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 on: Today at 04:24:13 am 
Started by David Pedd - Last post by Roland Clarke
I was reading another thread and the term "rider" was used many times.  Not being a pro "sound guy" I wasn't sure what it meant.  Wikipedia to the rescue!

I found this "rider request" as very interesting.  What's the weirdest, most unusual you've had?

"Van Halen requested in the technical rider that a bowl of M&M's be provided in their dressing room with the brown ones removed. Failure to do so would not only mean that the band would not perform, but the venue would still have to pay the full fee. The objective of this was not due to any excesses on the part of the band, but was a method to determine how much attention to detail the crew at a local venue paid to the requests specified in the rider. Should the bowl be absent, or if brown M&M's were present, it would give band members reason to suspect other, legitimate, technical and safety issues were also being performed poorly or were outright overlooked. David Lee Roth stated in his autobiography that this request was made as a result of faulty workmanship at a venue on an earlier tour which nearly cost the life of a member of Van Halen's road crew. He added that at one venue where he found brown M&M's, the management's failure to read weight requirements in the rider resulted in the band's equipment sinking through the floor and causing over $80,000 of damage."

I think it's more likely to lead to more problems.  When people up the workload with silly requests it distract from the real and immediate issues

 on: Today at 03:05:03 am 
Started by Tim Hite - Last post by Dan Mortensen

Give my home town a look.

I bought the 3 channel Guardian ones from them.  4? 5? years later they are still outgassing in the back yard. Not anywhere as bad as the first couple years but still noticeable.

 on: Today at 02:44:07 am 
Started by Steve Crump - Last post by Lance Hallmark
You left a lot out, mics, stands, cables, lights, monitors, cases and material handling gear to move it.  What are your abilities with regard to physical limitations?  Do you have a helper lined up?

Hey Scott, thanks for commenting, wow all that list you identified the "stuff" i would need. that's a lot to think about !  I first ran sound at my church.  I stood in for the regular sound engineer for about a year. A good sized church, the congregation varied 125-250 folks depending on the day. So i know just enough to get by lol.  Pretty comfortable with basic board operation  and eq. Butt pretty naive about other required equipment... ie compressors, amps, basically all the rest. 

I am not planning on competing with established dj's or other sound engineers. Just s system capable off enough sound for indoor and outdoor weddings.  And small parties and the like.  I do have one shure sm58 and a shure beta 58 i think it is.  I have an 8 cord snake with xlr connections on both ends. I have 3-5 Mic cords.  1 Mic stand. No lights or cases.  I do have a dodge 1500 pickup with a hard tonneau cover do transport isn't a problem.

I did 2 "med runs" that is the term we used instead of 2 tours.  I am a submariner.  Spent close to 7 years on US Navy Submarine Force with almost 9years total time I  the military.  Thank God i have all my limbs unlike a lot of my brothers and sisters in arms.  I was a 1st Class petty officer Torpedoman and was in charge of all weapons on board. Torpedoes,  tomahawk cruise missiles, harpoon missiles as well as all small arms onboard.  (.45 cal  hand guns,  M870 riot control shotguns,  and M16's.

I suffered a neck and low back injury while loading tomahawk and torpedoes.  Fast forward 25 years and now i need neurosurgery on both neck and back. The VA takes Good care of me though.

Thanks again buddy

Unfortunately low budget and professional sound don't really go together. Here's a couple of options to try to stay within your budget and limitations.
Keep saving money and either buy some good, new, low cost powered tops like the EV ZLX or keep scouring Craigslist and online for deals. Get two decent tops, I'd recommend EV, Yamaha, RCF, JBL, FBT, & QSC, powered if you can swing it. Rent a sub for each gig until you can afford to buy your own. A&H Zed10 is a good small mixing board that has come down in price over the last few years. Pick up some sm57s or sm58s mics for their versatility, used if you can find them (and cables, stands, etc..) If you come into more money, you might consider the small array type stick systems, like the Evox 8 or 12, they sound good and are very light and easy to transport, if you still have back issues.
Even doing everything on a shoestring budget you will still invest in the thousands by the time you are done, except you are never really done, lol.

 on: Today at 01:19:25 am 
Started by Scott Gentry - Last post by Scott Gentry
Scott, the primary benefit of using matched systems is that ALL the heavy lifting of alignment has been done for you.

Why is it important to get the best alignment between boxes?  Because that's where the energy is.

When JBL, Yamaha, EV, RCF, etc create their DSP parameters - particularly as they relate to the sub/top crossover - they're taking care of that.  Every transducer has different phase response and that response is altered by the physical enclosure the transducer is mounted in (and for subs, the design of the box: bass reflex, horn, tapped horn, band pass, etc).  That's why it's generally considered imprudent to mix and match unless you have experience in using dual channel FFT analyzers like Smaart or Systune and have some experience in alignment

Now that makes sense, or at the very  least a positive argument for using a matched set. So, I'll certainly check out the suggested reading, but if I understand correctly, or even somewhat there's a timing alignment?, between the two boxes, particularly at the crossover point, is that correct?
If so, how, or what triggers that? Do the subs and mains have to be wired together to achieve that alignment. Meaning input to sub, out from sub to main input, or will the two speakers behave properly if the signal arrives from two different inputs, assuming the source material is identical.

