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 on: Today at 10:07:45 am 
Started by Wes Garland - Last post by Wes Garland
Hey, folks!

I'm doing a local summer concert series and bumped into an act that I'm not sure how to reinforce. I usually do big band, rock, country, singer-songwriter, etc acts.

This is a trio, consisting of flute, bassoon, and clarinet.  They sit close together, facing inward at each other.  Bassoon in the middle/back, facing the audience.  The "room" is an outdoor gazebo built about a hundred years ago with an interesting roof sounds VERY good and projects quite well for what it is.

My instinct is to throw up a pair of mics in front of the group and 4' off the ground  (above the level of the flute tone hole -- maybe above the bassoon bell as well?). I suspect that close-mic'ing would be a mistake for this group, since they should be able to balance their mix on their own.

Next is the other issue - I own the usual dynamics, but my only condensers are pencils for drum overheads.  Should I be looking at picking up a pair of LDCs?   I could potentially budget, maybe 400 US for this..but I don't know if I'd ever use them again.

Maybe something like a pair of PGA27As?  (I stay away from the PG series for dynamics...same rule for condensers?) .... Rhode NT1s seem to be out of my budget... maybe AT2035s?

Or maybe I should use a pair of MD421s or e902s?  Is there are a reason folks are using LDCs in this application?

And where do I get dead cats for big mics like these?

 on: Today at 09:49:17 am 
Started by Jeff Bankston - Last post by Tim McCulloch
It also comes with a new Midas muffler and is very quiet.

Blue-eyed R&B group from Kansas 'back in the day' (50 years ago) was King Midas and the Mufflers.  They're still playing, driving around in the same school bus (think Partridge Family) they had in 1970.

The Mufflers now have 2nd and 3rd generation Midases in the band...

/topic swerve

 on: Today at 09:03:47 am 
Started by Jeff Bankston - Last post by Ray Aberle
...... where's the touch-screen? Dante or AES50?

:P :-[ ;D 8)

 on: Today at 03:35:30 am 
Started by Jeff Bankston - Last post by Jeff Bankston
Well I finally decided to get off my wallet and join the big time mixers. I just bought a very nice hardly used 48 mono channel Midas Heritage 2000 from one of the big time tour sound companies. I got a hell of a deal and still have some padding left in my wallet to sit on. It comes with 2 power supplies, road case, lights, extra cables and free delivery via one of their trucks. It was checked out by a Midas service tech and is in perfect working order. It also comes with a new Midas muffler and is very quiet.

 on: Today at 01:36:27 am 
Started by Earl F Young - Last post by Mike Caldwell
My systems were based around TDM crossovers.
The XLR connectors were kind of weak point, if you flexed them much the leads would crack loose on the circuit board.

Some had an output muting option with an FET across pins two and three on the outputs, had one of those go bad once, I just removed the muting circuit, wasn't really needed they didn't make big noise on power up or down.

Does yours have the limiters?

What issues does yours have, may be a simple fix.

 on: Yesterday at 09:05:43 pm 
Started by Rob Enders - Last post by Mark Cadwallader
Here is the stage and view of the existing fixtures and bars.

With such a short distance from the battens to the stage, cross lighting also has the effect of providing a longer optical focus distance. If you have enough lumens, you can use that to your advantage by needing a smaller beam and field angle.

As mentioned in the posts above, being able to shape and control the beam through the use of the shutters in a leko/source 4 type instrument provides a great advantage in theater work and lighting design. Since you already have installed circuits and dimmers, I second the suggestions about finding used leko/S4 instruments for FOH and "specials" useage.

Study up on the theater lighting textbooks before you start spending money. You will be able to make wiser decisions if you learn some design basics first.  Best wishes.

 on: Yesterday at 08:13:38 pm 
Started by Debbie Dunkley - Last post by John Chiara
My business partner (he is a drummer) picked up one of those when it first came out. He was super excited, I gave it a fair shot... but it went back the next week  ;)

It was an interesting device and I tried it at a few different venues. On the positive side if there are no good mics or if there is no one to dial things in it is a massive improvement. Personally, I would rather take the extra few minutes and properly mic kit with nice mics. I could never get enough snare out of it (i am aware you can buy an extra snare trigger/mic for the EAD10). I also found many of the settings to sound too processed.

It was an interesting device that does a lot, but personally, I did not find it very useful.
I will be micing the drums as normal, but drastically changing effects during a live show is not practical for me, so a dedicated, and changing drum FX return seems like it might be effective. I'll report. Got a small tour coming up with one band, Moriah Formica from The Voice, a harder rock show.

 on: Yesterday at 08:00:28 pm 
Started by Earl F Young - Last post by Ivan Beaver
A couple of dual channel crossover units.
I have never worked on a TDM unit, but a guess would any of several different types of 2 channel ICs, or a cracked connection or power supply issue.

You didn't say what the problem was.

 on: Yesterday at 07:39:04 pm 
Started by Seth Albaum - Last post by Len Zenith Jr
I shattered 2 titanium diaphragms on a pair of JBL SRX715's. I was trying to run some pink noise through them but the signal from my generator (PC based) wasn't working. Thought it was a sound card issue when I noticed the mute button on the board was depressed, so I unmuted it - with all the gains way up. Oops, that was an expensive lesson. When the tech opened up the drivers nothing but 1/4" titanium confetti came out, voice coils were fine. Happened in less than a second.

 on: Yesterday at 07:29:22 pm 
Started by Seth Albaum - Last post by Dave Pluke
I have seen some in which a high level oscillation at a particular freq will cause them to "warp out of control" and shatter.

Yeah, in addition to the over-excursion theory, I was wondering if simply pumping too much ultra-high EQ could also fracture the diaphragm.

Years ago, I fractured the aluminum dust covers on some Altec 417-8H speakers in my Twin Reverb.  Can't blame the phase plug on that one...


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