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 on: Yesterday at 11:04:54 am 
Started by billy merritt - Last post by John Halliburton
People would cringe if they saw what I started with.

This is what I started out with.  Peavey Black Widow 12" and the 1" #22 hf driver and horn.  Built the cabinets and the crossovers.  I learned early on from someone that getting stands for them made a big difference, so I put Atlas pole cups and bought a pair of the matching chrome stands.  The old Bogen four channel tube mixer just wasn't big enough(my father in law's), so we bought a Peavey 8 channel powered mixer with the fake Oak side panels.  Weighed a ton, especially after I'd found a used road case that fit it.  All this circa 1983, and bought from Gand Music and Sound. 

Found another photo.  The first time I mixed at Petrillo in Grant Park. ;>)  A city sponsored battle of the neighborhood bands finale.  Had to bring your own sound.  The tops are one of the later designs done with some input from Tom.  Four way, all first order crossover filters(phase shift is minimized to 90 degrees.  Sealed woofer cabinet-better impulse response, sealed back offers some driver protection against over excursion.  The subwoofer is a prototype for the elephant communication project at Cornell University for professors Payne and Poole.  -3db at 14hz.  I made the rack case a couple of days before this for the Crest 8001 to travel-it was one of the shop amps at Intersonics.  Needless to say, I had no problem keeping up with that Meyer rig in the photo. Oh, and the Peavey mixer down in the lower right.  Used a 55gal drum for a stand.

To the OP-obviously you've discovered two things.  First, it rarely is cost effective overall to build it yourself.  Second, there really is a lot of science and art to building a good loudspeaker.  I went through six versions of my first PA loudspeakers, including the last couple of iterations with input from Tom Danley.  When Tom first developed his full range loudspeaker designs, I pretty much quit and have been using his ever since.

I went thru the same scenario with monitors.  Then a number of years ago I got together with Curtis List and Jack Arnott and we designed the Coax wedges I've used and built ever since. 

Also built a few subwoofers. ;>)

Would I have traded all this DIY for another more standard path?  Not on your life. 

Go ahead and keep tearing things apart and putting them back together.  Best learning curve around.

Best regards,


 on: Yesterday at 10:55:41 am 
Started by Ital-Rolando - Last post by Ital-Rolando
Just to get some new ideas n how you route/control your channels inputs among auxes, matrixs, dca, etc... in order to feed PA, wedges, subs, front, external inputs/processor/recorders etc.
I know the theme could be vast but I wonder if you came up with a schema to accomplish a functional and probably a rapid setup. (Please specify if you are talking about foh or monitor mixing  ;))
For example, on my SD9, I usually group channels by their stereo or mono aspect (grp1=kick+snr) and furthermore by their frequency range (grp2=drums highs), then I use dca to control inputs and dca to control groups too; use matrix to feed phisycal outputs; auxs just for effects or wedges/iem, ... anyway, whatever you feel confident to share I will surely take notes from it  :)...

 on: Yesterday at 10:53:09 am 
Started by BrianHenry - Last post by Chris Grimshaw

Tops and bottom strapped together into a single monolithic stack.

It was solid.  I am sure a lawyer and half this board will tell me I was negligent and should be in prison.  It worked for me for years, no issues.  Looks more extreme in photos than real life.  YMMV.

Looks alright to me, so long as those wheels lock well. If someone really wanted to, they could probably knock it over. Bolting it to the ground would be the only way to stop that happening, so I think your approach is entirely reasonable.


 on: Yesterday at 10:52:19 am 
Started by David Allred - Last post by David Allred
I cut the flex-boot off right at the shell.  It still has a partial liner, so the cable rubs on a bit of poly(?) instead of steal (if it even matters).  The cable gripper in still employed and the cable bend height is sufficiently low for the cover to close.

 on: Yesterday at 10:33:39 am 
Started by Scott Holtzman - Last post by Tim McCulloch
That clearly looks like  a multi-use product.

