Print

Please login or register.
1 Hour 1 Day 1 Week 1 Month Forever
Login with username, password and session length

[Dave Bigelow]

Anyone who can't tell the difference between Meyer and JBL SRX should be doing lights.

Damn, I just about had a Geri O "coffee moment" on that one.

[Scott Bolt]

One of my most favorable gig's I mixed was a UPA1P rig and I loved the sound of it.  Very clear, amost loud enough for the 500 people in attendance and NO ear fatigue.  I have never hear an SRX rig sound nearly as good but I have heard SRX give me some serious ear fatigue.

You are first discussing a 500 people venue, and second saying that Meyer is better sounding than SRX (which I agree to a point).

What I said is "most people won't hear the difference", and I still believe that is true.

If you are playing clubs <250 (which most people are), then you are wasting your money on Meyer IMHO.

If you are playing outdoor gigs for 500+, it  depends on if you have the money or not.

Would I rather have a Meyer rig than a PRX rig?   YOU BET!  That is just as silly as asking if I would rather have a Lamborghini instead of a Camero.

My point is that you get diminishing returns no matter what.  If you are playing small clubs it is just silly for most bands to put out the big cash for Meyer..... and incidentally, a club that can hold 300 people isn't all that small here in Michigan.  Most clubs would fit into this category.

[Chuck Simon]

What I said is "most people won't hear the difference", and I still believe that is true.

I agree with you.  A bad band/soundman can sound just as bad a on a Meyer system.  My experience on Meyer systems is limited, but it is just a speaker - just one part of a system and if you are going to invest in a system where all the components are equal in quality to Meyer, then you better be working with bands that demand that and are willing to pay for it!

[Doug Fowler]

I agree with you.  A bad band/soundman can sound just as bad a on a Meyer system.  My experience on Meyer systems is limited, but it is just a speaker - just one part of a system and if you are going to invest in a system where all the components are equal in quality to Meyer, then you better be working with bands that demand that and are willing to pay for it!

I submit a poor operator will have much worse day on a high quality system than on something that does not respond as well.

Case in point: for those of us who were around when line arrays began to replace 48 box hangs of point and shoot, the lesser skilled FOH mixers had a hard time in general.  Why?  There was less to hide behind, if the line array was a worthy system.  Some of the precision point and shoots exhibited coherent behavior if set up properly (think Flashlight), but in general if someone used to mixing on a big pile of 850s were suddenly on V-DOSC, that's like having to stand downstage center, drop your pants and expose yourself.  There's nothing to hide behind.

Change the EQ ever so slightly, you hear it.  Microphone bleed causing "phasing", you hear it.  On most of the old systems there was so much interference those issues were, well, non-issues.

Ask anyone who has been around - we heard amazing shows on 850s, S4s, Prism, Lab-Q whatever.  But it takes someone with real skills to transition from that type of system to a linear, mostly coherent (in the horizontal plane :-) system.

Food for thought....

[Tim McCulloch]

I submit a poor operator will have much worse day on a high quality system than on something that does not respond as well.

Case in point: for those of us who were around when line arrays began to replace 48 box hangs of point and shoot, the lesser skilled FOH mixers had a hard time in general.  Why?  There was less to hide behind, if the line array was a worthy system.  Some of the precision point and shoots exhibited coherent behavior if set up properly (think Flashlight), but in general if someone used to mixing on a big pile of 850s were suddenly on V-DOSC, that's like having to stand downstage center, drop your pants and expose yourself.  There's nothing to hide behind.

Change the EQ ever so slightly, you hear it.  Microphone bleed causing "phasing", you hear it.  On most of the old systems there was so much interference those issues were, well, non-issues.

Ask anyone who has been around - we heard amazing shows on 850s, S4s, Prism, Lab-Q whatever.  But it takes someone with real skills to transition from that type of system to a linear, mostly coherent (in the horizontal plane :-) system.

Food for thought....

Word.

Highly coherent systems exposed a number of sloppy Mixerpersons, including me.  Now I'm a better system engineer and a better mixer, too.... just took a few years.   

