ProSoundWeb Community

Please login or register.

Login with username, password and session length
Advanced search  

Pages: 1 [2] 3 4 ... 10
 11 
 on: Today at 10:56:07 am 
Started by Glenn Stephens - Last post by John Fruits
Just a thought, have you checked at blue-room.org?  They are a UK based forum and very helpful.

 12 
 on: Today at 10:25:00 am 
Started by Al Rettich - Last post by Al Rettich
I signed up to be a member and use his calculators. However, it's never authorized me as a user, so still can't get in..

Have you tried SAD? By one of the forums own...
https://www.merlijnvanveen.nl/en/calculators/28-sad-subwoofer-array-designer-en

 13 
 on: Today at 09:43:21 am 
Started by Robert Piascik - Last post by TomBoisseau
But Tom there are many of us on this forum - myself included- that get excellent results using wi-fi. It is not necessarily the fault of the XR12 or any particular digital mixer for that matter but could be caused by any combination of the following ( but not limited to):
router/WAP style/type, not selecting network security, Static IP address, not using 5Ghz etc. If you are relying on the internal router of the XR12 then that is your problem right there.
I purchased the QU PAC because I wanted a rack mount mixer but one that I could mix on if necessary ( if WI-FI goes down). Ionically I have NEVER had to use the facia controls to mix after 3 years of very regular use.

The QU PAC does look like a nice unit.

Are you saying you've NEVER lost the wifi signal, even briefly, in three years? 

I usaully DO use 5G, a static IP address, and hide the SSID.  If you guys are really experianceing 100% reliablility using wifi, I am impressed, and obvoisly need to learn your "secrets".

I'm not saying drop outs were ever a common or regular thing, but knowing that they did occasionally occur has caused me to avoid using wifi during a show.  I'll gladly use it for set up and testing.  Most of the other guys I know that do sound for a living have told me they take the same philosophy, they will use wifi before the show, but never put themselves in a position where they are dependent on it during the show.

Tom


 14 
 on: Today at 09:14:24 am 
Started by Wes Garland - Last post by Wes Garland
Wes,

Are you running 120V or 240V?

Thanks and good health,  Weogo

We are running 120V. Total system load hits a maximum of 8.1A when averaged over a couple of seconds.

 15 
 on: Today at 09:10:01 am 
Started by jesseweiss - Last post by Geert Friedhof
I'd rather use an SM58...  :P

No seriously: I used to have a four day gig at a jazzfestival. A lot of jazz musicians specified sm58 on EVERYTHING: Kick, snare, brass, guitars, vocals, bass. Literally everything. Somehow it sounded cool.

 16 
 on: Today at 08:19:31 am 
Started by Steve Cook - Last post by John Fruits
^^^^^^^^^
Yes indeed, preach it brother.

@Steve Cook, just curious, is the rigging class you are taking ETCP certified?  It does make a difference. 
http://etcp.esta.org/

 17 
 on: Today at 08:04:17 am 
Started by Dave Batistig - Last post by Dave Batistig
More pics

My application would be a single HDL-18AS flown at the top of the array, per side,  in an attempt to deliver more low end to the top part of the amphitheater, with my full compliment of 8 SUB 8006 dual 18" subs deployed at ground level across the front of the stage. The biggest drawback I see is this would effectively lower the trim height of my top array box by the height of the sub. As it is now, my lifts are 21 ft max. The actual height of the top box is about 19.5 ft, which for this particular amphitheater works perfectly for delivering sound to the street level, where there is typically a large crowd gathered when the amphitheater itself is full.

Even being an RCF dealer, my cost on the HDL-18AS is still significant. I am not convinced that the ROI on this investment is worth it.

 18 
 on: Today at 08:00:07 am 
Started by Dustin Campbell - Last post by Steve M Smith
I've always been a fan of the BSS AR-133.

We use those for everything.


Steve.

 19 
 on: Today at 07:39:10 am 
Started by Dustin Campbell - Last post by Craig Leerman
With bands I mostly use Countryman Type 85s but I also have a few Type 10 boxes.

My inventory also includes passive Whirlwind Directors and MultiDirectors. The 4 chan MultiDirectors are great for large keyboard setups.

For computer headphone jack playback on corporates I like the tiny Switchcraft 318 mini AudioStixs. They fit well into a crowded podium. I keep a couple in my gig bag. The Peavey USB-P DIs is a great box for USB computer playback. Last week I ran a DJ computer through a USB-P and it sounded great.

 20 
 on: Today at 07:20:14 am 
Started by Steve Cook - Last post by Craig Leerman
Genie, or any brand of crank towers that I know of are not recommended by their manufacturers for use with roof systems.

For one thing, the fact that they are not rated for side loading and up loading makes them unsafe with a roof.

Another factor is that to guy the towers correctly you have to put loading on the tower, which reduces the safe working load. For most roof systems, especially those with an additional lighting load, the towers are already maxed at their SWL limits, even if they were designed for a roof ( which they are not)

Factor in a downdraft of a few MPH of wind hitting the large sail (roof tarp) and you may have exceeded the breaking strength of a tower or tower component.

If an accident or injury happens, insurance will not cover the incident as the towers were used incorrectly and not as designed. Manufacturers will not be held liable as their product was used incorrectly.

Anybody who uses crank towers to support an outdoor roof is irresponsible and putting people in jeopardy.

Anybody who works under such a “structure” is putting their own life on the line.

Roof systems need to be designed by an engineer and installed by a qualified or competent rigger.


Pages: 1 [2] 3 4 ... 10

Page created in 0.034 seconds with 15 queries.