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 21 
 on: Yesterday at 08:39:29 pm 
Started by Richard Turner - Last post by Richard Turner
Just looking for some spitball advice on accepting a client back. Long story short client and I parted ways about a year and a half ago. I feel it was reasonable amicable in that I straight up told them I could not provide what they were asking for at the fee they offered to pay. I wasn't prepared to re invest in equipment and  continue doing what should have been a 2.5 man show as a solo operation. They also were they type to forever and always drop little extras into the deal, load in an hour earlier than expected. allow someones kid to be the warm up act which would take away my meal time between sound check and show call, just add in a couple extra lights for a better stage show. etc etc.

I know they've been through 2 possibly 3 providers since and play the same games with them. I could use the work but just unsure of how to tactfully explain I did my time being a pushover with them and I'd have to treat them as actual customers this time around if i said yes.

Is it as simple as just saying, we're not friends but I'll work for you understanding I'll be doing exactly what is on the billing sheet and anything more is add on at last minute undiscounted rate sheet/have more cash in hand and pass it over when I get there?

 22 
 on: Yesterday at 08:36:38 pm 
Started by jesseweiss - Last post by Wes Garland
Lots of Sennheiser choices for kick.  E902, E602-II, MD-421.

re. LP Claws - where do you position them if not on the drum?!   I use LP Claws with Audix i5 on snare on a regular basis.  I clamp to the lower rim and use the Z-bar.  Is there a better bar that would let me clamp to the upper rim if I wanted to?

The lower rim mounting has advantages - no conflict with cow bell mounting, for example - but it would be nice to have options.

 23 
 on: Yesterday at 08:29:50 pm 
Started by Robert Piascik - Last post by Wes Garland
1-2 rack spaces and physical knobs for mixing?  You must have little tiny fingers.

What's your beef with the XR-12?

 24 
 on: Yesterday at 08:28:29 pm 
Started by jesseweiss - Last post by Geert Friedhof
Am I the only person on here that likes the Sennheiser e 602‑II on kick?

Does Sennheiser produce a kick-mic?

 25 
 on: Yesterday at 08:15:56 pm 
Started by Chris Grimshaw - Last post by Richard Turner
Pioneer is good stuff but be wary of used pieces, a lot of it is abused and parts arent cheap and techs arent readily available for them either. I cant lay my hand on the receipt right this minute but my DDJ-SX left platter went down and it took 130 days for a repair to be completed and thats with a national music store handling it and they said that was priority after warranty service. Up here in the frozen north our long mcquade stores offer pretty exceptional extended warranty programs at about 4% of new cost which covers the repair, freight and loaner gear. I think the total repair bill was about $225 on a piece worth $500 on a good day but they fixed it and loaned me a unit from rental dept.

You would be well advised to buy a subscription with a liscenced music provider to cover your music library and if in the US be aware ov BMI and ASCAP non member acts. just dont bother playing them. In canada we have the extra layer of weirdness between venue shaving to pay SOCAN and another quasi legal money grab called the AVLA that expects $300 per year per hard drive for the right to digitally copy music to the hard drive. only way out it to subscribe to a compliant music supply service or lug around crates of original CD's

As for mixing dont sweat it just leave a short spot between songs, fade the outro into intro or use the time to call out birthdays, drink specials etc. I get flack from the one long song mix dj's for being old and clueless but when I speak to venue owners gig in gig out the bar sales on nights I work are always higher per patron than the nights I work.

Keep an eye on the bar, if its slammed play the hits keep the floor filled and once they catch up and no ones lines up for beers play something different, a ballad, an old school hit, whatever it takes to clear half the floor and make them want to spend $$$ at the bar. if your on mobile beat website search soft floor turn. But don't ever do this at the top or bottom of the hour. if you do it at 1230 they might bar hop but half hour till close they are committed for the night. at 1am they might call it a night but 115 ppl will stay for another vodka... herd psycology is amazing

 26 
 on: Yesterday at 07:54:41 pm 
Started by Ben Easler - Last post by Ben Easler
Hello all,
I was just reading an article on the sound system redesign for The Lion King musical. They refer to the system being an "A/B left and right," referring to this article, do they mean that each set of speakers are panned L/R? So for example, the 2 speakers stage right are actually panned and the center is panned? Or just that the system is panned in the traditional manner? Here is the article:
https://www.kv2audio.com/news/the-lion-king-on-broadway-celebrates-its-20-year-anniversary-with-a-kv2-audio-upgrade.html
BTW - This is an incredibly natural sounding system if you have had the pleasure of hearing it! A wonderful sounding system and masterfully mixed.

