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 1 
 on: Today at 07:09:05 am 
Started by Mike Christy - Last post by Mike Christy
Everyone knows what these are. Ive got 4 3TX with updated crossovers, and 5 Growlers. They are the original Growlers.

3TX have custom covers (what was that cover place that went out of biz, not cloud9... the guy in Tenn I think?)

The 3TX have their NL4 connectors wired to patch pins 3/4 out of the top jack into pins 1/2 of the bottom jack of its pair - so you only need to run 1 cable per side for 2 speakers.

Asking $1000 for each 3TX.

The 3TX have Adaptive Technologies internal braces to allow them to be flown on custom flybars/pole adapters 2 a side. All hardware is load-rated to 5000# ( the 3TX weight 50#) The fly hardware is design to be use on Global Truss ST-132 stands.

Four Growlers are currently stacked in configurations of 2 and strapped on dolly boards with Strapworks custom straps. This makes them very easy to roll in and out, but can be easily broken down into single units to form an array if need be. One Growler is free standing.

Asking $500 per sub.

Location is Eliot Maine.

I'd hate to see all my engineering for the 3TX fly hardware go up in smoke, so would like to see the 3TXs sell as a group of four with that hardware.

I will include NL4 cables need to run everything. 2 subs, 2 jumpers, 2 mains, 2 jumpers.

I have the original shipping cartons and styrofoam for them.

Please used email, not PMs please, mike at piscessound dotty com

Thanks,
Mike

 2 
 on: Today at 05:46:00 am 
Started by Dave Rogue - Last post by Chris Grimshaw
Shorted does sound strange, open maybe.
Your average size inductors will measure less than one ohm DC, even large ones will only measure an ohm or two.
I wonder how they determined it was shorted.

Just a quick FWIW, I'd want all inductors (especially the big ones, since they're usually feeding straight into a woofer) to be much less than 1ohm at DC. Preferably less than 0.5ohm.
The only exception would be as part of a highpass filter, where it can be useful for the inductor across the driver to have a little series resistance, as that will give a slightly softer knee around the crossover frequency. Good for tweaking phase alignment.

Chris

 3 
 on: Today at 05:34:46 am 
Started by Nathan Riddle - Last post by Scott Holtzman
Nathan,  I didn't have time to amswer your question,  in fact just got home from tonight's gig.

I don't have a better answer,  it's hard to get people to change production companies.  The devil you know for lack of a better term.

I would tell you that unless you have guys you need to keep busy so they stay on your crew,  dealing with the under $500 gigs is a waste of time.

The sub 5k gigs are too small for the "big guys" and too big for the trunk slammers. 

The reason I mention this is you have talked about trying to walk existing clients up the revenue ladder.  This too is hard to so.

So if your conscience is clear and you have run a similar size show for reference then go for it.  Hopefully they know your reference.

Good luck.

Sent from my VS996 using Tapatalk


 4 
 on: Today at 04:48:15 am 
Started by Joe Mirabile - Last post by Scott Holtzman
Thanks for the replies. I contemplated bridging across the tripods with a crossbar at the top but decided it is not needed because the screen itself is rigid steel. It's a pull-down screen inside a cylindrical case. I don't see any way the tripods could tip toward the middle with the screen spanning the space. Tipping toward the front, yes, that could happen, crashing into the audience. But each leg comes out 2' (they are not out all the way in stock photos). I pointed one of the legs toward the audience and the other two against the back wall. These stands are sturdy even though they were inexpensive. They are each rated for 80 lbs, and the screen is only 36. Maybe for constant use by pros they would not hold up (pun intended), but they will only be used twice per year here.

Buying a new screen is not an option. The crank-up tripod and the pulley suggestions sound interesting. I will investigate. Thanks for your insights.

PS  I have notifications turned on for this topic but did not receive any emails. I did not know there were replies sitting here.
If you only need it twice a year rent a proper fast fold.  This contraption will never make you happy and can't be aesthetically pleasing.

If it was not a busy day I would rent you a nice fast fold and dress kit.  I can put one up myself and I am a broken down old fat guy.

My other guess is that you are trying to use a consumer or confrence room grade projector.

You can't imagine how pretty a nice 6500 lumen projector looks on a screen that size.

Just to give,you idea I have a 120" Stewart screen in my home theater and run a 3000 lumen JVC ilda projector.

Guests pay more attention to good production.

Sent from my VS996 using Tapatalk


 5 
 on: Yesterday at 09:37:02 pm 
Started by David Pedd - Last post by David Pedd
Thanks so much for the suggestions.  Much appreciated.

So today I get this video showing the "problem".  I don't even know what to call that thing - "octopus stand"?

He'll have a new tripod stand on Sunday.  Thanks again.

https://www.voxer.com/v/dcc948a3ca


 6 
 on: Yesterday at 09:12:31 pm 
Started by Al Rettich - Last post by Al Rettich
Anyone have a semi current tech rider?

