ProSoundWeb Community

Please login or register.

Login with username, password and session length
Advanced search  

Pages: [1] 2 3 ... 10
 on: Today at 02:28:05 pm 
Started by Ben Mehlman - Last post by Mac Kerr
Thanks Tim.  I'd avoided the KF300 up to now because of their 90 degree dispersion.

Is 90 too much coverage or not enough coverage for you?


 on: Today at 02:26:35 pm 
Started by BrianHenry - Last post by BrianHenry
Hi Everyone,

In the end, I decided to purchase a single SRX828sp to start. So the obvious next question, what is typically the best bet for positioning a single 2x18? In my application, I will not have much time to fiddle around with moving things about.

 on: Today at 02:25:31 pm 
Started by David Allred - Last post by Mac Kerr
It can, and I looked into that with a huge grin thinking I had the answer, accept an input into "physical" Ch 2 (random pick) and send that source to any, or all, mixer channels... complete with individual EQ, comp, etc.  BUT they share the input gain.  Changing gain on any, changes all that are linked.
If the gains can remain matched, that would be easiest and best.

Here's your solution.


 on: Today at 02:23:46 pm 
Started by Daniel Biggerstaff - Last post by Stephen Kirby
If you have a pair of Keystone subs and your main complaint about the small system is that the Bag End subs don't kick, then just use the Keystones with those tops.  I've looked into those as upgrades from my Cubo's along with the DIY XoC tapped horn using the LW1400s I have in the Cubos.  More sawdust and time though.  And newer drivers are out there for either of those DIYs that will noticeably outrun the 18 Sounds I have.

If you have the cabinet making ability, Peter's tops over 4 Keystones would make a substantial amount of noise.  Two of his 60 degree cabinets might replace your large system.  I'm not sure how easy it is to convert one back and forth between the RCF and 18 Sound horn but one 90 degree cab over a Keystone would definitely fill the midrange gap.  If you've worked out how to move the Keystones around, the stronger tops would be not much different than your 15" Bag Ends.
As a one man operation, keeping things manageable is important to me.  Hence the 2 foot cube Cubos.  Although I lust after the deeper bass of the larger horns.

 on: Today at 02:19:41 pm 
Started by Kevin Graf - Last post by Lance Rectanus
So, was the one that died, electrocuted?   Or did he drown from lack of muscular control due to electrical shock?  Or is it yet to be determined?

As far as I can tell the cause of death is yet to be determined. The various articles state that the young man reported from the water he was feeling an electrical shock. There were multiple people and one animal in the water, all experiencing some level of this shock. Once the boat was unplugged from the shore power everyone got out of the water safely but the 19 year old.

 on: Today at 02:03:08 pm 
Started by Jonathan Hiemberg - Last post by Stephen Kirby
Check out .  Everything from budget to off the charts high end.  But the budget stuff works.  Simple Project turntable with a $75 Grado cartridge will get you well into what folks rave about vinyl.
Old direct drive turntables (or the new cheap DJ ones) pulse or cog between motor poles.  Higher torque is fine for slip cueing and scratching, but sounds like crap compared to a simple belt drive table with a solid MDF base (plinth).
I've heard exotic turntables and cartridges and there is a difference.  But the cost benefit ratio is logarithmic as it is with almost all audio.  Once you get past the cheap junk, it takes factorials of more money for incremental improvements.  And mixed in with that is the snake oil looking to extract more money from folks who don't bother listening.  But the audiophile entry level is safe.  Value oriented stuff based on sound engineering principles.

 on: Today at 01:53:21 pm 
Started by John Roll - Last post by Thomas Le
Wasn't there a thread just like this recently?,163912.0.html

Strictly of the two, EWI. But I roll with mainly DIY Pro Co/Canare, the cheap cables I use for impromptu ropes.

 on: Today at 01:51:01 pm 
Started by Kevin Conlon - Last post by Kevin Conlon
The crux of the issue is in boldface.

