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 1 
 on: Today at 03:09:23 am 
Started by dave milton - Last post by Dan Mortensen
I just set up a Producer and an S32 and got out my modified barbeque sparker, which generates a real nice static spark that lasts as long as you hold down the trigger (C Battery powered).

With Unshielded Belden Duracat with Ethercons (the latter is a red herring, alas), the signal is disrupted real nice by touching the spark to any part of the stage box or console.

Touching any part of the insulated cable also disrupts the signal.

Using the Behringer brand shielded cable with Ethercons (~150' on a plastic reel), since that one was the easiest to get to, touching anything, including the middle of the cable on the reel, does nothing. I believe that any shielded cable with metal RJ45 and bonded Ethercon (meaning just sitting there as it does when you install it, not soldered or anything) will behave the same way.

 2 
 on: Today at 02:55:24 am 
Started by Liam Croft - Last post by Eric Snodgrass
I've not had a request for a media (press) feed of a political or corporate event that was pre-anything.  They want a line or mic level signal that is pre-squashed and perhaps band-limited (80Hz-10kHz).

And an idea I'll plug because I read it on live-sound.com (the original LAB, someone else has the URL now): run a line back to your console from the press mult so you can monitor the signal that arrives at it.  When Last Moment Larry comes up to you and says "your feed has a buzz in it" you can solo it up and, if clean, hand your cans to Larry and let him hear the lack of buzz.  "That's output 16, unplug my monitor line and give it any open output, and you use 16, okay?"  When his stuff hums again, solo up whatever output and say, "well, try this one, but it still buzzes it's your shit, okay?"

Both of these suggestions are standard-operating-procedure for me on corporate events.  Video people are very happy with a squashed audio signal (and I like to add some make-up gain to the record feed to further lessen the dynamic range) and being able to monitor the press bridge feed from the actual press bridge output gives an operator a perfect point of reference for troubleshooting or proving to "Last Moment Larry" that his gear is at fault, not yours.  (It makes me very happy to be able to quickly shut down any argument with any person complaining about the press feed.) I also make sure that the press bridge is clearly marked with the type of signal output (MIC or LINE). 

 3 
 on: Today at 02:37:55 am 
Started by Eric Snodgrass - Last post by Eric Snodgrass
Step up the the EW300 series.
You get 32 pre-set bands plus the ability to monitor your rig through WSM, Sennheiser's free software.
All ew g3 and g4 devices are compatible.
I don't think the trade-in program is still going, but you could sell your old units overseas via e-bay.

I did let them know that they might have to purchase the ew300 series systems to reach their stated goal of 24.
I have also told them that antenna combiners are now needed for all of this wireless to ensure consistency of signal from venue to venue.  Antenna farms just won't cut it anymore.  The good news is that they are interested in getting the combiners. 
I told them that they can have 3 racks of 8 each along with two ASA 1 antenna combiners.  That will give them flexibility with their wireless.  Since they could have multiple productions going at the same time they can easily split up the wireless because they will be in three different racks. 
And Dave, another compatibility between the G3 and G4 units is the rackmount kits.  The G4 units come with their own rackmount kits and while building them one rack I discovered that the G3 and G4 units can be rackmounted side-by-side.  Even their Evolution D1 2.4gHz series is compatible with the G4 rackmount kits.  That was a good call by Sennheiser. 

 4 
 on: Yesterday at 04:52:06 pm 
Started by Jay Marr - Last post by Jay Marr
Maybe it's just me but if I was putting in a studio, I would want to hard wire snake all the way back to the console .
Latency is and can become an issue.

This project isn't connecting a snake to a console.  It's about getting internet from my office to my studio.
My snake/console/drums/guitars is all in one room.  Was just thinking about running one or two audio lines in case I ever wanted to pull a guitar or vocal signal to my office.

 5 
 on: Yesterday at 04:50:34 pm 
Started by Daniel Martini - Last post by Ivan Beaver

Also Scott thanks for the walk through of the wiring! However according to your instructions, If i wire both left and right outputs from my amp into one ep-4 input connection into the msl then that means I'm only able to run one speaker off one amp? I was told I would be able to run all 8 msl's off 4 mackies??

You can run 2 cabinet in parallel off of each amp.  It should work fine.

There are a couple of ways of doing that, either add more jacks to the cabinets or home run each cable and make a patch panel that will parallel 4 sets/pairs of connectors.

