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 1 
 on: Today at 12:54:48 am 
Started by Mike Sokol - Last post by John Roberts {JR}
Been there done that... the UL standard for the cheap 3 light outlet testers was a few hundreds of dollars... (I don't recall the exact amount because I'm trying to forget it) and you can't quote from or share copies of it.

JR

PS: Not to mention that my tester covers things that the standard does not describe, so that would cost me even more money to get them to add new stuff to their standard. ::)

 2 
 on: Today at 12:39:36 am 
Started by Frank Koenig - Last post by Jonathan Johnson
The typical way to prevent fouling of the cable on the drum is with a tensioner that amounts to a plate that applies pressure directly against the rope already on the drum. That also prevents the drum from freewheeling.

To ensure that the rope is neatly laid on the drum, a device called a level wind is used. This is a guide that rides on a double-counter-helix screw that is mechanically linked to the drum; as the drum turns, the guide moves back and forth, neatly laying the rope on the drum.

I've never seen a level wind on small hand winches (but high-end fishing reels have them!). My "come-along" has a spring steel tensioner to resist fouling, but it isn't a perfect solution.

(Maybe you know all that, but I didn't see it in the discussion.)

 3 
 on: Yesterday at 11:43:01 pm 
Started by Alex Knowles - Last post by Greg_Cameron
My biggest concern beyond amp, deployment, ROI, etc. is the rigging. I'm leery of a no-name budget Chinese system that will be hanging in the air. Who knows what the quality of the steel is and how well it's engineered. At least with any known brand, even lower end stuff, you can be fairly certain the rigging hardware is safe to fly over humans before a know brand puts their name on the product. This kind of thing scares the crap out of me.


Greg

 4 
 on: Yesterday at 10:53:54 pm 
Started by Richard Penrose - Last post by Bradford "BJ" James
I was hoping to do a comparo between the DSR and DZR, but I ended up selling all of them before I had time to do that.

 5 
 on: Yesterday at 10:30:09 pm 
Started by Richard Penrose - Last post by Luis_Marquez

Thanks for the info but it makes more sense to compare the DZR to the DSR, because the DXR are in a lower league.
I would also be curious on a comparison between DZRs and JBL SRXs.
[/quote]
+1

 6 
 on: Yesterday at 10:22:04 pm 
Started by Joel Kent - Last post by Jonathan Hole
I'd rather have the S31 than S21 - not much more money for a better (larger) surface. 

The SQ7 has great sound, wrapped in an OK interface. 

If it were me though - I'd look most at the baby DLive options.  CDM rack(s) and C3500 at FOH, maybe start with C1500 or even software only control for broadcast. 

SQ7 I would rate as the best of the entry level options, the S21/S31 mid-level, DLive high level, with the large Digico and SSL as top.

Sent from my VS980 4G using Tapatalk

I second this recommendation as the DLive architecture is a higher end platform you won't outgrow and provides interesting capabilities for churches.  For example, if you don't have the staffing, funds, or talent to mix the broadcast feed (as opposed to taking raw FOH mix out) you can provide capability for an easy submix in studio that takes FOH groups such as band, vocals, pastors, playback and allows someone with minimal skills to mix that with audience response during message or balance rough levels to fit broadcast.  Can easily grow into full split mix on iPad and then surfaces.

I'm personally over S21/S31 as Digico is putting all their effort in the SD touring consoles IMHO. They sound good but feature set is severely lacking at this stage in development.  Built-in FX library very limited, no de-essers (yeah limited multi-band),S21 bank scrolling, no channel libraries...I can go on forever.

Good luck!

 7 
 on: Yesterday at 10:00:33 pm 
Started by Brad Alvin - Last post by Luke Geis
The M32 does have a waves card available. You still need a soundgrid server though, but you do with almost all the mixers anyway.

 8 
 on: Yesterday at 09:51:43 pm 
Started by Alex Knowles - Last post by Luke Geis
I wouldn't buy this system, for any reason.

It may sound great, but it won't help you grow in the way you think it might. It will have ZERO resale value. You will end up selling it for much less than you bought it for, which will make it more difficult to move up when you decide to.

The general rule of thumb is to power a speaker with an amp that is rated between the speakers RMS and Program power rating. Another rule that is also accepted is to power a speaker with an amp that is 75% of the speaker's peak rated power. The later is if you intend on eeking out every bit of performance you can realistically extract from the system. Going with the 75% rule also means you need to be a bit more diligent and excepting of the fact that you can damage things if you aren't. There are other factors to consider that have an impact on amplifier selection.

How will the PA be used? Live bands require lots of available headroom, so using higher wattage amps typically helps in that regard. This is a setting where the 75% rule may be desired? If you have a system that will be providing dance music for long periods of time, using lower wattage amps that are closer to the RMS rating of the speaker is more ideal. Commercial media is very compressed and has a much higher perceived volume level, so it requires less actual wattage to have the same perceived volume. However, because the music is so compressed it increases the average power provided at any given point in time, so it makes the drivers heat up more than live bands tend to. So using a lower wattage amp will help keep you from burning out the drivers. When you see red lights blinking you are at the end of the road in either case. If you try and run commercial media through a system using the 75% rule, you stand a good chance of burning up drivers if you see red lights blinking on the amps.


 9 
 on: Yesterday at 09:49:29 pm 
Started by Mike Sokol - Last post by Stephen Swaffer
Tom is on the mark.  Think about it-the reason for the high start op surge is that a stopped motor presents a near short circuit as far as a load is concerned because the only thing impeding current flow is the DC resistance of the windings.  At rated speed, the counter EMF liimits the current to the rated ampo draw.  The counter EMF is the main impedance to current flow-you really aren't dealing with Ohm's law in this situation.

Loading a motor slows it down-leading to a greater amp draw.  Lower voltage tends to make a motor stall or slow down even more.

The AC motor will have a relatively constant load-to get the same power at a lower voltage requires more amps-which leads to a greater voltage drop in the cord-so a snow ball effect.

People have a tendency to look at the ampacity of a wire to determine the size of the cord they need-but as is often discussed on here in audio applications, voltage drop is far more relevant at any distance-and the distance of concern is usually the distance from the transformer.

 10 
 on: Yesterday at 09:41:51 pm 
Started by Mike Sokol - Last post by Caleb Dueck
What a deal!  It could have been $25 per page....   



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