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 1 
 on: Today at 02:24:09 PM 
Started by Steve Ferreira - Last post by Steve Ferreira
Hi all,

Has anyone here used L'Acoustics A10s? Looking at maybe having 4x A10 wide and 2x KS21s all powered with 2x LA4x amps. Not looking to fly anything at this point as 95% of my events are ground supported PAs. I have never used L'Acoustics before. I downloaded the Soundvision software and was completely lost. Much different compared to LAC and ArrayCalc.

What's the throw on these boxes like?
How do they sound?
Would a 1 over 1 or 2 over 1 be sufficient for a band gig and possible DJ. No EDM, hip hop.
The biggest room I provide sound for is 60' wide by 120' deep.
How's the accessories in setting these up etc..

Looking for Pros and cons of this rig.

TIA

 2 
 on: Today at 02:05:55 PM 
Started by John M. Roll - Last post by John M. Roll
I had an amp module go down this weekend. QSC says it's obsolete and no parts are available. Am I dead in the water with this? These things have been workhorses for me and I hate to think the cab is scrap. Suggestions?
Thanks
John

 3 
 on: Today at 01:51:23 PM 
Started by scottstephens - Last post by Dave Garoutte
I've got one. No such issues. Works great for "break-out rooms" - especially ones that may not be staffed 100% of the time.

Once set via the bluetooth app, simple fader control for more/less volume gets the job done. The more dangerous settings remain beyond the reach of untrained (un-bluetoothed) hands.

Dave

+1 
Though one of my Ipads doesn't like to connect to BT

 4 
 on: Today at 01:49:13 PM 
Started by Debbie Dunkley - Last post by Dave Garoutte
The reasons I chose the PS amps in the first place over the Danley :
I could use an amp per side (placed next to each stack), allowing for shorter/neater speaker cables runs and of course I could take the stack side opposite to the board using XLRs from the stage box outputs on that side. Now I will have to run long speaker cables to the farthest stack on stage from a more central position where the amps will be placed. Using the D snake outputs also allowed me to run mono subs by using 2 separate L and R feeds - board and Snake. 
 
Just gotta make some small changes in layout.....

I run everything from stage left; amps and stagebox. 
Stagebox has 8ch of AES outs, so two channels per amp go directly into the AES in on the DNAs. 
DNA20k4 to L/R mains, subs, 2 mono front fills. DNA10k4 to L/R side fills, L/R delays. 

 5 
 on: Today at 12:42:49 PM 
Started by Rolando Saenz - Last post by Chris Hindle
Yes still crooked, only it does not show up as bad as having the connector flange exposed.

Didn't think of that...   Learn something new each day. 
Thanks Mike.

 6 
 on: Today at 12:40:23 PM 
Started by scottstephens - Last post by Tim McCulloch
Hey guys.

Do any of you have one of these? What do you think of it? Pros? Cons?  A friend of mine says that it has some "weird" fader issues.  My Sweetwater guy was not a lot of help. He just said that it had some "kinks" that needed to be worked out. 

Thanks.
Scott
I have one sitting next to the keyboard I'm typing on.  It's my USB mixer/interface for Zoom and Teams (yuck).  What weirdness are folks talking about?  Other than lacking some flexibility in the feature set, I've not observed it doing anything it shouldn't, nor failing to do anything it should.

 7 
 on: Today at 12:33:15 PM 
Started by Ron Roberts - Last post by Tim McCulloch
I'm with JR.  Preamps - straight wire with gain - have been sussed out decades back.  What has been happening since then is selling "color" or any audible difference as being "better" when it's your product and "bad" when it's a competitor's.

When operated within their linear range most preamps sound far, far more alike than different.  It's what happens around the edges that set them apart.

If you want color, fine.  If you need 70dB of ultra-quiet gain, (like in video and film and some corporate stuff), fine.

If you want to make good live mixes almost anything and everything will have greater impact on the perceived sound quality.

Leave the preamp, take the cannoli.

 8 
 on: Today at 12:30:03 PM 
Started by Jay Marr - Last post by doug johnson2
I have never been overly impressed by the AT IEM systems, they have just never sounded that good to me.  I don't have any experience with the MiPro IEM systems but I have sold more than a few of the microphone wireless systems going back to when they were OEM wirelesses for Beyer. They have always been rock solid and I have never had an issue with tech support.  As far as repairs, I have never need to have one repaired.

 9 
 on: Today at 12:26:26 PM 
Started by Peter Kowalczyk - Last post by Tim McCulloch
One of my local hotels used to use connectors for electrical service that was not actually used, think of a 480V 3 phase twist lock, on all their internal distribution systems in the ballrooms.  The did this so any power connections would have to be provided by the hotel and billed to the client.  The breakout panels were equally janky (Code? What's a Code?).  The building was owned by a division of a local government agency but managed by a "brand you've heard of", and when *someone* called the County's building inspection (and city fire department), shit got fixed and a whole bunch of other electrical problems were addressed.  I heard from building engineering that it cost the managing company around $100k to fix all the problems they'd created.

 10 
 on: Today at 12:18:22 PM 
Started by Sean McKinley - Last post by doug johnson2
These boxes really need Graybox/Focused/UX processing to operate to the best potential.  The difference between the FIR processing and standard processing is not insignificant.  That said, I would use the processing in the XTis rather than the processing in the X32.  It will be a better choice.  There are available dsp setting for these boxes in the legacy area of the EAW website.  Be aware however that these settings were developed for the EAW MX series of processors.  These processors were OEMed by Ashly are the filters were based on those in the Protea processers.  The processing in the XTis is based on the DBX Driverack processors and use a different filter topography.  The EAW setting will not transfer directly.  You might download the legacy Driveware software and EAW presets for the original Driverack 480 series from the DBX website.  Copying the tunings from there for use in the XTis will get you closer to what you want.

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