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[Al Rettich]

Don't see many Nexo rigs flying around. Why is this? Yes you see it for that country artist. But, haven't had a engineer really asking for Nexo. Seen it on installs.. Is it because the Geo S's weren't really a "true" line array.

[Tim McCulloch]

We had a GeoS8 rig on demo.  Took it out for Ladysmith Black Mambazo.  It was like the guys were singing right in front of you, not amplified, and it sounded like that in every seat in the theater.

The GeoT rig hit the USA with a voicing that was too polite for rock and roll, IIRC.  I think Randy Frierson had a T rig in Mississippi or Florida and went through several Nexo processing code changes.  The T got so many other things right* but it didn't seem to have the low-mid thing that the rock band BEs were looking for at that time.  They moved on and Nexo could not build a presence in that market even after "fixing" the voicing.

I've been a local hand for "that country artist" and in the brief time I heard the rig while the BE was voicing the rig, I didn't hear anything objectionable.  I was a spot op for the performance and show sounded fine over the LD's clear com mic

* edit ps - the GeoT was also very expensive since the top box was nominally 5° vertical; properly covering a tall vertical space (3 tier arena) or a very deep open space was significantly expensive.

[Dave Pluke]

Don't see many Nexo rigs flying around. Why is this?

Don't know why Nexo hasn't penetrated the U.S. touring market further.

Anecdotally, two years ago at Merlefest (Bluegrass festival, though they stretch the boundaries of that genre quite a bit), out of 5 stages we visited, the sole Nexo array was the nicest sounding.  Could have been the setting, the program material or the fact that the FOH engineer said he'd done a lot of tuning on it.

Dave

[Riley Casey]

One problem with the few Nexo Geo 12 systems I've heard is that they sound too good under pressure.  People tend to push too small a rig hard into the amp limiters and it sounds compressed but not over loaded.  A good thing in a way but it lends itself to misuse.

[Tim McCulloch]

One problem with the few Nexo Geo 12 systems I've heard is that they sound too good under pressure.  People tend to push too small a rig hard into the amp limiters and it sounds compressed but not over loaded.  A good thing in a way but it lends itself to misuse.

I've worked with that guy...

[Ivan Beaver]

One problem with the few Nexo Geo 12 systems I've heard is that they sound too good under pressure.  People tend to push too small a rig hard into the amp limiters and it sounds compressed but not over loaded.  A good thing in a way but it lends itself to misuse.

I have worked with several BEs that don't mix for a particular SPL, but rather for a specific "distortion".

Not real bad-but a little bit of clipping (fuzz) is what they are actually looking for.

What I had to do (because it was TO STINKING LOUD) was to readjust the gain structure and actually cause a piece of gear to clip. Then they turned it down and were happy with the sound.

[Doug Fowler]

Don't see many Nexo rigs flying around. Why is this? Yes you see it for that country artist. But, haven't had a engineer really asking for Nexo. Seen it on installs.. Is it because the Geo S's weren't really a "true" line array.

There is not a strong presence in the US but they are doing very well elsewhere.

[Chris Grimshaw]

I have worked with several BEs that don't mix for a particular SPL, but rather for a specific "distortion".

Not real bad-but a little bit of clipping (fuzz) is what they are actually looking for.

What I had to do (because it was TO STINKING LOUD) was to readjust the gain structure and actually cause a piece of gear to clip. Then they turned it down and were happy with the sound.

The more I think about this, the more I think there's demand for a product there. Something that's 1RU, got a couple of XLR inputs and outputs, and 3 threshold controls (probably set by screwdriver). First one adds a touch of second- and third-harmonic distortion. Next one up is soft-clipping/limiting, and the last one is just straight-up clipping. System tech can set the thresholds where they each start to engage, and off you go.

Though at that point we've spent a lot of money on a nice, clean rig and we're adding a distortion box to make it sound like all the other rigs out there.

Chris

[Tim McCulloch]

The more I think about this, the more I think there's demand for a product there. Something that's 1RU, got a couple of XLR inputs and outputs, and 3 threshold controls (probably set by screwdriver). First one adds a touch of second- and third-harmonic distortion. Next one up is soft-clipping/limiting, and the last one is just straight-up clipping. System tech can set the thresholds where they each start to engage, and off you go.

Though at that point we've spent a lot of money on a nice, clean rig and we're adding a distortion box to make it sound like all the other rigs out there.

Chris

Some of the magnetic tape saturation plugins can help with this although I don't think any of them do outright clipping.

I've had BEs request *anything* analog to pass the L/R/LL-RR  (LL-RR are the side hangs or off-stage fills) signal through.  dbx 160 were common choices - set to 1:1 with the threshold wide open.  I don't get those requests any more but we still carry a couple of 160 in the FOH rack just in case.  The 160 are also great long-line drivers as they have an output impedance of around 20 Ohms...

[Riley Casey]

I've hung on to one of the original EAW MX800 analog crossovers sold with the KF850s for years with and eye toward turning in into a line driver.  Made by ATC in England the output stage on that sucker was discrete transistors that could driver a small speaker directly.

...  The 160 are also great long-line drivers as they have an output impedance of around 20 Ohms...

[Matthew Knischewsky]

The more I think about this, the more I think there's demand for a product there. Something that's 1RU, got a couple of XLR inputs and outputs, and 3 threshold controls (probably set by screwdriver). First one adds a touch of second- and third-harmonic distortion. Next one up is soft-clipping/limiting, and the last one is just straight-up clipping. System tech can set the thresholds where they each start to engage, and off you go.

Though at that point we've spent a lot of money on a nice, clean rig and we're adding a distortion box to make it sound like all the other rigs out there.

Chris

Maybe there's a working Alesis 3630 out there somewhere?

[Doug Fowler]

Maybe there's a working Alesis 3630 out there somewhere?

I encountered one 4.5 hours ago doing a recce on a local dance club I'm working with.

I. Shit. You. Not. :-)

[Ivan Beaver]

I encountered one 4.5 hours ago doing a recce on a local dance club I'm working with.

I. Shit. You. Not. :-)

I'm sorry to hear that.

You get lots of LEDs with that unit-but that is about it.

[John Halliburton]

The more I think about this, the more I think there's demand for a product there. Something that's 1RU, got a couple of XLR inputs and outputs, and 3 threshold controls (probably set by screwdriver). First one adds a touch of second- and third-harmonic distortion. Next one up is soft-clipping/limiting, and the last one is just straight-up clipping. System tech can set the thresholds where they each start to engage, and off you go.

Though at that point we've spent a lot of money on a nice, clean rig and we're adding a distortion box to make it sound like all the other rigs out there.

Chris

Just a nice tube preamp with one big 'ol knob on it called, "Warm and fuzzy threshold".

John

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