIDI from four keyboards (two house left and two house right) and a Roland V-Drums kit (far house right) and did the actual playing of the notes. One of the computers also took a line from T.M.'s bass and ran cabinet/mic emulation on it and then mixed that down to me as well. I also had three vocal mics, three wireless headworn mics for the presenters to talk to the audience, and an iPod for walk-in. That brings total channel count to 16, plus I ran a recording mix off the dedicated out supplied for that purpose.

The ProRack made life easy off the bat with its stereo channels, each of which had phantom available to power my JPCs. I ended up doing basically nothing to those channels, but the 6 "vocal" channels took every ounce of control the board had available. It was nice to load up a rackmount board with 16 channels of stuff and have enough free to take care of any surprises that might crop up. The swept high pass on each channel was indispensable, plus the powerful EQ was put to good use. The artists were speaking through GC-supplied Sennheiser e835s, which did fine even though one of the artists spoke softly and was positioned directly in front of one of the mains. Unfortunately, the presenters were using (also GC supplied) cheap Shure wireless with cheap capsules that sounded like crap off the bat and dropped out like nobody's business. The EQ required to get the headworn mics to sound decent wasn't possible because it made them too susceptible to feedback, so the presenters sounded like they were talking through a $2 radio for the whole gig... a shame but it wasn't my wireless and there wasn't enough time to swap it out. As Jason said to me mid-gig: "I'd give anything for another band of swept EQ".

I actually did essentially zero mixing, as I'd come down with a cold over the weekend and my ears were shot. I managed to catch a shot of Jason hard at work (he always mixes from behind the console):

http://www.campuspa.com/images/gcprodemo/Images/14.jpg

Aside from the issues with the wireless and the room being acoustically... interesting (especially at LF) the gig went well. The ProRack was, as I have come to expect it to be, a workhorse with handy features thrown in (or extra outputs, or extra inputs) where you least expect them but most need them. Some of the material played during the demo was simply breathtaking, and of course it was great to hear the performers jam out to the tiny audience. Everyone got very into it and there were nothing but compliments, so I walked out happy.

Here's a few shots from the show that I thought were cool, including one of Jason really working (that's his "if that mic drops out one more time I will end it" face).

http://www.campuspa.com/images/gcprodemo/Thumbnails/21.jpghttp://www.campuspa.com/images/gcprodemo/Thumbnails/16.jpg
http://www.campuspa.com/images/gcprodemo/Thumbnails/7.jpghttp://www.campuspa.com/images/gcprodemo/Thumbnails/18.jpg
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-- Bennett Prescott
Director of North American Sales
ADRaudio d.o.o.
Cell: (518) 488-7190

"Give me 6dB and I shall move the world." -Archimedes

Phil LaDue

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Re: APB Dynasonics ProRack H1020
« Reply #26 on: November 13, 2007, 01:29:03 am »

Bennett Prescott wrote on Tue, 13 November 2007 01:20

http://www.campuspa.com/images/gcprodemo/Thumbnails/21.jpghttp://www.campuspa.com/images/gcprodemo/Thumbnails/16.jpg
http://www.campuspa.com/images/gcprodemo/Thumbnails/7.jpghttp://www.campuspa.com/images/gcprodemo/Thumbnails/18.jpg

I thought I was going insane for a minute, because I couldn't find any speakers.
My god, those things are small.

Bennett Prescott

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Re: APB Dynasonics ProRack H1020
« Reply #27 on: November 13, 2007, 01:38:40 am »

Yep, that's a pair of our new U 61 HH tops and a single ATA 210 HH subwoofer. I was very happy with how it turned out.

http://www.campuspa.com/images/gcprodemo/Thumbnails/8.jpg
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-- Bennett Prescott
Director of North American Sales
ADRaudio d.o.o.
Cell: (518) 488-7190

"Give me 6dB and I shall move the world." -Archimedes

Jim Duyck

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Re: APB Dynasonics ProRack H1020
« Reply #28 on: November 13, 2007, 10:18:01 am »

uh...nice lake processing for a GC warehouse gig... Shocked
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Jordan Wolf

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Re: APB Dynasonics ProRack H1020
« Reply #29 on: November 14, 2007, 03:29:18 am »

I can hear the lights buzzing now...I just did some location work for a student film in an aircraft hangar - yay for 3 seconds of decay!
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