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 on: Today at 04:45:24 pm 
Started by Peter Kowalczyk - Last post by scottstephens
 What I like to see

1.  Good work lighting and separate lighting for the show
2.  As Helge said: a completely dead stage
3.  Electric dedicated for the stage
4.  Acoustic Treatment above the stage
5.  An out of the way place to run the snake but make it accessible to the crew; there is a local venue here where we have to run the snake up over every open beam and then take it down after the show which requires getting a ladder and adding 30 minutes to every in and out.

6.   make sure every staff member knows that a band is coming in and that they require food and a lot of room for the cases
7.   no stairs
8.   good parking
9.   a wide door to ease the ins and outs
10. If you have a ramp up to the stage door, make sure that it is not covered in ice, cases of beer, staff members who are on break, and general crap that has no other place to go.


 on: Today at 04:17:02 pm 
Started by Steve Ferreira - Last post by Mark Wilkinson
Thanks Mark - good to know I'm not going mad quite yet.

Haha Debbie, all those damn wattage numbers are enough to drive anybody mad.
I keep waiting for Peak-Peak wattage to emerge... ;)

 on: Today at 04:13:01 pm 
Started by Scott Olewiler - Last post by Tim McCulloch
Thanks for everyone confirming what I had already thought. Better to get the x32 full size and use the money saved to upgrade to the Midas stagebox.

I am not sure at this point I even  want to stay with Music group for FOH. Might keep  current x32 system ( producer and S16 boxes) for monitor world and buy a rack mounted splitter snake and change brands for FOH. Of course that is going to cost a lot more money but I am Really starting to like the A&H stuff.

Sent from my iPad using Tapatalk

I say this yearly:  The NAMM show isn't too far away and AES is next month."

 on: Today at 04:08:29 pm 
Started by Peter Kowalczyk - Last post by Tim McCulloch
Thanks SO much for all these great suggestions - just what I was looking for. 

This space is actually the SECOND of two music rooms in this single building.  The first, much smaller, is scheduled to open next weekend.  Progress on the larger space depends on the success of the smaller one...  I joined too late to influence layout and design decisions for this smaller room, and so adding acoustic treatment to the stage area has become a headache.  We'll Absolutely prioritize this for the larger room.

And the horn they create means that the PA will have to fight stage SPL more than usual.  Bah, humbug.
Sounds like I should advocate that the stage be centered along the wall rather than in the corner... I was starting to come to that conclusion myself already; thanks for confirming.

I'll sort through these comments and forward to the owner and project manager.  Lots more fun in store here.  Thanks again!
Corner stages SUCK.  Uniformly, always, and forever.  They *seem* like a good use of space but as has been mentioned, they leave zero room for empties, access from dressing rooms and make for awkward seating for the audience.

 on: Today at 03:54:47 pm 
Started by Stan Adams - Last post by Lance Hallmark
Thanks Dave. In actuality what that does is yoke movement only. That may be a start to building a scene, though.

Use this along with making sure shutter is open and fade is at 100%

 on: Today at 03:44:36 pm 
Started by Dave.Smith - Last post by Mark Van Nostrand
I got away from condensers.  They are too sensitive, especially in the high end.  Went with Heil PR30's (large diaphragm dynamics) and have never looked back.  Take a look at them.  Just got through with our Christmas program with a full orchestra, this is our 3rd year with them. Whatever you do, get away from hanging mics. Micing a choir from above puts the rejection end of the microphone in the air pointing to the ceiling. Not helping you much. I'm becoming a Heil fanatic.  Just bought 7 Heil pr20's for utility use.

I know this is an old thread-- but my interest was peaked with the Heil PR30 reference.  I have read a bit about them, and haven't heard a bad comment regarding using them with choir.  My question is, are you using them for sound reinforcement, or simply for recording without any speakers involved (i.e. not concerned about feedback)?  Also, do you use them as a stereo pair or sectional setup?  Just interested in your configuration and experience with them, as I have a project with similar challenges to this thread's original topic.  Thanks.

 on: Today at 03:42:39 pm 
Started by Frank Koenig - Last post by Mark Wilkinson
Hi Frank, Maybe the step is just part of the driver's natural response....??

Here's BMS's measurement of the 15n630 in a similarly sized box 
(albeit it's a closed box, which shouldn't matter much for the frequencies of interest.)

 on: Today at 03:25:23 pm 
Started by Al Rettich - Last post by Steve Ferreira!prettyPhoto

 on: Today at 03:10:52 pm 
Started by Bob Faulkner - Last post by David Buckley
In the same way this is a forum for live sound folk, there are places the film/video sound folk hang out.  Two I know of are and

 on: Today at 03:02:02 pm 
Started by Frank Koenig - Last post by Marc Sibilia

My best guess is that it's due to cabinet standing waves or some other resonance, but would love to hear from more experienced practitioners if this fits some known pattern. Thanks.

I thought I knew what was going on until I tried to write something explaining it, and now I realize I don't understand either.  But I have seen the exact same thing.  I will wait for an answer from someone who knows acoustics better than me.

I built some subs, 27" internally from the baffle to the rear panel.  It is clearly a resonance.  I have SPL plot both undamped and with some internal foam damping, so you can see in the undamped that the notches are deep, and that there is attenuation below resonance and reinforcement above resonance.


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