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 11 
 on: Yesterday at 08:31:07 pm 
Started by Kirby Yarbrough - Last post by Kirby Yarbrough
I have to be the last guy on the planet to hear about this, but just in case.  I have a lot of the K&M mic stands with boom arms, and over time they begin to droop, especially when fully extended.  The simple trick is to disassemble the clutch and wash all the parts, especially the rubber washers (I used a household cleaner), wipe dry, reassemble and hey presto, it no longer takes Hercules Unchained to keep them in position.

 12 
 on: Yesterday at 08:23:05 pm 
Started by Daniel Martini - Last post by Daniel Martini
I'll PM you!

 13 
 on: Yesterday at 07:56:10 pm 
Started by Kevin_Tisdall - Last post by Luke Geis
Have you thought about using a ducker on the ambient channel? You can use just about any mic you like really and it can be fed to everyone and it will essentially be a room mic. In between songs, the ducker will release and the band can hear everything that is going on and then when the band starts to play the ducker ( triggered by whatever you would like it to be triggered by ) kicks in, cutting the signal from everyone's ears.

 14 
 on: Yesterday at 07:37:46 pm 
Started by Havard Hogstad - Last post by James Paul
Interesting debate  :)

As a lot of you seem to have experience with the SRX835P. What alternatives did you consider before buying the 835? JBL or other makes.
The only other box I considered was the Mackie HD1531 for a sound and build quality that I preferred over the JBL. Decided on JBL for the array-able and narrower 60 degree HF dispersion, and lack of confidence in serviceable Mackie electronics.

The main debate with myself prior to a decision on purchase of second-hand SRX835P was the issue of self-powered vs passive.
Primary criteria that weighed in favor of self-powered was the value and ease of plug & play, next step up from a self-powered two-way SOS scenario. 

I still fancy a pair of the Mackies for man cave/ shop duty, a real possibility at the right second owner buy-in.

 15 
 on: Yesterday at 07:32:03 pm 
Started by dave milton - Last post by Rob Spence
Yes. This is what I believe. The mobile stage they bring in is 20x40 and also carpeted. The room itself is 75x125 and full wall to wall carpet.

If it is a metal framed stage, are you grounding it?


Sent from my iPad using Tapatalk Pro

 16 
 on: Yesterday at 07:27:54 pm 
Started by Lisa Pinero - Last post by Lisa Pinero
This model, the Sonosax SXST/8D is the world's premiere location sound recoding mixing console.  It is hand built by Sonosax in Switzerland and has the quietest signal flow of any mixer in its class.  Sonosax limiting is well known to be the most transparent soft knee limiting available in location recording equipment.  The PreAmps are second to none.  The mixer is designed to run on 12V (external or onboard batteries) and comes with an AC adapter.  It is an ideal console for use in motion picture sound recording or for very high quality location recording of music.  It is a fully analog mixer with a very flexible high quality Sonosax AES3 A/D module installed.  A new Sonosax SXST/8D as configured would cost in excess of 20K.
I'm the original owner and this mixer has been regularly maintained and very well cared for.  This mixer was put into service in 2005 and completely refurbished (including all new faders) by Sonosax in Switzerland in late 2016.  Service records are available from Sonosax.  This is the North American version with 8 channels and 8 channel A/D converter module and extensive communications module.  Also has the original arm rest/battery (D-Cell) compartment.  Includes the custom cable sets I have used for pairing with a Cantar X3 and Zaxcom Deva 16.
For full specs, dimensions and more information see: https://www.sonosax.ch/product/sx-st/
For a review of the Sonosax SXST/8D: https://www.trewaudio.com/articles/sonosax-sx-st/
Very good condition.
Price: $8500 USD
Pick-up in Los Angeles or buyer pays and arranges for shipping elsewhere.

 17 
 on: Yesterday at 06:41:16 pm 
Started by Michael Gorecki - Last post by Jeff Lelko
I have varying degrees of experience with the Rogue Series, but I think the better question to ask is what you need the fixtures to do.  Beam lights tend not to be very versatile.  Unless you specifically desire the beam look Id be shopping for something thats more generic like a spot or wash.  Hybrids exist too.  Hope this helps!

 18 
 on: Yesterday at 06:29:34 pm 
Started by Havard Hogstad - Last post by Luke Geis
I have installed two systems of SRX835SP and the reasons were simple. It is the most PA you can buy for that price with the feature set included. For me, it is about control and management of the system. The SRX was capable of meeting my minimum requirements in terms of SPL, quality of sound and real-time DSP management. I no longer needed a Drive rack, I could see when the PA was being abused and make changes to it in order to increase the lifespan. The powered SRX has data logging and you can adjust just about everything you can imagine if you really want to dig deep. The fact that it sounded as good as it did out of the box is icing on the cake! There are some offerings from RCF and DB Technologies ( arguably the same company ) that are close in regards to control and system management but come with an extra cost. The SRX line is the best you can get for the money.

