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[Jeff Babcock]

Great recommendation Dave.  The LA325 works great as a sidefill or drum fill, has lots of punch.  They are not a fun one man lift though.... my back still remembers them well....

Ludicrous speed.....   ..... classic

[Micky Basiliere]

Dave Dermont wrote on Wed, 08 October 2008 11:10

My view is that good sidefills are any cabinets that also make good small PA systems. Someone asking for KF850 sidefills should tip you off as to that artist's expectations. Supply what's needed or pass on the gig. Save yourself the heartache. As to a specific recommendation for those times when something slightly less than Ludicrous Speed is required, I kind of like the EAW LA-325 as a nice one-box solution.

I'm thinkin' a couple of SRX738's(18" three way) might be a nice one box solution?

[John Horvath]

I originally thought the one box solution was a great idea, but it's not practical, for me anyway.  Having sidefills also function as the smaller 'B rig' works great for us.  When I was working with a corporate band, single 12" tops over a single 18" sub worked great, but didn't have the gusto for sidefill duty on stages larger than 24' wide.  So I decided to pick up some QRx 212s and 218s.  We just used them with a sidefill heavy band on a 32' wide stage and as expected, they were excellent.

[Dave Dermont]

John Horvath wrote on Wed, 08 October 2008 13:08

I originally thought the one box solution was a great idea, but it's not practical, for me anyway.  Having sidefills also function as the smaller 'B rig' works great for us.  When I was working with a corporate band, single 12" tops over a single 18" sub worked great, but didn't have the gusto for sidefill duty on stages larger than 24' wide.  So I decided to pick up some QRx 212s and 218s.  We just used them with a sidefill heavy band on a 32' wide stage and as expected, they were excellent.

A club in town uses the 212/75 for mains, side-fills and wedges. Everything but the drum monitors, which is a pair of 115/75s done "texas headphone" style.

The downstage wedges are the horizontal version of the 212/75 with the horns turned 180 degrees from what you see in the picture below. It's a killer wedge.

[Dave Bigelow]

Saw this on each end of a 20 foot wide stage last week.  

[John Horvath]

Dave Dermont wrote on Wed, 08 October 2008 12:47

A club in town uses the 212/75 for mains, side-fills and wedges. Everything but the drum monitors, which is a pair of 115/75s done "texas headphone" style. The downstage wedges are the horizontal version of the 212/75 with the horns turned 180 degrees from what you see in the picture below. It's a killer wedge.

I actually thought about buying a 3rd stack of 212/218 for use as drumfill.  Not sure, but I have the feeling a normal 212 would be great laying on it's side, but keep the asymmetric horn mounted in in the normal position which might help in keeping more of the horn out the downstage right vocal mics.  For larger stages it's not an issue because the drummer is farther over & back. But on 24'x16' stages and even 32'x24's, I hate it when I cue up a SR vocal and there's loads more drums in it compared to the SL vocal.  And it almost never fails, the SR vocal is always the guy that sings like he's moments from death by Tuberculosis and the SL vocal is screaming like Dave Grohl.