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 on: Today at 07:00:26 am 
Started by Michael McCoy - Last post by Michael McCoy
Mixer is a Roland VMixer M-400 with digital snakes. These are not mic inputs with exception of the kick drum.  Then a bass and two electric guitars. No Phantom power. The guitars come off of a DI box which is a rack mounted Behringer. If I unplug from the snakes or mixer the noise goes away. If I unplug the guitars 1/4 the noise is still there.


We need a lot more information.  What model is the mixer?  Is there an analog or digital snake?  Are all of these input signals from microphones, and if so which mics?  Are some of these DI boxes?  Is the phantom power (48V) on for these channels?  Noisy guitar (and even bass) amps are common, but if the same noise is in the kick drum channel that is odd.  If you unplug the inputs from the mixer is the noise still there?  How about when the "mic" end is unplugged?  More info please.

 on: Today at 05:34:15 am 
Started by Sam Costa - Last post by Brian Bolly
Although I like 8451 and (moreso) 9451, they're install grade wire and you won't be happy with the jacket for portable use.

Entertainment Manufacturing makes a small diameter cable with flexible jacket that works well - we use it for CPC fanouts.

 on: Today at 04:12:32 am 
Started by Sam Costa - Last post by Ron Hebbard
Hey everyone,
I'm looking at purchasing some (bulk) microphone wire but looking for something along the lines of what is used in audio snake cables, would like it to be that thin. I would like to use it to hide cabling better on drum and percussion kits.

Anyone have a favorite place to purchase this type of cabling?
Sam; Research Belden 8451 which is only manufactured in two jacket colors, black and light grey.  Belden 9451 is essentially the same with the outer jacket lightly glued to the foil shield for stripping ease with automatic strippers.  You should be able to find Belden 8451 in a range of put-ups from 25', 100', 250', 500', 1,000' and even 5,000' packaged on spools and / or cardboard 'Un-Reel' containers.  Carol Columbia likely offer an extremely similar cable in a range of 10 colors.  These cables are intended for installation in conduit and wouldn't be my choice on an open stage and / or around a drum kit where they'd be subject to too much mechanical abuse. 
At the higher end of the price range, research Gotham Audio in New York City for some wonderfully constructed studio grade cables combining great shielding, handling and lying flat on the floor.  With the Gotham cables, there are always trade offs between various cable constructions.  Also with Gotham you may find some of their cables only available in 300 Metre put-ups.  Long before I retired, I had to order a 300+ Metre put-up in order to purchase the precise cable I wanted.  Granted I never regretted my purchase but by the time I shipped it to Stratford, Ontario, Canada it sure cost me more than I would've liked. 
Another, far more economical thought for you:
Make friends with an electrical or A/V installation contractor building a theatre, performing arts centre, or arena and ask if they'd mind you looking through their dumpsters.  Realize I'm thinking back more than a decade pre digital and category cables when analogue was still king.  I've built or renovated at least 10 theatres in which my initial wire orders included 50,000 feet of Belden 8451 in grey and another 50,000' in black.  I was normally pulling black in mic level conduits with 10% spares in grey.  In line level conduits I'd pull grey with 10% spares in black.  When you're pulling lines from panels of 12 lines (or more) in each of the four corners of the stage plus another panel up stage centre plus another panel of 24 in the SR pit and another 24 in the pit SL you are pulling an awful lot of continuous runs of cable all the way from the stage and pit to an RTS patchbay in an FOH booth, sometimes at the rear of the orchestra level and sometimes at the rear of the balcony.  At this point my boss was either purchasing 500' put-ups and typically getting one pull per box or 1,000' put-ups and having to keep tabs on how much cable remained in partial boxes.  The last thing you want to do is have crew pulling a home-run of 150+ cables and find several of them are coming up short.  You can only store, and keep track of, so many partial Un-Reel containers on a job site.  Eventually you start tossing the lighter (emptier) boxes in the bin.  There's a performing arts centre in Mississaugua, Ontario who retrofitted a dozen mic lines to the USC wall of their stage with partial Un-Reels gratis from a theatre in Hamilton.  There are at least three amateur theatres in the Hamilton, Waterdown and Burlington area whose entire venues were wired with partial Un-reels rescued from the garbage and recycling bins of a number of theatre's built in Toronto, Brampton and Burlington.  Prior to my forced move into a seniors home, I had an Un-Reel scavenged from a dumpster behind a theatre in the heart of downtown Toronto when it was being renovated for 'Phantom Of The Opera', the Un-Reel was one of many hitting the bin with more than 500' of Belden 8451 still waiting to be used.  Check pricing on-line and make a few friends in construction, you may be surprised what's available. 
Ron Hebbard

