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 on: Today at 05:31:28 pm 
Started by hoodswigler - Last post by hoodswigler
Hey everyone! I'm wondering if I can get some advice on a live PA set-up.

Here was my previous set-up (I'm a solo artist):

- two EV ZLX-12P speakers on stands
- Mackie ProFX12 mixer
- SM58 for vocals
- acoustic guitar with DI
- analog bass stomp box (percussion)
- analog snare stomp box (percussion)

I haven't had any complaints on this system except for the weight and basically just the hassle of setting up and tearing down by myself. At times I also wished I had a bit more low end for my bass stompbox.

So I started looking at the tower systems, and after a bunch of research I decided to go with the Turbosound iP2000. In the meantime I sold the EVs.

To make a long story short, after testing it out, I don't think the iP2000 is going to cut it for me. I think I was fooling myself into thinking I could replace two speakers with one. Or maybe the iP2000 really are just bad quality. Needless to say I could use some advice on what speakers to get.

I'm changing up my solo act a bit and am looking to do something similar to Jack Garret
or Tash Sultana

In order to do something like this I would probably need a sub. The types of venues I play (where I need a PA) are breweries, wineries, bars, restaurants. The crowd is usually never over 100-150.

Did I make a mistake in getting rid of my EV ZLX-12P speakers? My top budget is $1000, maybe $1200 and and have it be as lightweight as possible. I've read the Yamaha DXR10 are great but that'll put me at the top of my budget and still no sub. Anyways, thanks for suffering through the long post. Any advice would be great! Thanks everyone!

 on: Today at 04:54:55 pm 
Started by Debbie Dunkley - Last post by Stu McDoniel
Today I checked something out that I had done about 3-1/2 years ago when I first purchased my Yamaha DSR112's. I just needed reminding.
As you all know I have my DSR's working again and I am back to using my DSR/PRX718 combo in smaller places.

I first started using this set up, as I said about 3-1/2 years ago and until then I had been using the PRX718xlf's with my PRX612's for FOH. The PRX612's did not have built in HP filter so I had no choice but to use the HP in the subs and I got good results.
The DSR's have HP also so when they arrived, I figured I'd experiment  bit and tried it a couple of different ways using the HP filter in the subs vs the tops. I suppose at that time I must have come to the conclusion I preferred using the HP in the subs so that is how I have been using it ever since.

I tried it again today and came to the same conclusion ( thank goodness) but I suppose my point is that I was surprised just how much difference it makes.
I used a mono recording of a bunch of different style music ( didn't use a live recording but might at some point) and had a DSR112 and a PRX718xlf each side.
First I set up each side the same and played some music so I could make sure there were no other noticeable variables, placement etc and then I set one side HP sub and the other HP top.  Switching from one to the other was interesting.
We both noticed that with produced dance type music,  there didn't seem too much difference - other than our perception being that the HP top side almost sounded scooped with an enhanced top and bottom end.
However, it was rock songs that made the difference more noticeable and made it more obvious what was happening.
It became clear it was the low mids ( or upper lows???) that were mainly affected. We could both hear a missing portion of the EQ spectrum in the HP top side and it sounded somewhere in that low mid region which would explain the perceived enhanced top and bottom end we heard with dance music.
We went back and forth using different songs and once we had concluded this difference, we could hear the missing portion in each song from that point on.  I am unsure why choosing the crossover in the tops or the subs would make this much difference when they are ironcally both set at 120hz from factory - yet that is what we heard.
I then did one more quick check and compared the HP sub side to the other side set using no HP. Some folks here have said they use their system this way and get good results. However, we found it muddied up the overlapped freq band a little too much so not something we will be using.
Just another observation I thought I'd share.

 on: Today at 04:47:05 pm 
Started by richard_cooper - Last post by David Winners
The SKP D-20 looks like a very versatile little mixer, perfect for small corp stuff or weddings.