Excellent explanation, thank you!

 on: Today at 12:37:52 am 
Started by John Chiara - Last post by John Chiara
You can get them directly from Danley.

Assuming they are "pre sentinel", you can also get a Sentinel "add on" board, that is easily installed so you would have peak and continuous protection for the HF driver.

If they already have the Sentinel, I would be interested to see why they are blown.  The Sentinel should keep the HF from blowing.

Trying to post pictures of crossover. It appears the 2 glass fuses are blown. It is the low Freq driver not working.

 on: Yesterday at 11:41:35 pm 
Started by Rusty Stevens - Last post by Rusty Stevens
Both cabinets have the same amplifier, and the 835's have an easier job to do. I only run out of sub in the 2x2 configuration with louder music (hard rock, metal, pop/dance) with a lot of low end content. At that it is only when the 835's are getting close to the limiters. There is a certain "kick in the chest" that starts to feel a little flat when the top boxes have more to give. For quieter music... it's a non issue and the cabinets balance well. I would not pair 835's with less than 2x18 per side ever. (almost better off running the 835's full range or get smaller top boxes at that point).

Rusty, thank you for the review, I'm glad you are happy with the results you're getting from your rig.

If I may, you said the 2-835's will outrun 2-828's. I was curious to know, in your opinion, do the 835's put out that much, or the 828's not quite enough to keep up, or a little of both. On the surface I would have thought the 2-828's, giving 4 18's would be enough to stay with the mains. Thank you again for the review!

 on: Yesterday at 11:35:47 pm 
Started by Rusty Stevens - Last post by Rusty Stevens
The lobe covers the entire 20x20 stage pretty evenly. Not badly enough to cause kick feedback or wash out the other mics. I also high pass most everything that doesn't need the lower freq content so even if the mic is picking it up the extra content is ignored in the output.

that's some valuable and usable information right there. Thanks!

With centered subs, was there a significant lobe coming up onstage, perhaps right at the lead vocal spot?

 on: Yesterday at 10:55:15 pm 
Started by Kemper Watson - Last post by Kemper Watson
The iPad's wireless settings or the WAP's settings?

I'd use a computer to configure the WAP (hide SSID, etc) and when doing so, turn off the ability to access those settings via WiFi.  Reboot the WAP when prompted and you should be all good.

Thank you Tim..

 on: Yesterday at 10:52:38 pm 
Started by David Pedd - Last post by Debbie Dunkley
Sounds familiar.....

My comment was made because I sing harmonies with my band from FOH through a wireless headset mic. It gets interesting sometimes especially when folks in the audience catch on and start to poke their friends and they all stare at me. I have to be careful where I stand - too close and I get feedback - too far and there is too much latency.

 on: Yesterday at 10:35:09 pm 
Started by Chris Jensen - Last post by Tim McCulloch
Hi Everyone,

I'm trying to figure out how to accomplish cabling options with my distro at my facility.  I have a Motion Labs Stackable that is 208v 60a P/S in that breaks out to 3 L21-30s.  Installed behind a small cement stage there is a 208v 400a 5w service and a 100a P/S service.  The space does not dictate needing this kind of power, however I think someone sold it into a renovation years ago.  I figured the idea was 400a for lights, never been used, and 100a for sound.  Due to proximity to the performance space I built a 10' 2/5 cable with a 100a P/S to a 60a P/S cable and it works great. 

For a show about twice a year I need to get my distro about 100' away.  I don't mind renting but I haven't been able to find a HBL5100(C,P)9W cable to use the 100a service.  I have seen P/S to 5 wire adapters before and am considering investing in the parts to make a 100a P/S to 5 wire and a 5 wire to 60a P/S.  I'm not sure though if all the cable will fit in the shell.  Has anyone tried this?  Seems like a good way to level the playing field for a few times a year to 5 wire.  Also I work with students and staying away from the 400a service is attractive as the 100a is an interlock and hard to misuse.

If I understand correctly, even though I am only feeding a 60a distro from a 100a service, I should always be using cable rated for the full 100a at my given distance, in this case of about 100' my adapters should be 2awg.  I should not be using 60a cable, correct?


Los Angeles has it's own Code requirements that exceed NFPA 70 (the "National Electrical Code") so you may want to consult a local electrician that specializes in entertainment power.

In general you need to have the Over Current Protection Device (breaker or fuses) rated for the ampacity of the feeder, or vice versa.  It is NOT to Code to have differently rated connectors on the feeder, however.

Chapters 2, 3, 4 and Articles 520, 525 and 640 are where you need to start.

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