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 1 
 on: Today at 08:36:50 am 
Started by Peter Kowalczyk - Last post by Chris Grimshaw
+1 on what Scott said. Start a thread. Would be cool to have a PSW-approved EQ "cheat sheet".

Chris

 2 
 on: Today at 08:25:15 am 
Started by Robert Lunceford - Last post by Mark Wilkinson
The total latency included the same 2 meter time of flight for each cabinet, the SH100 was powered by an analog amp with no DSP, so the HD1521 FIR and DSP processing time combined was 2.87ms longer than the passive crossover used in the SH100.
 

Hi Art, first let me apologize.....I never caught you were comparing such different loudspeakers, the Mackie HD1521 vs the old Danley SH-100.
The idea of comparing two such different speakers to make a case for FIR seems impossible to me...and i would have said so from the beginning.
(I quickly read/thought the SH-100 was a very similar Mackie model without FIR.)

Who can divide up what gives the HD1521 it's traces?  IMO, without a passive model, or a model with conventional DSP, its impossible to say what incremental mag and phase correction, FIR might have made.

I looked up the manual of the HD1521 and was impressed !  Mackie touts the 'acoustic corrections algorithms' developed by EAW. This was before the days of touting FIR I guess?  Anyway, what I've read of Dave G's work, suggests the alorithms were probably used for knocking out horn reflections, and may not have had anything to due with additional phase flattening, other than using embeded IIR eq's like I mentioned earlier.  Just speculating....   
Oh, and Mackie even shows a measured max SPL 10dB lower than calculated...I'm IMPRESSED !

 3 
 on: Today at 08:05:06 am 
Started by Al Rettich - Last post by Ed Spoto
Is there a default time alignment (ms) for the reverse sub from Meyer?

3.4ms

 4 
 on: Today at 08:01:33 am 
Started by Peter Kowalczyk - Last post by Callan Browne
Cheers Scott, generous offer and I might do just that. I have a multi track recording from our last few shows so I can experiment more without the pressure of a venue environment.

What I thought might be useful for the OP is some real world examples of a mix (or mixes) and some commentary of why choices were made.

For example, I took this vocal, replaced the cardoid with a super-cardoid to achieve X. I applied this eq/dynamics to correct Y. I added this effect to .. etc etc.

Mucisian focused - what to listen for, how to correct it.

Class one is get sound without feedback, class two sound like a pro. Simple.

Sent from my Pixel using Tapatalk


 5 
 on: Today at 07:34:18 am 
Started by Wes Garland - Last post by Mike Monte
Are there any good cases out there for non-58-shaped mics?

I need something for e902s, e904s with clips, e906s, etc.  A bit of storage for things like LP Claws would be great, too.

I'm currently using handgun cases for mics shaped like 57s and small diaphragm condensers. I guess that will work for the 609/906 shape also.   I keep my RE20 and 421s in their original cases and throw those cases in a suitcase.

I've been thinking about getting some Pelican-style tool boxes with the little foam cubes for my Sennheisers e-mics.  They're on sale this week at Crappy Tire.  Can I do better in the $150 price range?

I use the mic pouches that came with the mics....  Sm58's/57's/Senn e835's/604's/AudixD6 all live in their own pouch with their specific mic clip.
In storage I have two black "milk crates" for mics; one for my e835's (my usual go-to mics), and one for my 57's,58's, and drum mics.
When a gig comes along (as in yesterday's gig in Boston) I print the list of gear needed, go to storage, and put the needed mics in a black scuba bag (similar to this https://dipndive.com/tusa-roller-duffle-bag.html ) from my scuba days. 

The scuba bag has a heavy duty zipper that has never failed (over 30 years old) and since it is a bag, I can put it almost anywhere when packing the truck.

After a gig I remove the mics and clips from the stands and put them "loose" in the scuba bag.  When I go to storage I put the mics/clips in their individual cases, crates...

BTW: I'm small-potatoes....
   

 6 
 on: Today at 06:29:24 am 
Started by Mike Mottsey - Last post by Mike Mottsey
PAIR of elite core powered speaker snake cables, 75' and 50' powercon to edison plug, XLR Male to XLR Female, Mint Cond $225.00 shipped for the pair


Mike
aikenproaudio@aol.com

 7 
 on: Today at 06:27:49 am 
Started by Mike Mottsey - Last post by Mike Mottsey
I have a pair of RCF HD12a MK4 new in open box $959.00 for the pair shipped.

Mike
aikenproaudio@aol.com

 8 
 on: Today at 06:18:35 am 
Started by Peter Kowalczyk - Last post by Scott Holtzman
As a musician who 'owns and runs the pa', I'm glad to read I'm already doing most of what is mentioned in this thread. Maybe that's just the years of reading various threads on here and lots of trial and error.

One area where I'm still green, is using the EQ to take a source from good to great.
My take on EQ so far has mostly been.. use quality components. My JBL SRX/VP PA has never had a headroom issue and basically no feedback either. Also using mostly Sennheiser 900 mic's. I'm spoilt no doubt.
But a topic I'd love to see covered, is channel eq - how to make those vocal/toms/guitars sound great. Pop when needed, but sit in the mix otherwise. How do you do that with a set and forget mix?

And feel free to post the content online. I'm sure there's a world wide need, not just local community. (And Let me know when it's up :))

Sent from my Pixel using Tapatalk
Start another thread on eq, let us know the mixer type.  EQ is very important to getting everything to sit nice in mix.  EQ and compression are your friends.

Sent from my VS995 using Tapatalk


 9 
 on: Today at 05:45:19 am 
Started by Peter Kowalczyk - Last post by Callan Browne
As a musician who 'owns and runs the pa', I'm glad to read I'm already doing most of what is mentioned in this thread. Maybe that's just the years of reading various threads on here and lots of trial and error.

One area where I'm still green, is using the EQ to take a source from good to great.
My take on EQ so far has mostly been.. use quality components. My JBL SRX/VP PA has never had a headroom issue and basically no feedback either. Also using mostly Sennheiser 900 mic's. I'm spoilt no doubt.
But a topic I'd love to see covered, is channel eq - how to make those vocal/toms/guitars sound great. Pop when needed, but sit in the mix otherwise. How do you do that with a set and forget mix?

And feel free to post the content online. I'm sure there's a world wide need, not just local community. (And Let me know when it's up :))

Sent from my Pixel using Tapatalk


 10 
 on: Today at 04:59:06 am 
Started by Justice C. Bigler - Last post by Chris Eddison
I own a few of Thomann's own brand 104A's and like them a lot.
https://www.thomann.de/gb/the_box_pro_achat_104_a.htm
They don't have the captive cable you asked for, but they are a nicely built box for not a lot of money.
I also have their thread adapters;
https://www.thomann.de/gb/the_box_pro_stand_adapter_m6.htm?ref=prod_rel_325264_2
Which can either screw in to one of the speaker's M6 holes or bolt through the bracket with an additional M6 nut to give you a yoke mount.
My only gripe with them is that the volume knob sticks out of the back of them a little so is unprotected. Haven't broken one yet but I could foresee it being a weakness. For that kind of money i'm not too bothered though and would happily fix it myself if one did die.

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