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 1 
 on: Today at 12:42:49 PM 
Started by Rolando Saenz - Last post by Chris Hindle
Yes still crooked, only it does not show up as bad as having the connector flange exposed.

Didn't think of that...   Learn something new each day. 
Thanks Mike.

 2 
 on: Today at 12:40:23 PM 
Started by scottstephens - Last post by Tim McCulloch
Hey guys.

Do any of you have one of these? What do you think of it? Pros? Cons?  A friend of mine says that it has some "weird" fader issues.  My Sweetwater guy was not a lot of help. He just said that it had some "kinks" that needed to be worked out. 

Thanks.
Scott
I have one sitting next to the keyboard I'm typing on.  It's my USB mixer/interface for Zoom and Teams (yuck).  What weirdness are folks talking about?  Other than lacking some flexibility in the feature set, I've not observed it doing anything it shouldn't, nor failing to do anything it should.

 3 
 on: Today at 12:33:15 PM 
Started by Ron Roberts - Last post by Tim McCulloch
I'm with JR.  Preamps - straight wire with gain - have been sussed out decades back.  What has been happening since then is selling "color" or any audible difference as being "better" when it's your product and "bad" when it's a competitor's.

When operated within their linear range most preamps sound far, far more alike than different.  It's what happens around the edges that set them apart.

If you want color, fine.  If you need 70dB of ultra-quiet gain, (like in video and film and some corporate stuff), fine.

If you want to make good live mixes almost anything and everything will have greater impact on the perceived sound quality.

Leave the preamp, take the cannoli.

 4 
 on: Today at 12:30:03 PM 
Started by Jay Marr - Last post by doug johnson2
I have never been overly impressed by the AT IEM systems, they have just never sounded that good to me.  I don't have any experience with the MiPro IEM systems but I have sold more than a few of the microphone wireless systems going back to when they were OEM wirelesses for Beyer. They have always been rock solid and I have never had an issue with tech support.  As far as repairs, I have never need to have one repaired.

 5 
 on: Today at 12:26:26 PM 
Started by Peter Kowalczyk - Last post by Tim McCulloch
One of my local hotels used to use connectors for electrical service that was not actually used, think of a 480V 3 phase twist lock, on all their internal distribution systems in the ballrooms.  The did this so any power connections would have to be provided by the hotel and billed to the client.  The breakout panels were equally janky (Code? What's a Code?).  The building was owned by a division of a local government agency but managed by a "brand you've heard of", and when *someone* called the County's building inspection (and city fire department), shit got fixed and a whole bunch of other electrical problems were addressed.  I heard from building engineering that it cost the managing company around $100k to fix all the problems they'd created.

 6 
 on: Today at 12:18:22 PM 
Started by Sean McKinley - Last post by doug johnson2
These boxes really need Graybox/Focused/UX processing to operate to the best potential.  The difference between the FIR processing and standard processing is not insignificant.  That said, I would use the processing in the XTis rather than the processing in the X32.  It will be a better choice.  There are available dsp setting for these boxes in the legacy area of the EAW website.  Be aware however that these settings were developed for the EAW MX series of processors.  These processors were OEMed by Ashly are the filters were based on those in the Protea processers.  The processing in the XTis is based on the DBX Driverack processors and use a different filter topography.  The EAW setting will not transfer directly.  You might download the legacy Driveware software and EAW presets for the original Driverack 480 series from the DBX website.  Copying the tunings from there for use in the XTis will get you closer to what you want.

 7 
 on: Today at 12:17:42 PM 
Started by Floris Barthel - Last post by Tim McCulloch
Bob Faulkner lays it out nicely and saved me typing on my phone...

For the OP - if your playback includes sustained VLF content you will be surprised at how fast your subs will heat up, and how few Watts it takes to "smell the voice coils."  On a popular 2x18 reflex sub, 400-500W was sufficient to have the cabinets dancing around the floor and after 10-20 minutes one could smell the heat at the reflex ports.  The "peak rating" was something around 5,000 Watts.  There is no doubt in my mind that to apply that much power would result in failed speakers and maybe necessitate a fire extinguisher moment.

 8 
 on: Today at 12:04:14 PM 
Started by frank kayser - Last post by Nate Zifra
It uses Ultranet protocol as the link in between boxes.  There's a diagram in the doc showing analog input to the DN4816I, and then Ultranet output to a PD-16, but since the DN4816O can convert Ultranet to an analog output, it appears to be able to work standalone without a console. So the DN4816I is converting the analog signal to Ultranet, and the DN4816O is converting the Ultranet back to analog.

Thanks,Nate. The fog is lifting, if ever so slowly. If I am to understand this properly, use as a digital snake (DN4816I to a N4816O), would not need connection to Ultranet to work, as in a stand-alone digital snake?
As a DL16 has only 8 outputs, I can see the utility of a DN4816O to provide enough additional outputs to run additional IEM stereo mixes.

 9 
 on: Today at 12:03:37 PM 
Started by Peter Kowalczyk - Last post by Tim McCulloch
Much respect to Whirlwind, but we've got stuff on back order since.... Nov 2022.  I'd not buy unless they are willing to give a 200% guarantee on delivery date.  Seriously.

I've specified and used active (BSS) splitters, transformer splitters, and "wye" splitters.  They all do the job.  "Back in the day" when the Pin 1 problem was frequent and AC power distribution in audio systems (and in venues) was a kind of cowboy exercise, transformers were a requirement of any big or serious system.  If the rig never connected to anything with different AC service (like, oh, video or a tie line to the LX operator's powered speaker) a wye splitter was often sufficient and you might be surprised at how many "companies you've heard of" used and still use them.

That said... Seismic is not a brand I'd buy or recommend, for all the reasons previously stated.

"Gain sharing" in the X/M32 is awkward at best and is absolutely not acceptable by the artist crew unless they set it up (and usually, bring it with them).

Call your Rapco/ProCo dealer and have them get a quote on a custom wye splitter.

 10 
 on: Today at 11:52:23 AM 
Started by Peter Kowalczyk - Last post by Mike Pyle
Just did a site visit at a new-to-me events center, and they have a pair of these receptacles outside.  I've never seen them before; they don't appear to have a NEMA marking.  Has anyone used them?

Peter, I may have a used plug if you need it. It looks similar to some floor outlets that I used to run into at a hotel ballroom.

Also, in the past I worked in heavy equipment shops that used that type connector on all the big welders.

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