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[Len Zenith Jr]

Even at 2 feet from the ears, a PS box with 40 degree vertical HF will cover the foot and a half difference in heights.

Perhaps the math works out assuming a 40' horn, but that is nothing but a spec on a piece of paper, in real life it doesn't sound the same.

[Ivan Beaver]

Perhaps the math works out assuming a 40' horn, but that is nothing but a spec on a piece of paper, in real life it doesn't sound the same.

How do you figure that? 

It should work just fine-unless there is something I am missing.

Agreed that a single driver doesn't sound the same as the multiples in a line array.  It sounds better than having the multiple arrivals and all the combfiltering that is going on.

[Randy Pence]

What that boils down to is (sorry, Ms Lauper) DJs just wanna have fun.  Do they *need* these things to make their mixes?  Probably not as most of it gets developed over headphones or small studio monitors/sub... but when it's party time there is a show to do and fun to be had.  I suppose at some point the DJ monitor rig is part of the stage set/props as well and becomes part of the *experience* for the audience, too.

Every DJ that I have ever worked with over my 17 year career uses monitors to sync the sounds in their headphones to what is coming out of the main PA.  This process is called "beat-matching" and is fundamental to their performances.  Whether using turntables or cd players, the pitch is adjusted so that all sources are at the same tempo and then mixed back and forth.  Sources might need to remain synced live in the mix for minutes at a time.

Strong monitoring is required because any sound coming from the main PA is inherently delayed.  Latency is a valid issue for musicians to stay in time with each other, how much delay is there when the sound reflects off the back of the room?

Yes, it is a volume game that the dj actually always loses.  Anyone playing out longer than 6 yeas has generally lost some hearing, not unlike rock musicians.  As loud as their monitors need to be over the din of the main PA which needs to be louder than the ambient noise, their headphones still need to be a lil louder to their ears.

There have been some advances with automatic software synchronization, but they are not perfect and most performers serious enough to have riders and play stages where a truck of gear is hired are still adjusting tempos manually.  Big monitors are not for the audience, they care more about the lights.

[William Schnake]

I just got asked to quote this, which I have no intention of doing as I am not available nor do I have what is needed. This is the entire text.  Do the side fills seem a little extreme?:


-(1) qualified engineer to mix the house. House System: -In Addition to the house sound system, there must be:

-(4) EAW 850 Cabinets in front of the stage facing the crowd (two on either side) -(4) EAW 1000 Dual 18” Subs in front of the stage facing the crowd (two on either side)

-DJ Speakers -(2) High Quality Speakers, one on each side of the DJ Booth facing the DJ. They must be connected to the booth control of the DJ Mixer to give the DJ his own volume control.

Stage Sound Setup (If There is a stage)

-(1) additional engineer to mix the stage. -Must have a separate mixing console to mix the stage. -Side Fills Must be:
-(4) EAW 850 (two on either side)
-(4) EAW 1000 Dual 18” Subs (two on either side) -Front Wedges:

-There MUST BE at least (1) Wedge for every 5 feet of stage.

DJ Set Up (Center Stage – Back):

-(1) DJM 800 Pioneer Mixer -(1) Laptop stand for computer -(1) 4-6 FOOT HIGH TABLE for the DJ setup. Top should be at least 4’ wide by 2 1⁄2’ Feet deep -(1) POWER PLUG STRIP (USA) with a minimum of 4 available plug inputs easily accessible.
Vocal Setup

-(2) Shure UR4 Wireless Microphones with Beta 58 Capsules. (Mics must have new batteries)

Scott, we use to do a lot of this type of stuff 10 years ago and this all seems like the same we use to do.  My theory was...it pays the bills.

Bill

[Tracy Garner]

Scott, we use to do a lot of this type of stuff 10 years ago and this all seems like the same we use to do.  My theory was...it pays the bills.

Bill

As DJ on larger systems, I like to actually hear the sound and volume hitting the audience. You cannot kill the audience with full on volume4-6 hours straight. People need a break from that and there is ebb and flow to a DJ night. Many DJs don't take any of that into consideration. They have no idea what level is hitting the audience when they have music blasting. This is the MAIN reasons Biz Markie and other notable DJS will never perform in a DJ booth. You can't hear the audience experience. Many of your "dance" music venues with an emphasis on audiophile quality sound have a real open booth close to the crowd so the DJ can hear what the crowd hears.

At the same time, the "beat mixing/matching" is a huge factor also. Many venues have sound bouncing all over the place. I'm usually cool as long as I can hear either the high-hat or the bass up close. If I'm close enough to one of the house bass cabinets, I don't care about having a monitor at all.

With DJ with track acts, monitor mix exact same as house mix is the preference so I can hear the vocal/music balance and control the dynamics of the tracks. I will ride the fader so the FOH guy doesn't have to. As a drummer in jazz band and show choir I learned early in life to play in balance with whoever is the soloist. Many DJs have no formal music background and don't listen to anything except their own instrument.

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