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 on: Today at 12:58:32 am 
Started by Brian Larson - Last post by Philip Roberts
Grass valley advc-g1. Should be $1k. Im not totally clear what the difference between the g1 and g1a is.

 on: Today at 12:06:20 am 
Started by josh allman - Last post by josh allman
Anyone have an idea where I could get the fly hardware for the TD1? Or the spec sheet on it? Id like to start there and design something around that.

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 on: Yesterday at 11:33:27 pm 
Started by David Kulick - Last post by Patrick Tracy
So the idea is to mix the drums on those seven channels, and use group 1 as the master drum volume control. What I can't figure out is how to send that drum mix into the monitors (aux 1-4) since I don't see any way to send a group into aux. I can just send each drum channel into the appropriate monitor, but they won't be getting the mix that's going to FOH; it will just be whatever is sent from each channel. In some ways that's better than the full drum mix.

Your instincts are good on this. You don't necessarily want the whole drum submix to be the source for the monitor mix. Just put what each musician needs in each monitor. On bigger stages monitor mixes tend to be more complete than on smaller stages where musicians can hear each other directly. For each monitor mix start with the primary thing to be monitored, usually that singer's own voice and/or that musician's own instrument. Then build a mix of the other stuff around that.

 on: Yesterday at 11:23:16 pm 
Started by Gordon Brinton - Last post by Wes Garland
I keep thinking that Alto TX8s would be a good choice for this application, on the right stand.

But then I realize I'm already overworked and nobody is complaining, so....

 on: Yesterday at 11:19:43 pm 
Started by David Kulick - Last post by Dave Garoutte
Where are you?
It might be worthwhile to hire one of our members for your first show to specifically teach you how to use everything.

 on: Yesterday at 10:48:49 pm 
Started by Ike Zimbel - Last post by Jason Glass
I just bought one. For me, it seems to work wonderfully on strictly analog units such as UHF-R, but works rather poorly on wireless such as ULXD.

 Anyone else have a similar experience?
Yes, and it's frustrating. We NFL GDC's have been searching for years for an easy, quick, handheld counter that can ID digital mic center freqs, and we're still stumped.  My solution is a Signal Hound SA velcroed to the back of a midsize Windows tablet running Spike. Spike can do peak searching markers and can shift the analysis CF to said marker.  Then just reduce span until meaningful info appears.  The two major issues with this are price and lack of simplicity.

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 on: Yesterday at 09:40:48 pm 
Started by Gordon Brinton - Last post by Douglas R. Allen
I frequently run sound in bars and social clubs that are oddly shaped. There always seems to be some part of each room that is difficult to cover with mids and highs, thus vocals and overtones aren't clear for people who sit in those over-flow areas, far corners, and cubby holes.

I wish that I could find a tiny column array without a sub that is powered to use as delay fills. I'm talking something super narrow and nearly stealth like, maybe 6 or 8 x 2 drivers. I don't need a sub because my low-end seems to always fill the rooms to the back row. I don't like the idea of a standard size 12"/horn on a stand because barroom space is usually at a premium. If I could tuck something smaller (and short throw) into dark corners or between tables where people aren't likely to trip over them, it would be ideal.

As far as budget, I can't really justify spending big bucks on solving a minor problem for bar gigs, so let's stay under $1000 (US) per box.

Any ideas?

I believe IG1T will be under $1000.

Maybe IG2T as well but not sure.

I have purchased some IG4T's as Mid/High's and really like them. First gig out next weekend. Mike Pyle here on the LAB is a dealer and recommended. I'm small time as far as purchases compared to most here yet he always takes the time to reply and very fast as far as placing orders and follow up tracking numbers etc.

Douglas R. Allen


Douglas R. Allen

 on: Yesterday at 09:37:19 pm 
Started by Matt Davis - Last post by Matt Davis
My church is in the very early stages of planning a complete stage redesign, and at the center of this is a new projection system. We will definitely be going to an expert installer once we get closer to starting, but Im trying to get an idea, and Im not very experienced in this field.  Our budget for purchasing a projector and lens would preferably be around $5k-$7k, but could be more with some convincing.

Were thinking of building a massive 2:39:1 screen with material from Carls Place. The estimated screen size will be around 101 x 241 (261 diagonal) The projector will need to be 16 or closer to the screen due to placement of the FoH speakers.  Most of the congregation will be from 30-60 from the screen, and the seating maxes out at about 450 people.

Im assuming well need at least 5000+ lumens due to ambient light, but were gonna do as much as we can to remove a lot of it during the redesign. 
Im also not sure about whether we absolutely need to go WUXGA, or if WXGA will be fine. It will be primarily used for text and graphics, or motion backgrounds. Recorded video is rare, and typically only used for special announcements or events.
We also prefer to go with a laser projector to add longevity and cut down on maintenance.

