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 on: Today at 08:06:53 am 
Started by M. Erik Matlock - Last post by M. Erik Matlock
In The Studio: Beware Of Ear Fatigue
The limits of one's ears may vary from engineer to engineer, but eventually your ears will begin to lie to you.
By Adam Stamper • October 23, 2018

One common concern when mixing for long periods of time is ear fatigue. The limits of one’s ears (and mind for that matter) may vary from engineer to engineer, but eventually any engineer’s ears will begin to lie to them.

This can lead to various mixing mistakes and can only get worse as you push on through a session.

There is nothing cool about holding the studio record for the longest mix session, especially if it’s to the detriment of the final mix...

Continue reading here:

 on: Today at 08:02:40 am 
Started by Kenny Phillips - Last post by Kenny Phillips
Thank you so much for the responses.
Sorry for the limited amount of info on my original post.

Stage is basically 20 feet wide by 10 or 12 feet deep on a 1 foot riser.  The room is probably 40 feet by 50 feet.  Its bascally an old barn.  The ceiling is at least 20 feet high.

The subs are on the floor with 2 at either side and a bit forward of the stage with the mains on tripods.  The subs and mains are the same distance with respect to the middle of the audience. If the subs and mains are on the same plane with respect to the audience, wouldn’t the time the sound comies from the subs and mains be the same?

So my really basic question is, do the subs generate the lower frequencies a little slower than the main?  And do the mains need to be delayed in order to compensate for this delay?

I do not believe it, but since I do not have years of experience I thought I’d ask here.  I realize there may be a psychoacoustic reason the guys prefer doing this, but their technical explanation doesn’t make sense to me.

 on: Today at 07:24:16 am 
Started by Kenny Phillips - Last post by Ivan Beaver
There are several factors that determine if you delay the mains or the subs to the other.

It can go either way.

It totally depends on a SPECIFIC situation, the types of cabinets used, the physical positioning of the cabinets, the crossover points etc.

It MUST be a case by case basis, and NOT some general guide line.

 on: Today at 05:47:46 am 
Started by Scott Olewiler - Last post by Jon Brunskill
This is probably a dumb question, but what is the difference between using an expander and a 'gentle' gate?

I never, ever set a gate to mute - I set them for say, 6ish db cut when the sound is below the threshold. It makes sense to me that the kick drum doesn't have to mute in between hits, it just has to duck the volume a little bit, which gives the effect of a tighter sound without the clicky abrupt hard gate sound.

Isn't this what an expander does anyway?

 on: Today at 05:39:57 am 
Started by frank kayser - Last post by Jon Brunskill
Although I haven't tried it, it stands to reason that the internal WiFi card in an XR18 (or any console) will generate heat and so by turning it off and running an external router the console should run a little cooler.

 on: Today at 05:33:56 am 
Started by Kenny Phillips - Last post by Douglas R. Allen
At the risk of asking a silly question...
I am relatively new at the live sound game, less than 2-3 years.  I work with a couple guys that have a lot of experience, full time 30+ years.  With a small festival pa setup of 1 12” yamaha and turbosound subs per side. Sub drivers are at the same plane as the mains.

They say that the mains need to be delayed a few milliseconds because the subs generate their sound a bit slower because of the longer wavelengths.  I am having a hard time understanding that. 

I do understand the need to time align so that the crossover frequency is in phase and time aligned between mains and subs.  After that I like delaying the system overall a little so that the kick or snare on stage are 2-3 msec ahead of the pa.

What am I missing

    Of course with everything it depends. Mains flown, subs on the ground or mains on sticks up on the subs? Mains should be closer than 1/4 wavelength of the crossover frequency away roughly from the subs to be able to have them sum correctly.  When the mains and subs are farther apart than that your looking at good phase but only in a area you pick and related to the size of the wavelength at the crossover point. Good phase where you chose to align but not so much in a different area.  Also how the subs are deployed of course maters.  L/R or center cluster or in a line etc.
    Your asking the right questions.

Douglas R. Allen

 on: Today at 05:04:02 am 
Started by John Roll - Last post by Robert Lofgren
It’s been a while since I was inside one but if memory serves me the legacy studiolive consoles doesn’t have any batteries.

You also could have a failing cmos battery.

Sent from my iPad using Tapatalk Pro

 on: Today at 03:42:11 am 
Started by Kemper Watson - Last post by Chris Grimshaw
I've had a few through, here are some thoughts on the ones I've used:

- The X1D is my go-to kick mic. Works on everything I've tried, and doesn't have the pre-EQ'd peak in the kHz range that other kick mics have. If you want a peak there, you can put it there if you like. I find it sounds just fine left flat, though the sound you get varies with position (of course). Throw it inside the kick drum for more "click", or at the entrance to the port for a well-rounded bottom end (my default position). My only gripe is that the threaded part of the mount sometimes ends up loose, and needs gluing back in.

- I'm not so keen on the V7. It's a bit too "colourful" in the mid-high range, and doesn't sound natural to me. The EV N/D767a mics I compared it to are also similarly "colourful", but in a different way. It's a fine mic to have on-hand for if your go-to mic doesn't sit well with a particular vocal, but I don't think I'd put them up as first choice. At the moment, Sennheiser's e935 have them both beat (IMO), and the sale price puts them cheaper than the V7.

- I've also had a Z3300 and SE2200A, which both sound fine, if a little sizzly up at 12-15kHz. The switchable patterns on the Z3300 made it very useful in recording environments. Alas, a "friend" borrowed and then broke that. The SE2200A sits in a drawer - I don't do much recording at the moment, and I'd say it's too bulky for live work. If I do need some large-diaphragm condensers on-stage, I reach for my AKG C3000s (original version, black with green stripe and red switches). They're compact, sound fine, and have some very useful features.


 on: Today at 03:10:07 am 
Started by Tom Bourke - Last post by Steve M Smith
It was easy enough to hook up an external router too.

I was going to ask if that was a possibility.


 on: Today at 12:21:44 am 
Started by Nathan Riddle - Last post by Rob Spence
This would worry me more.  Knowing this game, gigs tend to need prying out of others dead hands.  If someone is giving up a gig, there are probably many reasons you should run!

A provider may decide that they are no longer wanting this sort of gig because they have developed another line.

I know a local sound company that gave up doing bands and now focuses on A/V for colleges and universities in the area. Much more profitable and no annoying prima donnas.
Oh, and the hours are much more civilized.

Sent from my iPad using Tapatalk Pro

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