I think it cauterizes hemorrhoids, too.

 on: Yesterday at 10:07:13 am 
Started by Kevin Conlon - Last post by Scott Helmke
It seems we may have had a similar discussion before... what nature of power problem are you looking for?  A cheap wallwart power supply, with AC output could step down and isolate the mains power to something you could listen to... This may not reveal very HF interference, but problems in the audio range could be picked up.

In fact we had a discussion that ran to several pages!,158738.0.html

 on: Yesterday at 10:02:43 am 
Started by Scott Holtzman - Last post by Scott Holtzman
I wonder if you could get this in the Sears catalog?

P.S. -- I *HIGHLY* recommend that a GFCI be used for this.

That clearly looks like  a multi-use product.

 on: Yesterday at 10:02:37 am 
Started by billy merritt - Last post by Ivan Beaver
^^^^^^  This right here.

and their stuff sounds entry level.  There's no particular shame in that (we all start somewhere) but as Halligan points out, "improving" such things is a fool's errand.

People would cringe if they saw what I started with.

My first "PA" consisted of a 4 channel mixer I built using the chassis of my broken Kay guitar amp.

There was a single 40 watt amp.

The speakers were 2x12" and a 4x10" horn (1 each side).  All radio shack parts.  But at least they were the "musical instrument" speakers :)

Of course the cabinets were particle/chip board (it was cheaper).

Zip cord for speaker wire etc

No low pass on the woofers and only a single pole filter on the HF.

But hey-it worked for me-at the time.

When they invent the time machine I REALLY REALLY want to go back to some of my jobs to see what they really sounded like

 on: Yesterday at 09:43:24 am 
Started by BrianHenry - Last post by Dave Bednarski
I've since sold this setup so I cannot take any updated pics but here two some that should connect the dots...

top un-strapped in this photo...

in the wild...

The subs are strapped to dolly board.  I laced a single ratchet strap from below up through the handles of the stacked subs (not over top) and linked together at the ratchet below - so it was clean and out of sight.  This allowed the padded covers to slip on as-is.  The dolly board was custom angle iron with 4 locking casters.

The tops attached the same way - ratchet strap looping the handles of the 153s around the subs below.  Care to tighten and later losen each side together to keep it from tipping but really this wasn't an issue.  If you pop'd the ratchet at the end of the night without some on the other side the top would wiggle and "walk" maybe a 1/2 inch.

Tops and bottom strapped together into a single monolithic stack.

It was solid.  I am sure a lawyer and half this board will tell me I was negligent and should be in prison.  It worked for me for years, no issues.  Looks more extreme in photos than real life.  YMMV.

BTW - the custom Undercover NY for the stacked subs are sitting in storage, no good offer will be turned down!  They were $380 new and in lovely condition.  :)  The dolly boards cost $50/each + casters from my local fabrication shop - build/buy your own.

 on: Yesterday at 09:27:34 am 
Started by Joseph D. Macry - Last post by Tim McCulloch
More like- "have to EQ the piss out of it". I bought a PR35 and a PR22 without trying them first and I can't begin to explain how much I dislike them. I had the highest hopes but it takes way too much work to make them sound right.

I bought a pair of PR22 for occasional lectern and vocal use.  Huge mistake.  I've used them twice and likely will never use them again.  There's a significant amount of HF, >8kHz, that requires a fair bit of EQ to "fix".  That it can be fixed is a plus, but especially for lectern it's a PITA.

I bought a pair of PR31BW and love them.  I'll probably sell the PR22 and buy another PR31BW.

The BW suffix is for Bobby Workman, the FOH mixerperson for Charlie Daniels Band.  Bobby needed a physically shorter mic for the guitar amps (Charlie would back into the longer PR30s used on guitars) and to sneak under the cymbals to mic drums.  Bobby did the first modifications himself and then talked to Bob Heil about it.  Heil immediately saw the potential, made a couple of small changes to Bobby's mod and a new model was born.

The other thing about Bobby and Bob - they are 2 of the nicest audio guys you'll ever meet.  If you work with CDB take a few minutes to talk to Bobby about mics or anything else audio and you'll get thoughtful conversation with decades of experience behind it, presented in a nonjudgmental way.  Ditto for Bob Heil.  :)

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