 on: Today at 03:44:25 am 
Started by Sam Costa - Last post by MikeHarris
Mogami 2552 or Canare MR202-4AT in 4 channel as WP 291 not as well shielded

 on: Today at 02:15:47 am 
Started by Greg Cameron - Last post by Luke Geis
I have read on the forums here and others about the plastic piece. I have taken the time to suss out the rattle on mine and as far as I can tell its the locking mechanism for the XLR inputs. There is also some other thing in the amp module that is loose enough that you can feel it rattle. The locking mechanisms seem to be the most audible nuisance though for me. I regularly have to flip my 812's ( the JBL covers don't have a strap to secure them ) and I do not hear anything rattling around when I flip them. I will open them up to check still though.

 on: Today at 01:30:53 am 
Started by Sam Costa - Last post by Helge A Bentsen
Link Eurocable 02n2a

 on: Today at 12:00:24 am 
Started by Steve Crump - Last post by Aaron Weidner
Not a fan of making a judgement from a phone video however you will note that it is very clear and coherent but not very loud.  Background noise easily gets on top of the program material.

A crowd of revelers would be very hard to get on top of without more PA.

I agree, I wish I had my external mic and some measurement equipment to give a more scientific result. It is a 2 way 12, and I was 170 yards from it. I didn't expect it to be loud but I was definitely surprised at how clear loud and deep it was at that distance.  :)

 on: Yesterday at 11:57:31 pm 
Started by Steve Crump - Last post by Aaron Weidner
Mike Pyle, who is a regular contributor here, had the Bassboss rig that I posted the link to.  He may have some experience with their other products so you could try reaching out to him directly.  I agree that most of the comments I've read about Bassboss products have been from DJs. 

I've looked at the Bassboss product line rather a lot lately, mostly at their subs, but also at their top boxes and I think that one challenge they face in the live sound world is rider acceptance.  The DV12 has an MSRP of $3k so the competition at that price range from more well known brands is pretty stiff.  Resale value is another concern.  And having to go to Texas to hear a demo :)  I do appreciate the fact that they post frequency response charts for all of their products; something the big boys don't always do anymore.

Edit to add the link below:

Most companies and individuals that own bassboss gear would probably be glad to give you a demo if you have the venue for it. They have also been frequenting DJ Expo in Atlantic City as well as Mobile Beat Las Vegas.

I have used mine for live music once. I will see if I can find video of it.  :)

 on: Yesterday at 11:48:40 pm 
Started by andy foster - Last post by Paul G. OBrien
...... you've blown the HF on both the PRX-712s AND a 15" JBL driver?!?
Same 2408 driver I believe.

Given this statement that the OP made in his first post.. "the music is strictly house music, ive got the bass sorted and just need ear shattering highs"  and this new info I suspect that MI level speakers are simply not up to the job. A typically 1" CD is rated at about 40-50w AES which is up to 160-200w peak but only for very short durations(miliseconds). All of the powered speakers mentioned have more than enough power behind these drivers to vaporize these little voicecoils but we trust that they have limiting in place to protect them, only problem is I doubt the designers ever dreamed these speakers would be subjected to some of the "noise" that passes for music these days.. like sustained synth tones and sweeps at full power. The CD driver in the Art745 is rated at 200w rms/400w peak so it will better handle this program material, it also has a much lower crossover frequency which will make mid/highs more commanding/powerful or in-you-face, something that should be desirable in this case.

Andy, when you go to demo these speakers bring some typical music with you and be sure to high pass all the boxes as they will be used, if you run them full range you will naturally gravitate towards the 15" as they will sound fuller but that is misleading in this case as the low frequency output of the box will not get used and demoing them this way can also mislead you about their midrange clarity.

 on: Yesterday at 11:43:57 pm 
Started by Richard Penrose - Last post by Debbie Dunkley
[ENVY]You bastard[/ENVY]

I am really looking forward to hearing your thoughts on the speakers.... especially since you also have the DSR112's to compare them against.

Keep us posted!

Me too ( or maybe not  ;))

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