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 on: Today at 03:43:39 am 
Started by Gus Housen - Last post by Jean-Pierre Coetzee
Disclaimer: Bands I work with use 30-50 watt valves turned up to max so the extra space doesn't really make too much difference.

 on: Today at 03:39:08 am 
Started by Jesse Stern - Last post by Jean-Pierre Coetzee
I am not sure if you are talking about the same thing I am but I sometimes have a bunch of wireless that are properly coordinated for a location and then we need to add some more. I am using Wireless Workbench 6.12 and I use a WinRadio as a scanner, I have found that it is more accurate than using the Shure receivers as the scanners and sometimes I am trying to add frequencies in a range that is outside of the Shure receivers. I am using Shure UHF-R sometimes mixed with some Sennheiser EW series wireless and also having to keep clear of the wireless comms.

Rather than from the start throwing away the coordination I already have, I lock those channels and after a scan see if I can add the Sennheiser without having to retune the already coordinated Shure’s. I have had mixed results. Sometimes I have to retune a few of the Shure’s but WWB will tell me which ones are going to be a problem. And I have it reassign frequencies to those.

I have slightly changed my technique and am usually now putting some spare channels in to start with. But sometimes the scan shows something that wasn’t there before and I have to do more retuning then I would like.     

Our standard wireless setup for Musicals consists of 18 Shure UHF-R and 8 Sennheiser EW series. And one of the theaters has 5 frequencies taken up with the Telex wireless comms. And sometimes we need to add more mics to the system. Even though these theaters aren’t that far away from each other (just over 2 miles) I do seem to get very slightly different hits when scanning.
To an extent that. If you work the same venues the RF should usually be similar in the same venue every time. There are exceptions.

Just trying to solve the actual need to change frequencies the whole time instead of trying to use predefined groups for OP.

 on: Today at 03:27:55 am 
Started by Jonathan Hiemberg - Last post by Scott Holtzman
i stand by the marantz of the day. A bit pricey these days, was amazed at what mine brought on ebay.

The Marantz receivers were works of art.  Loved the feel of the flywheel on the tuner.  I agree 100% 

I do like components personally.  I run an Integra (Onkyo's upscale line) preamp both in the family room and the home theater.  In the more music system in the family room I have a pair of mid 80's Infinity's with the emit tweeter and they work well for me.  My Carver amps were rebuilt about 20 years ago and I think they will outlive me.  I don't have an analog source anymore.  Oppo Blu Ray player has a great DAC in it and plays all formats of discs and digital media.

 on: Today at 02:55:26 am 
Started by Mike Willis - Last post by Baines Kinnison
Unfortunately, as a small-format service provider most of our clients don't have the interest, time, resources or money to invest in event safety to the degree that they should. We warn them, urge them, dictate via contracts and persist as much as possible but ultimately we just have to err on the side of caution. I've passed on many events that didn't have safety concerns in check but sadly, I cannot afford to pass on every one of them though...and there can be a fine line so don't demonize me yet.
Our "Terms of Service" attachment signed by our client states that we get to "make the call" if weather threatens an event we are working on as the sole provider. While that might sound like a solution, it is not. We have been pressured over and over in the past to continue with events threatened by foul weather. It can be very scary and it is far more dangerous than guests seem to realize to invite artists on stage to plug in and perform when the sky looks ominous. If you can hear thunder even a little, it is a bad idea to continue. Actually, it is unlawful and negligent in my neck of the woods. Gear can be cannot replace people. 

Guidelines, Protocol, Best Practices, take your pic, just be sure to establish it with your clients... but be prepared to roll those dice when your client's weather app forecasts different weather from yours. Standing your ground can cost you the next gig. I would rather admit to that than to have to say that we could have electrocuted an artist performing during some iffy weather.

I know this might only apply to smaller scale events vs the million dollar shows but that points to the initial question Mike was posing, me thinks.

 on: Today at 02:48:53 am 
Started by Jonathan Hiemberg - Last post by Tim Hite
. . .and really the whole thing, for me, is the analog. No, I couldn't quantify it, but apparently I prefer it over digital formats. I can tell because once I start playing records I can still get lost for hours in music.

 on: Today at 02:43:11 am 
Started by Jonathan Hiemberg - Last post by Tim Hite
Just curious - I've been thinking about getting a little setup in my office / studio / practice room to listen to vinyl.


-Can you recommend a good setup to playback & listen on?

-Any good albums to start with? Must haves, recommendations, value buys?

Thanks in advance!

I put a friend of mine who had acquired some vinyl but no turntable onto an Audio Technica AT-LP120 and he loves it. Breaks it out at parties and plays Neil Diamond and the Eagles. It's a nice, durable solution AND it has a built in phono preamp so you can hook it to anything. . .really durable, as well, not like a Technics, but good enough if you're not going the road with it. Has a headship and will take any P-mount cartridge.

I gifted an AT-LP60 to my sister in law a couple years ago and it's held up well. She plays Christmas albums that I gifted with the turntable every year. Also has built in phono stage.

I've Owned and used Technics SL1200's for 25 years. They're great. Only ever had one break from loaning it out. They are getting expensive and aren't really needed if you're not a DJ.

I prefer Ortofon, but that's from a DJ perspective. I've been using since the early 90's. You can get better but not as durable.

An elliptical stylus sounds better for non-DJ use. Will wreck your records if you backache with it.

Buy whatever vinyl you want. There are loads of stores coming back. Craigslist and estate sales and swap meets are good spots to hit. Don't pay more than $1 per record if buying in bulk.

If you want something in particular and in particular condition, there is only one spot worth going to. . .

Juno is good for new music and records can be had for a reasonable price if you buy a few items to get the overseas shipping spread around.

Amazon has an enormous amount of new vinyl for sale, and generally they provide an MP3 download so you can listen elsewhere.

 on: Today at 01:15:52 am 
Started by Jamin Lynch - Last post by BrianHenry
The wiring job on the truss mounted equipment would drive me crazy.

Sent from my iPhone using Tapatalk

 on: Today at 12:56:03 am 
Started by Chris Edwards - Last post by Renard Hurtado

[/quote]i was discussing this with a friend also some other major brands that has been sold or bought by other companies and burried ( SWR etc).

His answer was "Yamaha is forever", maybe he's
right !

Renard from Curacao

 on: Today at 12:00:15 am 
Started by Jamin Lynch - Last post by Tim Halligan
There is the horrible possibility that this is just one side of the rig.



 on: Yesterday at 11:58:42 pm 
Started by Joseph D. Macry - Last post by frank kayser
A female singer-songwriter I worked with recently liked the PR-35 I used that night much better than the KSM105 she usually carries.  Go figure.  I've also mixed her on a 58 with some better than respectable results.
Not my "favorite", but the 58 does indeed set a pretty high bar.  A real workhorse.

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