 6 
 on: Yesterday at 04:48:00 pm 
Started by Heath Eldridge - Last post by Jay Marr
I still can't get over the lack of a pole cup on the side of the SRX828p cabinet. I suppose I could make one and attach it via one of the handles, but it really should already have one.

It would be awesome if JBL (or any hardware manufacturer) made a handle/pole mount component that you could buy and just swap out.
A plate with the same size and bolt pattern with a pole mount hole instead of a handle.

If I could weld, I'd try it.

 7 
 on: Yesterday at 04:36:41 pm 
Started by Jay Marr - Last post by Dave Garoutte
That's a neat product I hadn't seen before.
It looks like it would be difficult to push a fish tape through bends due to the ribs. Any experience with that?

I believe the ID is relatively smoothe.
Also the plastic is going to have less push and pull friction than metal.

 8 
 on: Yesterday at 04:24:44 pm 
Started by Earl Teigrob - Last post by Jeff Lelko
Jeff, thank you for your feedback....no real budget but under $1000 for a solution would be in line.

No worries, and I’m glad to hear that you’ve found something that should work well for your application.  In terms of software, the majority of the platforms on the market will meet your needs in one form or another.  MagicQ PC plus a wing or Onyx (formerly M-PC) with a wing are both very solid choices.  MagicQ will be a bit over your budget, Onyx will be a bit under. 

Just as an aside (mostly for those following along), software isn’t inherently better than hardware.  In fact, many would argue the opposite – myself included.  The difference really comes from comparing budget boards that are targeted at casual DJs or bands to the more fully-featured consoles that you’d find on tour or in a theater.  20 years ago software-only controllers weren’t really an option yet – you bought hardware – usually as much as your budget could afford.  Combining that with the fact most bar/club/band lighting rigs were halogen Pars and maybe a few Roboscans or Trackspots if you had money, the basic budget board such as the ADJ DMX Operator found its niche and hasn’t seen any tangible updates since. 

In the mid-2000s with moving lights getting better (and cheaper) along with LED fixtures becoming more prevalent even to the weekend warrior, a void became present between the budget DJ boards and the 5-figure professional consoles.  Numerous makers of large consoles capitalized on this by creating standalone software similar to the versions of their larger consoles that could work with a simple USB-DMX adaptor and offering said software for free in hope that users will adopt it and return to purchase wings and full-sized consoles when future growth warranted it.  ChamSys and Martin are two of the more notable brands to use this marketing tactic – both with great success.  Other brands such as ADJ and Chauvet created their own flavors of software with varying degrees of popularity and price tag, and a number of third-party programs also popped up as well such as Freestyler and QLC+ with the expected level of support to match.  Mid-level boards such as the Elation Trio, Strand 250ML, and ETC Smartfade Series made some effort on the hardware front but still lacked the horsepower and workflow seen in software and of course the larger consoles that were available at the time.

What I’m getting at is that you get what you pay for – the budget boards are great until they’re not.  I feel that oftentimes we’re spoiled as an industry these days by $30 LED Pars working 90% as well as name-brand units costing 10x the price as well as countless developers practically giving their control software away for free.  Never has it been easier to get so much for so little cost.  At some point though, something has to give and the time comes where you need to spend real money for a real console to get the professional features that you’ve come to need.  When the right time is to make the jump is of course up to the user and his/her specific situation.  Between the ChamSys QuickQ boards coming on the market as well as some degree of promise from the LightShark series maybe we’ll finally see some love towards the consumers who want hardware but can’t justify spending $5k or more on it. 

<Getting off Soapbox>

 9 
 on: Yesterday at 04:15:18 pm 
Started by Earl Teigrob - Last post by Steve Garris
The Magic 260 will do everything the OP wants to do. Creating fixture profiles is easy - I had to for every one of my lights. The only thing it won't do is well is moving heads.

When running the 260, you have scene buttons that are quick & easy to choose, as well as a fader for the fade rate, which you can set to slow fade or instant between scenes, and another button push will get you to chases. The Master brings all of my lights up & down very nicely, but my mini-movers instead spin around. I haven't used in in a while and I'm thinking of breaking it out again.

 10 
 on: Yesterday at 04:14:44 pm 
Started by Steve Litscher - Last post by Tim McCulloch
Slightly related: worked with Clutch last week. Lead vocal was an SM58 with a black grille. Looked great. Considering buying a few black grilles to have on hand for ours for certain gigs.

They came through Wichita a few days after your show.  As always, Clutch was a pleasure to work with.

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