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 1 
 on: Today at 09:44:04 am 
Started by Michael Hogeland - Last post by Michael Hogeland
Update - the different filter types are Butterworth and Linkwitz-Riley.  Now it's just a matter of discovering the differences therein. 

 2 
 on: Today at 09:30:01 am 
Started by Isaac South - Last post by David Morison
Jeremy, this makes sense.  Thank you for that explanation.  Now I understand that you can't determine mic or line merely by looking at it.  And the way the signal comes into the mixer plays a big role in the gain staging that I am able to do.  Which is why I still had plenty of level with the gain at (-5) the other night.

Thanks for clearing that up.

Just had a quick look at the user guide for the Qu series (admittedly not the full manual) and it looks like you don't have the option of a mic/line switch (often called a pad) on the XLR input of that desk. Therefore to get lower gain at the desk itself (if you are unable to turn down the output of the radio mic receiver) you would need to unplug from the XLR and use the TRS line input instead.

FWIW,
David.

 3 
 on: Today at 09:25:55 am 
Started by Mike Mottsey - Last post by Mike Mottsey
I have a new Epson VS240 3000 Luman LCD projectors, less then 2 hours on it like new in box,comes with remote /vga cable $250.00


Mike
aikenproaudio@aol.com

 4 
 on: Today at 09:20:11 am 
Started by duane massey - Last post by Scott Bower
Someone please educate on this. Is there any reason why a band that uses the same mixer with the same basic musicians/gear doesn't have at least a basic mix stored as a scene, and start with that at the beginning?
I've worked with several bands over the past 2+ years, and all are using digital consoles, some mix from stage, some have a FOH person. It seems that every single one starts from scratch at every gig, and no one has anything stored.
What am I missing?
I save scenes for all bands and venues , including the band I play in. It gives me a good starting point and saves time. I can't imagine not using this great feature of digital boards.
My biggest problem is musicians now expect sound check to be 20 seconds as we check to make sure there are no major changes since the last show. Their first question on arrival is "you got a scene saved for this place?"

 5 
 on: Today at 09:13:03 am 
Started by Frank Koenig - Last post by Frank DeWitt
Curious that it has hex nuts instead of square nuts. I'm used to seeing square heads on old electrical equipment.

A little research shows that mass production of hex nuts & bolts was introduced in the mid 1800s, but didn't gain ubiquity until the 1940s, when the advantages of hex nuts became important for arms production for World War II. At least that's what I've been able to gather.

These panels have been in steady use for over 100 years, so it is possible that the nuts were replaced at some time. BTW the reason for DC is that there was no power lines up there when the telescopes were built and they didn't want the vibration or the exhaust at night, so a big DC generator was installed along with batteries.  The batteries were charged during the day and the power used at night.   The generator is still there and has been restored by volunteers.     

 6 
 on: Today at 09:09:45 am 
Started by Isaac South - Last post by Isaac South


I hope that makes sense.  I've tried to be as entry-level as my mind will let me be with my lingo.  If I've missed something or mis-stated terminology the wise folks on this forum can step in and correct me and we can all learn along the way.

Jeremy, this makes sense.  Thank you for that explanation.  Now I understand that you can't determine mic or line merely by looking at it.  And the way the signal comes into the mixer plays a big role in the gain staging that I am able to do.  Which is why I still had plenty of level with the gain at (-5) the other night.

Thanks for clearing that up.

 7 
 on: Today at 09:05:19 am 
Started by Michael Hogeland - Last post by Michael Hogeland
Holy sub placement Batman.  You guys really know you stuff.  I am light years behind apparently.  But eager to catch up!! 

Modeling a room?  Using a program to do so?  Well, I guess for where we're normally playing it doesn't really apply since there's always a stage that we have to set-up on.  Putting speakers in other parts of the bar might be met with enthusiasm, but it also might be met with angry owners/workers who find the sub is now in the way of their walk-way to the smoking area or something. 

We're in the bar scene 95% of the time; so getting to set the speakers anywhere but in front of the stage seems unlikely.  Though it does seem on occasion I'll be able to try out the coupled subs dead center on the floor.  I know at least 2 rooms we play in that I could easily accomplish that set up; though how it will sound is still something I'll have to wait and see. 

New amp plugged in and bumping in the basement last night!  I turned it down/off at some point because I was pretty much done testing and I hear my wife from the kitchen "awww!!  I was having a dance party up here!"  HA!  It's nice to have the support of your loved ones instead of the "can you turn that OFF".

Current research includes:
High/Low pass filter types:  BUT6, BUT12, etc...
Room Modeling

While setting up the NU3000dsp last night the "manual" was less than helpful.  It fully explained a lot that I already knew, and then merely referred to a bunch I didn't understand.  In the end, I kind of shot from the hip. 

I'm running stereo in to the AMP from the mixer; left channel out to (2) PV115 mains, right out to (2) previously mentioned 800w subs.  HI/LOW pass filters set at 120 on both - sending anything above 120 to the mains, below to the subs of course.  It asked what TYPE of pass filters to use, I just chose the first in a list of at least a half-dozen.  BUT6 is what I'm using on both Hi and Low pass.

Thank you to everyone here who has helped me understand these weirdly boxed subs - I think that aesthetics was probably a huge part of the reasoning behind EV's decision as someone else here already stated.  Now I'm off to work....

 8 
 on: Today at 08:41:01 am 
Started by Isaac South - Last post by Isaac South
Since a wireless receiver basically has a preamp in it, I've tended to look at their outputs as line level.  I've turned down the output level on mine so it's easier to stuff into any channel.  But if someone comes up to me with one, I'll usually start 10-15dB down from where I usually set mic inputs.  And if it's pegging things, find it's output level.

I also seem to need to toggle back and forth on the mic gain settings depending on how strong singers are.  If I know they're strong, or I hear distortion (typically the receiver is up on the stage but I'll go up and look at the metering if I hear something) then I'll turn the mic down at the next break.  Usually, folks get louder as the show goes on so what might be an occasional clip  in the first set can turn into full Decapitator mode by the last if I don't reset the mic.

I'm also thinking that the OP might want to use his compressor as more of a peak limiter, high ratio, fast attack and fairly fast release, than as a general compressor.  This would allow the speaker to have more dynamics in their delivery but keep the egregious shouts from pegging things.  Once they've set everything upstream to handle those peaks.

You are exactly right, Stephen.  I'm wanting to still allow the preacher to have dynamics in his voice.  One, just for the simple fact of dynamics.  It's normal for a preacher to speak softly at times and then with more intensity at times.  I want the crowd to be able to distinguish some of that.  And two, if I don't allow some dynamics, the crowd will drown him out when they clap and yell amen. 

So I will be using the compressor as a peak limiter for now.  Not saying that's the best decision.  Just saying that's how I'm thinking of it right now.

 9 
 on: Today at 08:08:19 am 
Started by Bob Faulkner - Last post by Cailen Waddell
Bob - you were mere yards away from my home at the arts center down academy st...   glad all went well.  If you ever are in the same spot and need more than the outlet on the outside of the bank, let me know.  We have L14-30s in the power pedestal across the street by the auto shop, with underground cable chases to cross the intersection....


Sent from my iPhone using Tapatalk

 10 
 on: Today at 07:57:36 am 
Started by Ben Mehlman - Last post by David Sturzenbecher
Have at it Ryan. I stole it myself. 15 or 20 years ago in one of the trade rags.
Still true today....
Chris.
You must have adjusted the price for inflation then :)


Sent from my iPhone using Tapatalk Pro

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