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 1 
 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


 2 
 on: Yesterday at 09:12:31 pm 
Started by Al Rettich - Last post by Al Rettich
Anyone have a semi current tech rider?

 3 
 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.

 4 
 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

 5 
 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?

 6 
 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.

 7 
 on: Yesterday at 07:50:33 pm 
Started by Dave Rogue - Last post by Mike Caldwell
Mike, sorry for the delay in my reply. I live in the SF Bay Area. I got a call from the shop today, and it turns out one of the inductors was shorted, so he replaced it. I'll pick it up later today. I'll let you guys know how it sounds. Thanks!

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.

 8 
 on: Yesterday at 07:30:21 pm 
Started by Stan Adams - Last post by Stan Adams
Thanks Everyone!

 9 
 on: Yesterday at 06:46:21 pm 
Started by Richard Penrose - Last post by Luke Geis
The 315 is a bit scary in its specs. The mid/high is a passive crossover with a FIR Filter only between the woofer and the mid/highs, as does the JBL. The JBL uses 3" drivers for the highs while the Yamaha 2". The Yamaha has a 1" throat CD, while the JBL a 1.5" throat CD. The Yamaha weighs roughly 92lbs whereas the JBL is 85lbs. The JBL uses a 6" MF driver and the Yamaha an 8" MF driver which could be why it has better output. The Yamaha states 2000 watts peak with 1,300 watts continuous while the JBL touts 2000 watts peak and 1,500 watts continuous. The 1/8th power rating for the Yamaha is 1.25 amps ( 150 watts ) while the JBL is 2.2 amps ( 265 watts ) which means the Yamaha has almost 2x the efficiency. I don't see where an extra 6db in output is coming from with the Yamaha unit?

 10 
 on: Yesterday at 06:33:50 pm 
Started by jackmoore - Last post by Ken Webster
If the output connector is unbalanced, then use a short 1/4" TS cable from the output to a passive* direct box with no attenuation to convert to a balanced XLR signal line.

If the output is balanced (or you're not sure) you can still use a 1/4" TS cable and direct box in the exact same configuration. An advantage of a direct box (either way) is that you can easily lift the ground if needed to combat noise.

*Or active, if you already have an active direct box and don't have a passive one to spare.

You could but:

I am actually horrified by the suggestion to put possibly unnecessary electronics in the signal path.  Surely the game is to keep the path as clean as possible and to do that you need to determine what is and is not necessary.  Also, some churches run sound on a shoestring budget so the sound person simply can't waste even the smallest resource on an off chance.  The sound person simply must know what they have, and target only the weakest links in the system.

I have used DIs as well as these transformers.  IMO these transformers are the cheaper and more reliable option.  They are well suited to this specific application where impedances and levels are so well defined.  You could certainly do much worse with some of the DIs I've seen over the years.

Ken

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