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 on: Yesterday at 01:49:22 pm 
Started by Frank Koenig - Last post by Doug Johnson sells a large assortment of pre-made rated cable slings.

 on: Yesterday at 01:22:25 pm 
Started by Miguel Dahl - Last post by Miguel Dahl
There's one thing I don't understand in Sennheisers WSM, it's the order of arrangement in the software, how the channels pop up. What dictates it? Even If I number them 1-16 every time I open up the software and connect to the units, the arrangement is all jumbled. I have to re-arrange the channels every time so they visually go 1-16 again.

I wish I could save a preset in WSM, and the visual arrangement would pop up just like I saved it when I load the preset again.

Is there a way to give the different channels unique "ID's? I haven't found a solution to this. It's not by IP at least, I've tried that.

Or at least something which could make me build my stacks with 4x units in each which would be the same visually in WSM. 1-16, left to right.

 on: Yesterday at 01:16:21 pm 
Started by Richard Penrose - Last post by Debbie Dunkley
My thoughts exactly.  Run them both up to limit and then compare the output.  That is the only way to tell.

Of course you will want to be in a decent sized area ... like outside to do it 😀

Yes - at lowish volumes the DSR compared to the DXR appears to have the same output problem BUT  once they are both run hard, the DSR catches up real quick!

 on: Yesterday at 01:15:12 pm 
Started by Debbie Dunkley - Last post by Stephen Swaffer
A couple of quandries I see with this device:

1.  It uses a 4 wire cord and my understanding requires an unbonded generator.  I have never seen a 4 wire meter base-3 wires in, 3 wires out-neutral and ground bond at the panel.  If there were a fault in the neutral from the meter to the panel the potential exists for the frame of the genny to have a potential higher than ground.  A rather undesireable situation.  Not even sure how to address this issue.

2.  Lack of overcurrent protection in the device itself.  Yes, you are required to use a genny with a breaker and yes the cord will only work with the correct size genny.  Do you really think the guy that finds out his 6 kw genny won't run his AC and microwave at the same time is going to replace the Generlink when he buys a 10 kw genny?  He'll probably cut the cord end off and install one that fits.

3. I also read where it falls into a "crack" in jurisdiction.  Meters are POCO devices and governed by NESC and their regs-meter bases and all homeowner devices are NEC.  Which is this??  Usually the customer is not allowed to have anything on the POCO side of the meter.

 on: Yesterday at 01:09:51 pm 
Started by Jason Raboin - Last post by Andrew Broughton
I really don't want the Baofeng/Yaesu/etc feature set.

I want to program a radio for a set channel, and then have ONLY volume and ptt controls.

Nothing that a user can mess up.
There are many like that. Either lockable controls, or no controls (other than volume/PTT or channel if you like) and programmable via software.

 on: Yesterday at 12:56:42 pm 
Started by Bob Kidd - Last post by Bob Kidd
Since this sounds like an install scenario at a club, would building some simple platforms or secondary "enclosures" around the subs be an option? Would help protect them from dancing revelers and spilled drinks. Maybe even build it as an extension of the stage.

Exactly what I've considered, just concerned with low-end build up with subs underneath stage extension

 on: Yesterday at 12:48:52 pm 
Started by Frank Koenig - Last post by Art Welter
Thanks so much for the response. It occurred to me to find a local shop to do it and I have yet to look into that. It was so much easier back in the day to find local places that would make up ropes, hoses, etc. --Frank
Wish it would of occurred to me too- your post made me remember yet another set of tools (18" swage tool & 30" wire rope cutter) I have not used in far too long that will be going, going, gone...

 on: Yesterday at 12:30:38 pm 
Started by Richard Penrose - Last post by Scott Bolt
I wouldn’t get too hung up on a volume difference between those two. It could simply be that the DZR needs more input signal to make a proper comparison.
My thoughts exactly.  Run them both up to limit and then compare the output.  That is the only way to tell.