I suggest Kevin C. taking a look at Guy Holt's profile and clicking on "show posts".  Guy has spent a fair bit of time posting about "dirty" power - what it really is, how it gets that way and what (little) can be done about it if the offending device(s) cannot be powered from a separate source.

The take away I got from Guy's posts is that many of the problems attributed to dirty power are failures or shortcomings in product designs or failures of grounding and bonding practices.

I've never had "dirty power" from a "real generator".  I've had unbonded neutrals, found loose internal connections, poor frequency control, etc.. but genuinely dirty power from an M-Q Whisper-Watt or similar generator?  No.
Thanks, i will check that out. A lot more to it than i thought. The ct70 will get looked at also. I have a good fluke meter and ncvt and use them on all power connections i make. I was wanting to know how much more i could do and all of you have been very helpfull, thank you. Years ago when honda generators were belt driven i knew more about gen. power as i had to fix them. Forty years of new learning has pushed it into some far corner of my brain. I did build a load board out of 500 watt bulbs some 100 watt and a 50 so i could load and test them after a repair. Thanks again to all.

 on: Today at 01:44:32 pm 
Started by John Roll - Last post by Rick Powell
I'm in the process of weeding out my mic cables to eliminate the oddball brands and shorties. I was wondering what the consensus was between Hosa and EWI. I really like the jacket on the Hosa cable and they've worked well as do the EWI cables I have. I'm leaning towards the EWI because of the price. Are there any other brands I should consider?


I buy bulk Canare mic cable and the gold plated pins/black-barrel Neutrik XLRs and make my own, and haven't had a single failure in 5 years. Why mess around? You would love the confidence that a pro quality cable would give you, and if you are OK at soldering they really aren't much more expensive than the budget brands, except for your time investment. I can do 20 of them in an evening's time.

 on: Today at 01:39:58 pm 
Started by Nathan Riddle - Last post by Nathan Riddle
Okay so I'm working on a video install for a small dance studio.

They have two studios and two viewing/waiting areas.

They want to have video piped into both rooms from both of the studios
sound for performances
DVD/PC for promo videos when practice isn't in session.

Trying to do this fairly on the cheap, lots of volunteer labor (on their end, not mine :P )


Before we get into the nitty gritty.

What I need answered is:

1) is there a different video router that I should be looking at?
2) is there a different professional camera that I should be looking at? (will the output work with a TV)?
3) what consumer camera would work? ($0-200 security camera style/quality with imbedded mic and hdmi output)


Video Sources:
DVD/Computer (local switch)
Studio 1 practice camera (greater than 135* viewing angle) [smaller wider studio]
Studio 2 practice camera [larger studio with camera further away]
Studio 2 performance camera [for performances in the future]

Sound Sources
DVD/Computer audio
Studio 1: camera mic
Studio 2: camera mic + playback
Studio 2 2nd angle + playback

Lobby 1 (tv speakers) [I can always pull the audio from the HDMI/SDI and go to a sound system/speaker bar in the future]
Lobby 2 (tv speakers)


Here's my current gear list and thoughts associated with each one.

Matrix switcher / video router

1= expensive, but networkable (app)
2= cheaper, no network :(
3= alternative, slightly more than the hdmi switcher, SDI (could be nice for cameras/running cable/less expensive than doing multiple active HDMI runs)

Kanex & matrix Seems like decent brands. What say ye?

Video camera's (this is where my skills are lacking).

1= great low light, professional,

Not sure of viewing angle or how to calculate it from lens shape/size?
I think the low light will be very nice for when they do performances. But is this overkill for practice?
Is there other cheaper options for cameras?
Maybe this should be the performance camera, but not the practice camera?

2= cheap, self contained mic/camera wide viewing angle (good for studio 1)

I need something similar, I read the manual and the HDMI output is only for viewing recorded content.

Pages: [1] 2 3 ... 10

Page created in 0.076 seconds with 13 queries.