 on: Today at 04:43:57 pm 
Started by Wesley David - Last post by Mac Kerr
I'm glad to have found this post

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 on: Today at 04:35:38 pm 
Started by Wesley David - Last post by hoodswigler
I'm glad to have found this post as I have been having very similar issues with mine. My previous set-up was a pair of EV ZLX-12p with a Mackie Profx12 mixer. I'm a solo artist so my set-up is pretty minimal - acoustic or electric guitar, vocals, foot percussion. The EVs sounded great but I hated lugging them around. I found myself wanting something easier to carry around and set-up. After a bunch of research I chose the Turbosound IP2000 as an alternative to the ridiculously expensive Bose towers.

I got it set-up, played some music through Bluetooth and was excited to try some live sound. I plugged in my electric guitar with sans amp pedal into the mixer then into the IP2000 and it sounded like absolute sh!t...distorting, vibrating sound. I thought it was maybe just the pedal. I tried running a midi keyboard using Ableton through it and it still sounded like crap.

I thought maybe I got a bad one so I returned it and exchanged it for another. Took it to an open mic I host and tested it out there. Seemed to be doing the same thing. I had a spoken word artist get up and you could barely hear him through the crowd without clipping. The building is long but there was no more than 50 people in there.

I think I was fooling myself into thinking I could replace two speakers with one. I was still debating on whether to give it another try but it seems like they just aren't up to par.

 on: Today at 04:30:33 pm 
Started by Mac Kerr - Last post by Mac Kerr
I wonder how they're going to manage a bunch of seated musicians?

Me too.  At 28'Wx32'Dx30'H THIS ONE seems pretty big.

Some musicians may be standing, all will have clip on mics to avoid mic stands. Talk back and Q&A speakers will be in the chamber.


 on: Today at 04:08:35 pm 
Started by Marcel de Graaf - Last post by Marcel de Graaf

No i mean the classic lab archives from 1999 to 2003.

grt. marcel

 on: Today at 04:07:50 pm 
Started by richard_cooper - Last post by John P. Farrell
Hmm, for about the same money I grabbed a Soundcraft UI-24r from Mike Pyle...  it's pretty awesome.

That may be a great product, but is definitely not a console with tangible faders which was a pretty important part of the OP.

Personally I'd never rely on an iPad for a CEO/important talking head mic.  They are very useful tools for other parts of the gig. 


 on: Today at 04:07:37 pm 
Started by Corey Scogin - Last post by Stephen Kirby
I wonder how many of those "legacy" acts are also addicted to the outboard they've been using since their hits were released?

Although maintaining that stuff could be as troublesome as an old desk.  I remember Robben Ford's tech panicking when TC announced the EOL of the 2290.  They got an early warning and were able to snatch up a couple spares but they aren't exactly made out of money like many of the hobbyists who sucked the market dry when they found out (same folks who will shell out $200k for a Dumble amplifier when one comes on the market so they can hook a 2290 to it and think they'll sound like Robben).

There will always be people who think that the sound of their youth was in the equipment used.  I'm sure there are indie bands who are just waiting to get big enough to mandate old analog stuff on their riders.  Just as they dredged up old Tascam Portastudios to get their recording "vibe" with.

 on: Today at 03:54:57 pm 
Started by Mac Kerr - Last post by Stephen Kirby
Most small so called anechoic chambers typically aren't.  You still get the sense of a rumble from all the highs being muted but not the lows.

I expect that the Bell Labs chamber is truly anechoic.  I've been in a few 10 meter chambers recently surveying some contract manufacturer's labs.  At least the RF chambers have solid floors.  The walls are pretty much like an acoustic chamber, they just paint the pyramids with conductive paint to diffuse EM radiation, then they can have the same thing under a solid floor.  Standing on the mesh of the acoustic chambers looking down at all those pointed objects is a little unnerving.  I wonder how they're going to manage a bunch of seated musicians?

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