Of course you will want to be in a decent sized area ... like outside to do it 😀

 on: Yesterday at 12:07:50 pm 
Started by Joe Pennachio - Last post by Luke Geis
The direct answer to your question is that you use the knob on the EQ section of the mixer or outboard gear to reduce/cut or boost/increase that selected range of frequencies.

EQ is just an acronym for Equalization. Equalization is almost literally what the task of utilizing EQ is supposed to be. You use an EQ to equalize the frequency response of a speaker system. Ideally, you want the response to be linear/flat. This means that there are little or no humps or dips in the frequency response and the PA would essentially be a white canvas for sound reproduction.

Moving up the line, you also have channel EQ which is used to " shape " the sound characteristic of that instrument or vocal. This is more where you impose your taste or flavor of how a band sounds. If the PA is neutral/flat, then what you do to the instruments channels would be what makes the band sound the way it does. The trick, in this case, is to create space in the audio spectrum for all the instruments to fit in.

EQ relates to frequency. A basic analog mixer has a three or four band EQ on the channels and they are split up accordingly as Hi's, mids and lows. Without getting too deep, there are a couple different types of EQ employed on an analog mixer. Fixed frequency, semi-parametric and parametric. This is listed in relative complexity, and fixed frequency is the most common on inexpensive mixers. In either case, if you feel that there is too many hi's on a vocal mic, you can then use the HI band EQ to reduce that range of frequencies. If you feel there is too much or too little of X range, you can use the knobs to EQ for flavor, or correction.

If you use EQ to make something sound a particular way that you feel is more favorable, you are EQ'ing for flavor. If you EQ something to solve a problem, it is corrective EQ'ing. The hard part is knowing what you are doing that EQ adjustment for. Sound is subjective by nature, and what one person may think sounds amazing may sound blah to someone else. So even though you may think you are correcting what you believe to be a problem, if you are making the change to improve the way that instrument sounds, then it is likely a flavor adjustment. A corrective change is one that actually solves a real problem or addresses a severe deficiency. Feedback is a problem that EQ is used to correct. A mic that is placed wrongly and can't be adjusted would likely require some amount of corrective EQ to address the bad resultant sound.

Going deeper, is the understanding of what can and can't be fixed with EQ. Not everything is fixable with EQ and it will take years to understand and know what is and isn't. EQ is a tool and is not perfect. It is advised to first learn what the frequency spectrum is and learn to recognize the frequency tones. Knowing what 1khz, 2khz, 100hz, 8khz et all sound like is paramount. If you can't recognize what the problem frequency is then correcting it is a shot in the dark. Next is working on frequency sensitivity. It doesn't do too much good to know what all the frequencies are if you can't also adjust them to a relative level. A really good sound engineer can be sensitive to a 1/2db change of a particular frequency. The average punter is only sensitive to a change that is made between 1db and 3db. The ability to listen to a PA system and adjust its frequency response so that it is relatively flat is a skill not easily come by. Not only must you be able to hear the small change, but you have to be good at making that change so it is relative to the adjacent frequencies. We all hear things a little differently, so you can see how it is a personal learning task. You have to be able to reference a known proper response in your head that you can use to relate to what you are actually hearing.

 on: Yesterday at 11:32:13 am 
Started by Tony Mamoh - Last post by Paul G. OBrien
Considering the fact that the particular powered  speaker has an internal power amp that was specifically matched , what could have caused a HF driver get damaged? 

In this case with a powered speaker the "cause" of failure is a barely adequate driver and insufficient driver protection, there is no other explanation for it. The compression driver used in this box (2414h) has a meager 35w rating while the amp powering it is rated at 150w continuous 300w peak, that is more than enough juice to smoke the driver in a second with mic feedback for example if there isn't sufficient protection. Clearly JBL has not put enough engineering into this box, it is an entry level product but other manufacturers(EV) manage to produce entry level powered speakers(ZLX) that can handle mic feedback without blowing drivers.

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