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 on: Yesterday at 08:37:55 am 
Started by Richard Turner - Last post by Dave Bednarski
I have a Whirlwind DrumDrop, very well made and reasonably priced but rarely use it.  I carry 10ft and 25ft cables.  Drop a stage box near the hi hat, if a 10 wont reach, then I grab a 25 and keep moving.  No need to over think it.

I donít think the 10s are any more tidy than a well coiled 25, but it is 15 feet less to wrap up at night.

I do use the Whirlwind DrumDrop if it is a multi act day with quick change overs and the kit is not shared between acts.  The snake skin techno mesh wrap minimizes tangles, it is extremely fast to unpin the mics, pull back the cable on the kit and let the drummers swap.  The ends are labeled and you know it is 1-to-1 with the patch at the stage box since it is hardwired.

 on: Yesterday at 07:09:08 am 
Started by Kemper Watson - Last post by Keith Broughton
The advantage of a helical in static applications is that they are typically higher-gain antennas on-axis.

 I would typically expect more signal to be received by a helical than by a LPDA.

Or, as in this application, "higher gain" at the TX end.

 on: Yesterday at 05:57:13 am 
Started by Jim Babo - Last post by Johannes Halvorsen

Hope the Behringer sub can keep up...

I have never used any of those speakers myself, but I'd guess you could turn the Behringer sub on or off and not notice much difference when the JBL is running full tilt boogie in full range mode.

Seems like a quite odd combination of speakers...

But to adress the OP: Have you tested the speakers afterward? Any strange sounds etc? In my experience it is easier to check if a speaker sounds ok when using a recording of a single instrument. Some old audio test CDs (e.g. Parson/Court) have nice clean recordings of uncompressed guitar, piano, human voice, etc.

 on: Yesterday at 05:42:25 am 
Started by Nianlun - Last post by Nianlun
This circuit is made of one differential BJT transistor( pair and voltage-amplification stage with negative feedback.

About this circuit for DC conditions. Current through current source equals 2 mA and collector current through each differential transistor pair equals 1 mA. Current into base of VAS (Voltage Amplification Stage) is 20 uA and therefore collector current through it is 10 mA. For loop-gain ratio I firstly decided to be 11 (therefore PF1 was 2,2 kΩ) but then added 100 kΩ potentiometer to it to vary its gain in wide range.

As we speak about small signal analysis or AC conditions if this circuit, things here get a bit more stranger:

1.) Referring to this Bode plot here . The low frequency gain roll-off starts at already 2 kHz! Since I am interested mostly in designing audio amplifier this LF gain roll-off began here to quickly - I was aiming for at least 100 Hz or at 10 Hz of LF gain roll-off if possible. What should I do about it? I did put 100 pF compensation capacitor for improving amplifiers gain bandwidth. (I sampled some values here: (at 100 mVpp input sine) 2 kHz -> Vout = 1 Vpp, 1 kHz -> Vout = 0,88 Vpp, 100 Hz -> Vout = 0,18 Vpp)

2.) Many of you know that, if the closed-loop gain of amplifier is high, that means we have smaller phase margin and greater influence of overshoot/undershoot and ringing at the output (we can see that from square input signal applied to it). And also, if the closed-loop gain of amplifier is low, that means we have larger phase margin (improved stability) and smaller influence of overshoot/undershoot and ringing, but the output signal has longer rise time.

Well, I did some measurements with my scope and function generator. And yes, I did see overshoot/undershoot, ringing, settling time and rise time within output (square) signal, when I was varying the closed-loop gain of amplifier in wide range of values. But there was something strange about it. When the closed-loop gain was high (around 500), I could saw slower rise time of output signal and when closed-loop gain was low (approx. 11), I clearly saw the presence of overshoot/undershoot and ringing within output signal - did I messed up things when I was learning about step response of amplifier or are things that concern overshoot, etc. showing up in reversed order?

3.) I was also trying to find high frequency gain roll-off of amplifier. At high closed-loop gain (around 500), the HF gain roll-off started at around 15 kHz to 20 kHz. But at low closed-loop gain (approx. 11), the HF gain roll-off didn't start at all - in fact the gain was slightly increasing with increasing the input frequency of signal (at 1 MHz it was still increasing!). So the first case seems pretty normal to me, but the second one seems rather extremely unusual than normal. Any ideas what is happening to this circuit at lower closed-loop gains? I thought that amplifier is very stable at low closed-loop gains but obviously not?

 on: Yesterday at 05:33:20 am 
Started by Jim Babo - Last post by Chris Grimshaw
Hi Jim,

New speakers do smell sometimes as the glue around the voice coils gets warm. Not something I have a lot of experience with, but others around here might. The smell might also have been something in the amplifier itself, in which case that's cause for concern.
A flashing limit light means you're not going to get any more volume out of these boxes. Limiters are there to make sure nothing breaks, so the indicator is telling you it's doing it's job. Occasionally touching the limiters is fine, but if the light's on more than that, you need a bigger system.

If you set the SRX815P for use with a subwoofer, you'll get considerably more headroom as the 15" driver won't be flapping around trying to do bass. Hope the Behringer sub can keep up...


 on: Yesterday at 05:32:45 am 
Started by John Fruits - Last post by John Fruits
I wonder what the next Harman Professional product to be spun off will be?

 on: Yesterday at 03:18:57 am 
Started by Patrick Cognitore - Last post by Russell Ault
Soooooo..... I disagree that the clips should be charged for (what, 50Ę rental?!?) but customers should be asked if they need one, and if they do, it should be free. BUT, if it doesn't come back, then by all means charge them $10 to replace it.

They won't charge you for clips (heck, they'll even throw in a free XLR, of whatever length you'd like, for each device that has an XLR jack), but they also won't volunteer them... or check to see if the kit they're sending out has a clip in it or not, even if you are renting stands. In fairness, they don't seem to check for clips when you return the gear, either. Basically, they don't care.

You'll walk out the door with something; if you pay an extra fee then that "something" will be what you actually asked for, and it will have had at least some testing. Without an extra fee, if you ask for a speaker you'll get a speaker, but it probably won't be the speaker you want, and it may or may not get tested. However, if you ask them to run a quick "does it pass signal" test they always will.

It's the ultimate dry rental: if you're willing to be on top of them (politely, of course; this is Canada) you'll get what you need at an overly-reasonable price, but they will not do any of the thinking for you. If you're expecting full service (or, really, any service), you're setting yourself up for disappointment.


 on: Yesterday at 01:42:29 am 
Started by Sam Costa - Last post by Scott Holtzman
I also have CDO.

(It used to be "OCD," until the day I realised the letters were out of order...)

Sent from my VS995 using Tapatalk

 on: Yesterday at 01:37:58 am 
Started by Diogo Nunes Pereira - Last post by Nathan Salt
Having the same console ID would only conflict if they were trying to mount the same rio. Should work since you won't be. Don't know though, have not used more then 2 consoles on the same network myself. Would make patching in DC difficult as you wouldn't have a good naming convention.

 on: Yesterday at 12:41:25 am 
Started by Matt Greene - Last post by Robert Lunceford
Hi all. I'm needing to upgrade speakers in a 225 seat auditorium for use in university plays & musicals. Clarity of voices matters the most, followed by ability to rock.

Currently considering:
QSC K10.2 or K12.2
Yamaha DXR


When you say the speakers will mostly be used for plays and musicals, will you be using omni headsets to mic the performers? Are the speakers mostly for vocal amplification?
If so, I wouldn't use any of the speakers you listed.

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