Even today there really isn't a speaker that provides the feature set that the SRX has at the price point they are offering it at. Knowing what the powered model can do and where its shortcomings and weaknesses are, you can really see that trying to replicate that same performance reliably with the passive model is a tough challenge. Even if you do have the I-Tech HD amps with the V5 tunings for them, you are still poised with a couple of other downsides. The passive model isn't any more capable than the powered one, the damping factor of the passive model could be a consideration ( albeit a small and negligible one ) compared to the powered model and then you have to consider storage and transportation between the two. The Powered model is lighter, can be made to sound any way you want it to, requires no external DSP or system management and will require less pack space and weight on the truck than the passive model.

I would love to have many other options at my disposal, but money is money and when your playing with someone else's money you are often poised with trying to get what you need on a budget. The SRX line be it passive or powered is a very heavy hitter and can just about check every box there is for an appropriately designed system. There are certainly better units out there, but none that I know of are truly better ( subjectively and objectively ), have the same control and are within a reasonable cost difference to the SRX. If D&B offered a comparable speaker that was only a couple hundred more, you would bet which one would likely be purchased.

 19 
 on: Yesterday at 05:00:28 pm 
Started by Ray Soly - Last post by Ray Soly

So if the SD7 is part of the show, the easiest way would be the first part of my post:

- SD7 handles preamp control
- SD7 does a "copy audio" from all the channels you need to one of its MADI output ports on the surface - this feeds your DLive MADI input
- DLive MADI output back into a MADI input on the SD7.  It's treated as a "generic 64ch MADI input" (regardless of how many channels you're actually sending) and then the SD7 can pick off inputs from that stream and send to where it's needed. 

As mentioned, for PA drive it's probably easiest to feed to direct ins on a Matrix and drive the PA from the Matrix Outs.  It will probably require a little repatching/rerouting in the SD7, but nothing that takes more than a minute or two. 

The above scenario is the shortest cable run (presumably surfaces are next to each other) and other than the minor headache of relinquishing preamp control to the SD7, it's a pretty easy setup.

Although MADI is a 64x64 stream, DiGiCo treats it as 56x56 when talking to its racks, and uses the last 8ch block of data for headamp control.  It can still send and receive standard 64ch MADI, however, to normal MADI devices. 

The reason why I mentioned that you *might* be able to do control from the DLive is that they're now in the same "family".  I don't know if there's a setting in the DLive that would allow it to "speak DiGiCo" on the MADI stream - I have next to no time on that desk, so I'm not familiar with it.  But if you'd rather do a cable run to the SD7 surface than the SD Racks, this is a moot point - you have to be connected directly to the racks (not through the surface) to handle preamp control.

Good options,

As far as "speaking "digico"hummm, it doesn't even speak "fluent" A&H at this point  ;)..... but it costs wayyyyy less than an SD7...... I do like mixing on the Dlive though....

Thanks

Ray

 20 
 on: Yesterday at 04:22:01 pm 
Started by Ray Soly - Last post by Brian Bolly
In that city the sd7 would be part of the show if i use this scenario.....

As far as cable runs, I could do either, surface or mixrack, if I use a mixrack then it might as well be the Dlive's. Use these i/0 s for inputs and monitor sends and at FOH send to PA/subs from the Dlive surface to the sd7 (surface to surface) Madi or analog...

I said no copper before because more and more in refurbished/ upgraded venues, they've done away with the copper mults ....and only use cat5-6/ coax/optical /fibre for interconnects...and although we,re pretty much self contain on tour we do use house PAs....few have many analog i/os available at foh.....or an extra rack.....

 this is how i remembered it also , in that instance , i guess madi out from the Dlive could go directly to a "generic "madi in on the sd7 and re assigned to the PA  as they would normally do....it's just treated as a source and not sd rack control?

Then the Dlive would be "master"?



So if the SD7 is part of the show, the easiest way would be the first part of my post:

- SD7 handles preamp control
- SD7 does a "copy audio" from all the channels you need to one of its MADI output ports on the surface - this feeds your DLive MADI input
- DLive MADI output back into a MADI input on the SD7.  It's treated as a "generic 64ch MADI input" (regardless of how many channels you're actually sending) and then the SD7 can pick off inputs from that stream and send to where it's needed. 

As mentioned, for PA drive it's probably easiest to feed to direct ins on a Matrix and drive the PA from the Matrix Outs.  It will probably require a little repatching/rerouting in the SD7, but nothing that takes more than a minute or two. 

The above scenario is the shortest cable run (presumably surfaces are next to each other) and other than the minor headache of relinquishing preamp control to the SD7, it's a pretty easy setup.

Although MADI is a 64x64 stream, DiGiCo treats it as 56x56 when talking to its racks, and uses the last 8ch block of data for headamp control.  It can still send and receive standard 64ch MADI, however, to normal MADI devices. 

The reason why I mentioned that you *might* be able to do control from the DLive is that they're now in the same "family".  I don't know if there's a setting in the DLive that would allow it to "speak DiGiCo" on the MADI stream - I have next to no time on that desk, so I'm not familiar with it.  But if you'd rather do a cable run to the SD7 surface than the SD Racks, this is a moot point - you have to be connected directly to the racks (not through the surface) to handle preamp control.

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