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 on: Today at 12:28:42 am 
Started by Josh Billings - Last post by Ned Ward
I would think capacity would be one consideration; there are different considerations for a 100 seat club and a 10000 seat amphitheater. There was an amazing sounding venue in Evanston IL (just north of Chicago) called the Amazingrace. From what I remember, it had a fairly high ceiling, some angles, and a good mixture of live and dead surfaces. Probably how youíd build a large tracking room in a recording studio, only in a bigger space. [I checked and it was about 4000 sf and with a 16 foot ceiling, and people used to rave about the acoustics and the then-state of the art EV system]

Had to look it up as I spent 2 years in Evanston in a graduate program 92-94, but from a quick Google Amazingrace was long gone before then. We used to play at The Keg, and they put the stage in for our band. We weren't great, but it was fun.  Mackie 1202, 4 vocal mics, DX7 and rack guitar preamp, into an Alesis RA300 power amp into 2 Cerwin Vega 15" speakers...

 on: Today at 12:17:27 am 
Started by Josh Billings - Last post by Tim McCulloch
The best SOUNDING venue would be size of your head, and you would use headphones.

Beyond that, compromises must be made.

There are 3 basic rules for rooms, Don't make it round, don't make a domed ceiling, don't have parallel walls.

Obey those and you are off to a good start.  Also don't have the same dimensions, to help reduce standing rooms.

Safety is the biggest concern in room treatments, DO NOT cheap out.

There are many things to consider in venue design.  The design starts with knowing what limitations you have to deal with.  Different sizes require different approaches

Like this?

 on: Today at 12:15:56 am 
Started by Dave Garoutte - Last post by Ed Hall
I have the Cyberpower OR500 in my x32R rack. Itís only about as deep as the mixer and So far has worked great.

I have two of the SMX1500RM2Us for my server rack at home. Iím waiting on two more. Fortunately my day job would rather replace the unit than the batteries. Iím not complaining. They are a nice unit. 

 on: Today at 12:13:57 am 
Started by Nathan Salt - Last post by TomBoisseau
Hey All

Anyone played with the new Axient Digitals yet? We just got some in and the control doesn't work on the CL (not that I thought it would)
Guess just need to wait for a firmware update from Yamaha, unless I'm missing something

I'm pretty certain I read something from Shure stating that Yamaha would, in a future firmware update, support the Axient Digital wireless system within the CL/QL series.


 on: Today at 12:09:06 am 
Started by Tim Weaver - Last post by Tim Weaver
It did on the ebay listing where I found it.

I just did a little googling and found a couple references to the owner (Tom Hilbe) being a crook. I guess I'll pass.

Are there any cheap com systems that work out there? I just need 1 channel and 6 or so packs.

 on: Today at 12:05:09 am 
Started by Lyn Gillean - Last post by Scott Hofmann
Essentially really big series inductors that present a high impedance path for voltage spikes with a fast rise time. This is the opposite of MOV devices that short out the voltage spike to the ground when the peak voltage goes over the design threshold.

Sounds just like the chokes in a 20 amp or 50 amp dimmer using SCRs or  solid state relays!

 on: Yesterday at 11:43:20 pm 
Started by Josh Billings - Last post by Rick Powell
There is an old concept dating back to the Greeks that is still applied today - the ďPhiĒ golden acoustic ratio of width 1.6 times the height of the room and the length 2.6 times the height. This assumes parallel walls; as stated above, if you can make one or both sets of walls slightly out of parallel it will reduce the standing wave potential. Of course, corners with less than 90 Degrees will accumulate additional bass frequencies, so treatment or an extra angle at an acute-angled corner becomes necessary. Nearly all recording studios I have seen with non-parallel walls have oblique corners.

In smaller venues, itís usually the low ceiling that prevents optimum acoustics from being achieved. Using the so-called golden ratio, an 80 x 50 ft venue (4000 SF) would have an optimum ceiling height around 30 feet. Rarely do rooms in real life have tall ceilings that optimize the acoustics, but good results can be achieved with lesser heights and good acoustic treatment.

 on: Yesterday at 11:41:27 pm 
Started by Kevin Conlon - Last post by Kevin Conlon
Yeah I know that's an option, but honestly the capability is already built into the desk. Why should I pay hundreds to thousands of dollars more, just so each guy can have a knob that truthfully won't (shouldn't) be used that much?

I work in the world of big-boy consoles, but I'm also a big fan of the X32. For the price point it does a LOT of what a 60k-100k dollar console can do but it brings those features down into the hands of the working-stiff bands. Now, they can get in trouble quick by getting too fancy, but for a guy like me it was awesome! I finally had a useful matrix, multiband comps, and I had Waves Multirack running on mine.Honestly the desk doesn't sound horrible, has great features, and was quite reliable. It's all win.
I get what you are saying. Some singers blow out the pre amps and some get a flicker of light with things wide open. I have to use it. I should add that this is the only performance i have ever had to do this. This is 12 years i have been there and three boards, all with the same staging problems. The fear of someone messing up my mix came true a couple hours ago. One of the backup singers mixes the backups from the stage. In the last song he wanted to turn down the lead singer in their mix. That's great, no problem. Thing was he had mix one selected not mix 2. When the faders started moving i backed off untill they stoped and corrected things. The singer had nothing for a few seconds. This simply cannot be allowed at FOH. Splitter snake it is... period. Thanks for all the input guys.     

 on: Yesterday at 11:35:48 pm 
Started by Jim Rutherford - Last post by Jim Rutherford
Iím putting a 835 straight into the speaker with mic level on.  With the gain all the way up, the volume is relatively low.  Itís about twice louder when feed through a mixer and is on line level.

Iím trying to keep the set up simple.  Just one mic for a 30 minute group meeting of about 150 people.  So I want to go directly to the speaker and use prxconnect to control volume and EQ.

Is volume normally this low when using mic level directly in?

Thanks Jim

 on: Yesterday at 11:31:02 pm 
Started by Dan Richardson - Last post by Caleb Dueck

So now decide if you really, really needed those speakers, especially with your comments above considered. Then think of something else for the same bucks that would really help your cause. Other than that have a great time with your GAS, and I look forward to your next post.

GAS attacks tend to give way to remorse if the items are cheap (low quality).  High quality gear has less remorse.  If you can skip the first few levels of GAS and jump right to the "good stuff" - you'll be well ahead of the curve. 

Sent from my VS980 4G using Tapatalk

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