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 1 
 on: Today at 10:52:16 AM 
Started by scottstephens - Last post by Tim McCulloch
I bought one from Sweetwater, used it for one talking head gig, and returned it.  The main reason for returning is that I learned that Bluetooth connectivity is not as immediate nor as stable as the WiFi control that we have all become used to for our digital mixers.  I was in a 100' x 100' convention space and, when I walked to the edge of the audience area to check on how the volume was at that location, I walked out of the range of the mixer.  This isn't really a flaw in the mixer, rather it was more like me learning that my requirements were beyond the capabilities of Bluetooth remote control.  There was also a lag in the response when making a change via Bluetooth.

Regarding the faders, the mixer has 60mm faders and I had some trouble making fine adjustments with them.  A little fader movement got me more change than I wanted.   The mixer is compact and does have good Eq and Compression via the app, which is what attracted me to it in the first place.  But ultimately, for my use cases, I think I'd be better served with something like an MR18 and a WiFi rig.

Bluetooth has a specified range of around 4-5 meters (the "high power" BT flavor is maybe 10-15 meters but that's not what Behringer used).  Within that distance I've experienced none of the issues you've had.  I also have not found the 60mm faders to be any less precise than other 60mm faders.  Perhaps there was additional interference in your location.

 2 
 on: Today at 10:22:45 AM 
Started by Peter Kowalczyk - Last post by Spenser Hamilton
I agree.

The biggest issue I've seen with *some* Seismic snakes are faux-neutrik male XLR connectors that have slightly larger than standard outside diameters and can get stuck. I rather like the flexibility of their cables and, as noted, provided they're pampered, they'll do the job.

Dave

Can confirm, dealt with this just last night.

A minor issue until you are unpatching the openers tails in a hurry, in a cramped backstage, in the dark...

 3 
 on: Today at 10:03:28 AM 
Started by Peter Kowalczyk - Last post by Steve Eudaly
CBI "Ear Splitter" is what I've sold the most of. They will do whatever level of customization you want.

+1 for CBI. Well made, cost effective and you can spec it however you want.

We've got a couple of 48 channel CBI splitters both with LK150 connectors on the ferniest. Both are "wye" splitters without transformers. One has ground lifts but I've never needed/used them in 8 years, so I wouldn't bother. Most recently I purchased a 32 channel hard-wired (no multi-pin disconnects) CBI splitter with 10 and 25 foot tails. Compact and lightweight.

 4 
 on: Today at 09:57:43 AM 
Started by Rolando Saenz - Last post by Kevin Maxwell
Who me?  I need DSR112 power amp.

Thanks! 


Sent from my iPhone using Tapatalk

I wonder if the problem with them is like what happens with the Power amp in the original QSC K12 speakers. The power supply section had a problem with the solder (it is a known issue) and they needed to be re-soldered. On some of them a couple of large Capacitors do not have enough physical support and the legs would break at the board. So that would need to be fixed, possibly with just redoing the connection and then supported the caps with some heavy use of RTV compound. Some of them just needed to have some of the heavy connections in the Power Supply part re-soldered. I fixed 2 of them that the re-soldering was all I had to do. Those 2 were in an install, I didn’t know about the cap part of the problem when I did the repair. If they were in portable use I would have gone back in and used some RTV compound to support the Large Capacitors.

If you know what you are doing with disassembly and shoulder this wasn't too hard. I am experienced with this kind of thing so for me it was easy.

I was looking for a replacement Power Amp for one of these QRX K12 speakers and was told of this issue with the solder at that time that they were built (some change in either what solder was used or how it was soldered) so I fixed the first one with just re-soldering it and then when I encountered the 2nd one I knew what to do. I was lucky that neither of these had the broken capacitor legs and I only found out about that from a repair shop that I was talking to about something else, after I had fixed them. I am told that these 2 are still in service and working just fine. BTW the symptoms was one of them had been sitting around it was taken out of service because it wouldn’t eve turn on. The second one started shutting down intermittently while in use.  I wonder if this was an industry wide problem in the time period that they were manufactured or just a problem with the QRX K12 speakers.

 5 
 on: Today at 09:12:12 AM 
Started by scottstephens - Last post by John Schalk
Hey guys.

Do any of you have one of these? What do you think of it? Pros? Cons?  A friend of mine says that it has some "weird" fader issues.  My Sweetwater guy was not a lot of help. He just said that it had some "kinks" that needed to be worked out. 
I bought one from Sweetwater, used it for one talking head gig, and returned it.  The main reason for returning is that I learned that Bluetooth connectivity is not as immediate nor as stable as the WiFi control that we have all become used to for our digital mixers.  I was in a 100' x 100' convention space and, when I walked to the edge of the audience area to check on how the volume was at that location, I walked out of the range of the mixer.  This isn't really a flaw in the mixer, rather it was more like me learning that my requirements were beyond the capabilities of Bluetooth remote control.  There was also a lag in the response when making a change via Bluetooth.

