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 on: Today at 02:56:15 pm 
Started by Dan Currie - Last post by Dan Currie
I'm doing monitors on a corporate where having comm in my iem's would make things a lot easier.  I already have molds, just need to find the proper interface for rts and a headset mic.  DirectionsMedia makes The Commander but John is a one man operation and is busy doing gigs.  They are one of his side projects.  Any other options out there?

 on: Today at 02:47:54 pm 
Started by Debbie Dunkley - Last post by Debbie Dunkley
When it comes to digital drumming there really are only a couple of players, and Yamaha is one of them. Not because of their triggers, but because their sound modules are very good. My synth drums, when needed, come from MIDI files and are played back through a Roland Integra. If you want to upgrade this might be a path for you to take. Triggers are all over the place. Good sound modules not so much. In the demo Scott will get into changing the tones using the "room mic" settings, decay, etc.. Very cool.

I can't get over those guitar sounds..... wow. That is usually where sound modules fail for me... it always sound so .... well.... keyboardy.  Great drum sounds - It's a Roland, what do you expect - right? .....This is a fantastic module Bob.

 on: Today at 02:36:21 pm 
Started by Eric du Toit - Last post by Mal Brown
Im curious about that box as well.  Not for sound co use really but in my personal vocal pop / lounge band.  We are pretty quiet and play a bunch of small spaces where our kw-181s dont really fit either the size or aesthetics of the room.  Hoping to be able to demo one sometime over the summer.

 on: Today at 02:03:28 pm 
Started by Fred Dorado - Last post by Jonathan Johnson
I would also invest in some pipe and drape to put up in front of the windows if that's where your are
always going to set, it will help the sound and everyone in the congregation will not be looking into the bright sun shining in the windows.

I get that you're facing the glass wall because that's where the architect of the school decided to put the screen.

But, even with pipe and drape, you still have an awful contrast problem between the lighting outside and the lighting inside and the brightness (dimness?) of the screen. It has to be fatiguing to sit there trying to watch the stage when your eyes can't properly adjust to a single lighting level. It's enough to make one wonder, "what were they thinking?"

I might still suggest pipe and drape (HEAVY drape, fire retardent of course, and not blocking egress) to control audio reflections off the glass wall, but have you considered turning the whole thing around or even 90 degrees left or right so the audience isn't facing the windows? Turning sideways could help with some of the reflection problem, too.

Acoustic solutions are almost always superior to electronic solutions.

 on: Today at 01:55:41 pm 
Started by Earl F Young - Last post by Andrew Broughton
More than likely, they are using standard parts, so any competent repair person should be able to fix them.

Take it to a pro audio repair facility, not a consumer electronics place.

They are very simple inside. Used to fix and mod them tons in the 90's.

 on: Today at 12:59:17 pm 
Started by Earl F Young - Last post by Ivan Beaver
More than likely, they are using standard parts, so any competent repair person should be able to fix them.

Take it to a pro audio repair facility, not a consumer electronics place.

 on: Today at 12:57:19 pm 
Started by Seth Albaum - Last post by Ivan Beaver
HF diaphragms shatter due to repeatedly striking the phase plug of the driver.  Either the crossover failed in a manner that allowed too-low frequency signals to the HF or the phase plug has shifted due to adhesive failure or the speaker being dropped.

Ivan B may know of other failure modes but those are the most common.
That is pretty much it.  Sometimes the glue will fail that holds the diaphragm to the surround, VC former, or it will tear.

I have seen some in which a high level oscillation at a particular freq will cause them to "warp out of control" and shatter.

Sometimes it is just a piece of defective material.  A small problem in one place will "expand" and tear it up.

 on: Today at 12:53:42 pm 
Started by Tom Harrison - Last post by Lance Hallmark
Another one to look into if you can would be JTR.  I have a pair of the Noesis 3TX & Orbit Shifters and the sound quality is superb. Paired with Captivator 212Pro or Orbit Shifter subs would be a high sound quality solution with the ability to cover most rooms. I also second the Fulcrum Acoustic and Danley SM80 choices recommended above.

 on: Today at 12:44:37 pm 
Started by Martin West - Last post by Mike Pyle
... I'm also impressed with the RCF 702 subwoofer. For it's size and weight I really don't think you can beat this for a 12" sub. It does a great job at filling out the sound and you can feel the bass when turned up past noon. ...

Don't be afraid of cranking the gain up on the RCF sub to better match the level of your tops. RCF typically has lower sensitivity inputs than many other makers, and it is not unusual to have the the knob on the RCF at a much higher setting than the knob on another brand you may be using it with.

 on: Today at 12:41:50 pm 
Started by Seth Albaum - Last post by Seth Albaum

I'm going to with pushing the system to the limits with a few high level signal spikes thrown in, just more than the internal limiting could handle.
That is not the most high power driver used in those cabinets.

It would be an easy test to check the amp modules either with something like SMARRT or a low tech test of hooking the high frequency output to the woofer and with pink noise to see if you can hear more low frequency from one amp or the other.

What kind of shows do you use the system for.

System gets used for everything from talks in museums to outdoor "pop-up" drive ins near the ocean, rock bands, DJ's.. I'm always watching levels, but basically, they're used for everything.

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