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 on: Yesterday at 01:10:40 am 
Started by Scott Hofmann - Last post by Corey Scogin
I have one of these from It's top heavy and so must be carefully rolled over bumps but it rolls without issue on smooth surfaces.

Edit: A plus is that the vertical orientation means it doesn't take up much space.
If used for a venue, I'd consider building one about 2/3 of this height so that the stands stick out of the top for better visibility if you have different models of stands.

 on: Yesterday at 01:08:12 am 
Started by Dave Garoutte - Last post by Jeff Lelko
I think there is a very recent thread about this topic.  Either way, I use an offering from the Eaton 9130 series of UPS products for my FOH.  The fan is a bit noisy - no worse than almost any moving light - but still audible.  Otherwise, no issues whatsoever.  As already mentioned though these types of units are decently heavy - I too wouldn't put one in a rack without wheels. 

 on: Yesterday at 12:59:45 am 
Started by Dave Garoutte - Last post by Craig Leerman
I have a TrippLite that's held up for years. I would never put a UPS in a rack that wasn't on wheels. Even small ones are heavy.

I use the same units in many racks. Never had a single problem.

 on: Yesterday at 12:28:42 am 
Started by Josh Billings - Last post by Ned Ward
I would think capacity would be one consideration; there are different considerations for a 100 seat club and a 10000 seat amphitheater. There was an amazing sounding venue in Evanston IL (just north of Chicago) called the Amazingrace. From what I remember, it had a fairly high ceiling, some angles, and a good mixture of live and dead surfaces. Probably how youd build a large tracking room in a recording studio, only in a bigger space. [I checked and it was about 4000 sf and with a 16 foot ceiling, and people used to rave about the acoustics and the then-state of the art EV system]

Had to look it up as I spent 2 years in Evanston in a graduate program 92-94, but from a quick Google Amazingrace was long gone before then. We used to play at The Keg, and they put the stage in for our band. We weren't great, but it was fun.  Mackie 1202, 4 vocal mics, DX7 and rack guitar preamp, into an Alesis RA300 power amp into 2 Cerwin Vega 15" speakers...

 on: Yesterday at 12:17:27 am 
Started by Josh Billings - Last post by Tim McCulloch
The best SOUNDING venue would be size of your head, and you would use headphones.

Beyond that, compromises must be made.

There are 3 basic rules for rooms, Don't make it round, don't make a domed ceiling, don't have parallel walls.

Obey those and you are off to a good start.  Also don't have the same dimensions, to help reduce standing rooms.

Safety is the biggest concern in room treatments, DO NOT cheap out.

There are many things to consider in venue design.  The design starts with knowing what limitations you have to deal with.  Different sizes require different approaches

Like this?

 on: Yesterday at 12:15:56 am 
Started by Dave Garoutte - Last post by Ed Hall
I have the Cyberpower OR500 in my x32R rack. Its only about as deep as the mixer and So far has worked great.

I have two of the SMX1500RM2Us for my server rack at home. Im waiting on two more. Fortunately my day job would rather replace the unit than the batteries. Im not complaining. They are a nice unit. 

 on: Yesterday at 12:13:57 am 
Started by Nathan Salt - Last post by TomBoisseau
Hey All

Anyone played with the new Axient Digitals yet? We just got some in and the control doesn't work on the CL (not that I thought it would)
Guess just need to wait for a firmware update from Yamaha, unless I'm missing something

I'm pretty certain I read something from Shure stating that Yamaha would, in a future firmware update, support the Axient Digital wireless system within the CL/QL series.


 on: Yesterday at 12:09:06 am 
Started by Tim Weaver - Last post by Tim Weaver
It did on the ebay listing where I found it.

I just did a little googling and found a couple references to the owner (Tom Hilbe) being a crook. I guess I'll pass.

Are there any cheap com systems that work out there? I just need 1 channel and 6 or so packs.

 on: Yesterday at 12:05:09 am 
Started by Lyn Gillean - Last post by Scott Hofmann
Essentially really big series inductors that present a high impedance path for voltage spikes with a fast rise time. This is the opposite of MOV devices that short out the voltage spike to the ground when the peak voltage goes over the design threshold.

Sounds just like the chokes in a 20 amp or 50 amp dimmer using SCRs or  solid state relays!

 on: March 23, 2018, 11:43:20 pm 
Started by Josh Billings - Last post by Rick Powell
There is an old concept dating back to the Greeks that is still applied today - the Phi golden acoustic ratio of width 1.6 times the height of the room and the length 2.6 times the height. This assumes parallel walls; as stated above, if you can make one or both sets of walls slightly out of parallel it will reduce the standing wave potential. Of course, corners with less than 90 Degrees will accumulate additional bass frequencies, so treatment or an extra angle at an acute-angled corner becomes necessary. Nearly all recording studios I have seen with non-parallel walls have oblique corners.

In smaller venues, its usually the low ceiling that prevents optimum acoustics from being achieved. Using the so-called golden ratio, an 80 x 50 ft venue (4000 SF) would have an optimum ceiling height around 30 feet. Rarely do rooms in real life have tall ceilings that optimize the acoustics, but good results can be achieved with lesser heights and good acoustic treatment.

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