 27 
 on: Yesterday at 07:15:18 pm 
Started by Robert Piascik - Last post by TomBoisseau
While not "rack mixers" (none the less, pretty small) I really like these:

QSC TouchMix 16: https://www.qsc.com/live-sound/products/touchmix-mixers/touchmix-16/

and the

SKP D-Touch 20: https://www.skpaudio.com/digital_mixer/d_touch_20

I own them both.  Generally I'll use the TouchMix if I don't need to "actively" mix, and use the D-Touch 20 if I need to be able to quickly make changes.  For me that's usually for speech only events where I might have a panel discussion.


Bottom line, NEITHER the TouchMix nor the D-Touch is dependant on needing a phone or tablet for control, but they both have that option if you need it.

Tom



 28 
 on: Yesterday at 07:09:13 pm 
Started by Dustin Campbell - Last post by Matthias McCready
Been shopping for diís and kinda need to build up my arsenal - mostly just do bands - but would like to be ready for anything - looking at the radial stuff, I know itís good just a little steep for me any thoughts ideas welcomed-Brand suggestions, best uses, brands to avoid and common mistakes with DI's- Thank You-


Sent from my iPhone using Tapatalk

All of my Di's are either Radial or Cable Factory.

 Get something you know is quality and will last. There are so many times (when showing up to mix) were popping a few Radials in has cleaned things up drastically. A church I volunteer at occasionally has a lot of cheap DI's ($40-60), in two years of moderate usage over half have broken. The ones that do work tend to sound less than stellar (added artifacts, distortions, or buzz). I have yet to hear these out of even a Radial Pro, this is my minimum. $100 vs $50, one of them will be working a few years down the road... If they are too expensive for one gulp by slowly over time.

Two highlights though:

1) I have really been enjoying the Cable Factory DI's. They just sound good. On acoustics, I usually prefer them over the Radial J48 (something I did not expect!). The first time I used it literally sounded like the musician had a nicer guitar, it was, in fact, the same dubious Yamaha he has always had. I also enjoy these DI's as the ground lift is the only switch on the box, no other pads or options.

2) Radial USB-Pro: While I am not sure on the longevity of this, the USB plug seems it could be a weak point, this is one amazing and useful device! First of all it works seamlessly. You plug it in (mac/pc etc) and you select it for audio output, no need for driver installation. It has worked flawlessly every time I have used on countless operating systems. It really shines for using with electronic musicians, while most bring their own interface (some want to use their computer 1/8 out!) it is not uncommon (at least in my league) for there to be problems and clipping on the interface (bad gain staging in Ableton or other software). This DI simply works and I have never heard one clip. I love these DI's so much I want to buy several more soon. Very useful tools.

 29 
 on: Yesterday at 07:02:00 pm 
Started by Justice C. Bigler - Last post by John Roberts {JR}
No worries.


I've already got some leads on some freelance work to keep my busy for the next month or so (Because I took 2 weeks vacation and because of where we are in the pay schedule, I have (I think) two more paychecks from the city still) . And I'm still working on a couple of private consulting jobs that will have a ton of work over the next few months.


Long term, I'm trying to decide if I want to stay in audio, or do something completely different. My father-in-law is a OTR truck driver and getting ready to retire from JB Hunt after 27 or 28 years. He's been doing that since he came back from Desert Storm. So he and I have been talking about that alot.


If I had the money and no student loan debt, I would build a small recording studio and go record classical and acoustic music concerts and performances all over the country.


And still the siren song of barbecue is calling my name.
Truck drivers are in demand now, but before too long it will be automated with self driving rigs. Probably years to make hay before that happens.

Maybe you can do both (drive and cue).

JR

 30 
 on: Yesterday at 07:00:46 pm 
Started by Steve Cook - Last post by Milt Hathaway
Yes, but it should not have been at trim in a storm.

Dropping a roof (any type) removes the ability of the guy wires to do their job. It's much safer to get and keep everyone clear of the roof rather than remove the only thing keeping it in place.

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