Regarding the faders, the mixer has 60mm faders and I had some trouble making fine adjustments with them.  A little fader movement got me more change than I wanted.   The mixer is compact and does have good Eq and Compression via the app, which is what attracted me to it in the first place.  But ultimately, for my use cases, I think I'd be better served with something like an MR18 and a WiFi rig.

 6 
 on: Today at 09:08:48 AM 
Started by dustin Bradley - Last post by Tim McCulloch
I’ve done some searching but not much info online.  Has anyone actually used a Bassboss system?  I was looking at the AT212-MK3 and dual-18 subs system.  It seems it would be a good medium system, like the JBL SRXs.  It has a lot of good DJ accolades but not much live band experience.  Thoughts?  Any experiences with full bands and outdoor venues?

My experience with then-BassMaxx was back in 2007, at Paul Bell's NYC sub shootout.  David Lee brought a couple of models and I was impressed, as were most of those in attendance.  I've not used any of the "top box" models and can't give a direct opinion, but if they're anything like David's subs, they will do what he claims.

If you're going to spend a bunch of money it may be worth the cost of a drive or plane ticket to personally audition a BassBoss rig.

 7 
 on: Today at 07:08:54 AM 
Started by charles strickland - Last post by Douglas R. Allen
You're thinking of HyperMAC (as opposed to SuperMAC, which is what Sony called the 100 Mbps version before it became an AES standard); strictly speaking, the 1 Gbps version has never been incorporated into the (royalty-free) AES50 standard, so "AES50" refers only to the 100 Mbps version.

-Russ

Not sure who to answer to but here is a rundown on AES HyperMAC and SuperMAC.

MAC's

Cable requirements have changed through the years so it is good to note that.  ;)

Douglas R. Allen

 8 
 on: Today at 01:23:16 AM 
Started by Steve Ferreira - Last post by Matthias McCready
Hi all,

Has anyone here used L'Acoustics A10s? Looking at maybe having 4x A10 wide and 2x KS21s all powered with 2x LA4x amps. Not looking to fly anything at this point as 95% of my events are ground supported PAs. I have never used L'Acoustics before. I downloaded the Soundvision software and was completely lost. Much different compared to LAC and ArrayCalc.

What's the throw on these boxes like?
How do they sound?
Would a 1 over 1 or 2 over 1 be sufficient for a band gig and possible DJ. No EDM, hip hop.
The biggest room I provide sound for is 60' wide by 120' deep.
How's the accessories in setting these up etc..

Looking for Pros and cons of this rig.

TIA

I run an A15/KS28 rig, but I have A10's for my delay fills.

I am not sure what type of SPL your are looking for, and what amount of front to back variance is acceptable for your gigs, but I don't think you are going to get 120 feet of coverage with them, especially ground-stacked - in my room my hang of 4x A15's are shooting about 70ft-100ft, and that seems about right.

As these boxes are constant curvature that minimizes some of your options vs a line array.

The boxes are L'Acoustics, so they sound nice, I cannot complain - while they might look somewhat similar to VRX they are different animals.

---

One other curiosity I have is I that have occasionally worked on a A10 rig where the boxes seem to overlap and get harsh between boxes; it was a nature of the array, as it is not splayable. I heard from the integrator who installed that rig that this was due the box not being the install version, and that the install version has an available bumper - but I have not been able to verify that one- in that particular system a point source would have been cheaper and sounded much more consistent both for SPL and frequency.

Granted the A10's in my delay fills don't have this problem though - so not sure why.

---

Bottom Line: They sound nice, but I would probably be looking at a different rig for this application.

 9 
 on: Yesterday at 11:55:31 PM 
Started by Floris Barthel - Last post by Floris Barthel
The Dynacord DSA8212 amp would work fine bridged mono into a single 4 ohm TH-118.
You would need three more if you want to use the dynamic range the TH-118 can handle.
Their peak power of 3400 watts is good, but as Paul (and Ivan) have suggested the long term limiting should be set to about 1/4 that.

That was my take as well based on the specs but others suggested it might be OK to run one sub per channel? I guess I just  try it out and listen?

In the post below Ivan also suggests that two TH118s can be ran from a single DNA20K channel. Would that be roughly equivalent to a single TH118 on one DSA8212 channel or is my math completely off here?

Just 1 DNA20K.  It is 4 channels that are 5Kw each @ 2 ohms.

If you are running a mono system, then you could run 6 TH118s and 4 SM80s off of a single amp.

So that would be all 4 SM80s on 1 channel and 2 TH118s on each of the other 3 channels.

That is "assuming" all the SM80s are getting the same signal.

 10 
 on: Yesterday at 11:41:43 PM 
Started by Rolando Saenz - Last post by Rolando Saenz
Who me?  I need DSR112 power amp.

Thanks! 


Sent from my iPhone using Tapatalk
Ha! Is there any certified shop with techs that know their sh.... So those amps can be repaired, wish Yamaha or some body make em at least to replace broken ones, or you send the bad one and they sent a refurbished one

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