[Ivan Beaver]

I submit a poor operator will have much worse day on a high quality system than on something that does not respond as well.

Case in point: for those of us who were around when line arrays began to replace 48 box hangs of point and shoot, the lesser skilled FOH mixers had a hard time in general.  Why?  There was less to hide behind, if the line array was a worthy system.  Some of the precision point and shoots exhibited coherent behavior if set up properly (think Flashlight), but in general if someone used to mixing on a big pile of 850s were suddenly on V-DOSC, that's like having to stand downstage center, drop your pants and expose yourself.  There's nothing to hide behind.

Change the EQ ever so slightly, you hear it.  Microphone bleed causing "phasing", you hear it.  On most of the old systems there was so much interference those issues were, well, non-issues.

Ask anyone who has been around - we heard amazing shows on 850s, S4s, Prism, Lab-Q whatever.  But it takes someone with real skills to transition from that type of system to a linear, mostly coherent (in the horizontal plane :-) system.

Food for thought....

There was bar-g que fest I did for a number of years.  One year as we were tearing down there was a young girl singing on top of one of the beer huts.  now granted it was a small cheap system-overdriven etc. but she sounded pretty good.

The next year there was a girl that sang on the main stage-about the same age-but she didn't sound real good.  The crew and I wondered if it was the same girl-we all thought so-but something just wasn't right.

Later that night (as were tearing down) the same girl was up on the beet hut again and sounded "fine".  As well as could be expected through the system that was there.

My system was showing all the "flaws" in her voice-while the lessor system was basically '"covering it up".

I heard this all the time when I was doing installs "I want your system to be very accurate-but I also want it to make me sound better than I really do and cover up my mistakes"  DO WHAT?  Yes I actaully heard that a lot.

Just like recordings.  As the quality of my playback systems get better-there is less and less material (especially older recordings) that I want ot listen to-at least loud.  At low levels they aren't so bad-but the songs of my youth just don't sound as good loud as they used to.

[Charlie Zureki]

I submit a poor operator will have much worse day on a high quality system than on something that does not respond as well.

Case in point: for those of us who were around when line arrays began to replace 48 box hangs of point and shoot, the lesser skilled FOH mixers had a hard time in general.  Why?  There was less to hide behind, if the line array was a worthy system.  Some of the precision point and shoots exhibited coherent behavior if set up properly (think Flashlight), but in general if someone used to mixing on a big pile of 850s were suddenly on V-DOSC, that's like having to stand downstage center, drop your pants and expose yourself.  There's nothing to hide behind.

Change the EQ ever so slightly, you hear it.  Microphone bleed causing "phasing", you hear it.  On most of the old systems there was so much interference those issues were, well, non-issues.

Ask anyone who has been around - we heard amazing shows on 850s, S4s, Prism, Lab-Q whatever.  But it takes someone with real skills to transition from that type of system to a linear, mostly coherent (in the horizontal plane :-) system.

Food for thought....

  +1 

  Hammer

[brian maddox]

Ask anyone who has been around - we heard amazing shows on 850s, S4s, Prism, Lab-Q whatever.  But it takes someone with real skills to transition from that type of system to a linear, mostly coherent (in the horizontal plane :-) system.

Food for thought....

yup.  although i actually really enjoyed transitioning from 850 rigs to d&b Q-series.  i was always frustrated that i couldn't hear much of what i was trying to do on the older trap boxes.  being able to actually really hear my mix was like going from driving a truck to driving a sports car.  yeah, the steering's way more twitchy, but it was also a LOT more fun to drive....

[Dave Barnett]

If you are playing clubs <250 (which most people are), then you are wasting your money on Meyer IMHO.

If you are playing <250 cap venue, there's not enough income potential to support a Meyer rig.  But if you brought the Meyer rig anyway, and the rest of the rig upstream of the speakers is of similar quality, then everyone present would notice.

[Jay Barracato]

Possibly...

As I am sitting in a 300 seat room with a jbl vp rig and a sc48.