 7 
 on: Yesterday at 08:42:02 pm 
Started by Joe Mirabile - Last post by Joe Mirabile
Thanks for the replies. I contemplated bridging across the tripods with a crossbar at the top but decided it is not needed because the screen itself is rigid steel. It's a pull-down screen inside a cylindrical case. I don't see any way the tripods could tip toward the middle with the screen spanning the space. Tipping toward the front, yes, that could happen, crashing into the audience. But each leg comes out 2' (they are not out all the way in stock photos). I pointed one of the legs toward the audience and the other two against the back wall. These stands are sturdy even though they were inexpensive. They are each rated for 80 lbs, and the screen is only 36. Maybe for constant use by pros they would not hold up (pun intended), but they will only be used twice per year here.

Buying a new screen is not an option. The crank-up tripod and the pulley suggestions sound interesting. I will investigate. Thanks for your insights.

PS  I have notifications turned on for this topic but did not receive any emails. I did not know there were replies sitting here.

 8 
 on: Yesterday at 08:37:57 pm 
Started by Mac Kerr - Last post by Mac Kerr
Yeah, that Alteros thingy looks Very Interesting.  I got sent a link to that yesterday and did a quick perusal of the website.  I'd love to hear more about the nuts and bolts.  What kinds of "IP" outputs does it do?  What else is there in the 6.5Ghz range already?  etc....

Gonna do a little more digging....

IIRC (I've seen a lot of gear in the past 3 days) the 24ch frame has Dante and MADI out for audio, and 5 fiber ports to go to 8 way antenna distribution boxes. The antennas connect to the distro via CAT5. The fiber can be up to 6000', the CAT5 up to 1000'. You need many antennas as they cover small areas intentionally, and 6GHz does not penetrate walls, or even thick glass like you might find in a building perimeter.

Today's finds were, a 2x2 Dante interface from Nuetrik in a nice small package for $99, and a single channel 25dB gain mic pre powered by phantom power that passes phantom power and is built into an XLR tube also $99.

The wireless intercom shootout that Pete Erskine organized was great, although there were not as many end users in attendance as hoped, but all the manufacturer closely watched all the system presentations. It was very informative for those of us who were there. Thanks Pete!

Mac

 9 
 on: Yesterday at 08:21:46 pm 
Started by Matthew Parker - Last post by Matthew Parker
My Guess is the 4x4 input to the pc through USB.

What is your use case here, are you a streamer?

What would the 2-3 stereo inputs actually be, I'm guessing one would be a PC, what are the other 2?

It's difficult to determine whether the Zed 10 or i10 is going to be the best option or if a mixer is even the correct device if we don't know a bit more about your actual use. If all you need is what's mentioned in your OP then sure the zed 10 will do the job just fine.

I still want to know what the other 2 sources are out of curiosity.

First stereo source would be one of a number of retro games consoles, Mega Drive/Genesis, Snes etc, 2nd would be a smartphone for soundboards or mixing in phone calls, the 3rd would be a spare for perhaps an audio player.

When it comes to the XLR inputs on mixers, are you able to run a 48v condenser mic on one channel and then a dynamic mic or another via a 6.35mm jack? As i understand it the phantom power switch on most cheaper mixers powers all XLR channels or none of them. Does the 48v feed the 6.35mm jacks that are parralell to the XLRs? Or does the XLR cut off when something is plugged into a 6.35mm jack?

I've been looking at the Yamaha MG12XU as an option. 2 of the stereo channels however have XLR inputs as well as dual 6.35mm jacks. Can i run a few condenser mics and still use these 6.35mm jacks? Not in the same channel, but because the channel has 48v applied to all, will that affect the 6.35mm jacks?

Lastly, would the Aux Out jack on say a Zed10 be stereo?

 10 
 on: Yesterday at 08:08:38 pm 
Started by Peter Kowalczyk - Last post by George Friedman-Jimenez
...  Another caveat on super dead stages.  This reminds me of Yoshi's Jazz Club in Oakland.  Great for soundpeople/producers, but real jazz musicians hate it and have basically stopped playing there.  I remember the drummer who played the opening night there complaining that he couldn't hear anything and the kit sounded like there was a blanket over it.  Watched Phil Woods' roll his eyes all night and Kenny Burrell kick a monitor over in frustration.  "Dead" recording studios have been ancient history for awhile, but I still see people advising venues to put all sorts of crap on the walls behind the musicians.  You want a balanced and even sound.  Some absorption up high on the back wall and a bit on the ceiling, but don't completely kill it.  I've played in front of carpet, foam and drapery covered walls.  One place has egg cartons and foam all over the back wall and drapes in front of that.  All that will succeed in doing is getting the drummer to pound the snot out of their kit trying to get some sound out of it.  Buddy Rich carried around sheets of plywood as he detested playing on carpeted stages.  The quickest way to incite an on stage volume war is to make it so that musicians can't hear themselves or each other...
Can't the dead stage effect be mostly overcome by monitors? As a conga player I usually prefer stages with less reflected sound, I find it easier to hear the direct sound from the other percussion instruments that I need to stay in time. I have never had trouble hearing my own instruments on stage. One reason I ask because I will be playing at Yoshi's next month and had not heard of this problem.

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