So far Ive been looking at some Sony projectors like the VPL-FWZ60, VPL-FWZ65, and VPL-FHZ60 and using a lens like the Fixed VPLL-3007 to achieve that size with a shorter throw.

Attached is a photo of the room for reference.

Again, Im really not experienced with projection, so feel free to tear anything I said apart.
All suggestions and advice is greatly appreciated!


 on: Yesterday at 09:29:44 pm 
Started by David Kulick - Last post by David Kulick
I'm a retired computer programmer living in a 55+ community that has a 350 seat theater with a Soundcraft GB4 (32 channel) board. We mostly get tribute bands - this coming year we have the Rolling Stones, Doors, Creedence, Neil Diamond, etc., and some small local bands and old crooner folks. I started helping out last year, setting up monitors and cabling instruments and learned how to use direct boxes and basic board functions. I also handled one of the two spotlights. The sound guy isn't available for most of the shows this year and I'm going to be handling the board. Big promotion.

I think I understand the GB4. I've watched every youtube video on it (paying special attention to the EQ functions), and I've read the manual several times and sometimes I just sit there and play with it and figure out how it works. Most videos ignore the group and matrix sections, and we never used those before, but our sound guy always brought two SM57s to mike the drums (one kick, one overhead) and since we won't have those mikes, I bought the Shure PGADrumKit7 and a second 8 channel snake to handle those seven mikes. If nothing else, we should end up with a cleaner drum sound.

My plan is to dedicate channels 25-31 for the drums, and I've watched every video on how to mike drums. My plan is to use a group for them, and that's what I don't fully understand. This line is from the manual explaining the mono input channels: "The signal is sent to the stereo mix bus, centre bus and 4 group busses using the C, L+R, 1-2 and 3-4 switches. Note the use of group 1 & 2, and group 3 & 4 as 2 sets of stereo pairs." My idea was to send all the drum mikes to group 1 (not L+R as we've always done with each input channel) and have group 1 as the master volume for all the drums, feeding that into L/R. We really only need Left since our system is essentially set up as mono, something I'd like to change in time, but currently the left channel goes to the entire front speaker setup (left, right, center, sub). The right channel goes into some ring speakers on the ceiling 2/3s of the way back, and I have no idea why we need those. I don't plan on keeping them on unless you folks have an idea why they're needed. It isn't like this is Giant's Stadium.

I think I understand the idea of 2 sets of stereo pairs. If I don't use the L+R button, but instead use the group 1/2 button for the drum channels, the signal should go into groups 1 and 2 equally, unless I pan it, but I don't plan on doing that. The group section in the manual is a bit skimpy, but it seems that I can send each group into L/R and/or Center, and there's a pan knob for each group  although again I don't need that. Do I have this right?

So the idea is to mix the drums on those seven channels, and use group 1 as the master drum volume control. What I can't figure out is how to send that drum mix into the monitors (aux 1-4) since I don't see any way to send a group into aux. I can just send each drum channel into the appropriate monitor, but they won't be getting the mix that's going to FOH; it will just be whatever is sent from each channel. In some ways that's better than the full drum mix.

One of our residents is a drummer and I'm going to have him bring his kit to the theater in the next week or so and hook him up and give it a whirl. Should be educational.

Also, I'm a bit lost on the use of the Matrix section. Each group (1-4), and the left, right, and center outputs can be sent to Matrix 1-4. Each of those goes to a 1/4" output. What are those useful for? Actually I have a partial answer to that. Our center channel is mostly unused (no connector on the XLR center out on the back of the board), except that the center channel is sent to matrix 1, and the 1/4" output of matrix 1 goes to a hearing impaired transmitter.

Thanks for any help, and I'm sure I'm going to have more questions. Reading and watching videos (and watching our sound guy) isn't the same as handling the board with a band on the stage.

 on: Yesterday at 09:18:41 pm 
Started by Brian Larson - Last post by Brian Larson
Looking for a Scaler that I can easily drop at the podium for corporate events that will take VGA and DVI or HDMI (at a minimum) from presenter laptops and convert to SDI (or just HDMI, if the price is right) to go out to my switcher.  Ideally this thing could auto detect input as well.

Does anything like this exist around the $1,000 mark?

We have Decimators for taking HDMI laptop signal but need something that can also do VGA/analog signals. We used to have Kramer VP78s that worked OK but were clunky to make them play nice with the rest of our gear format wise.

A Barco Screenpro is basically exactly what I want but retails for around $7k...

Any ideas?  Seems like this would be a highly in-demand piece of hardware. Sort of like a DI for video.

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