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 1 
 on: Today at 07:29:34 PM 
Started by John L Nobile - Last post by Douglas R. Allen
Last Saturday, the BE asked me to delay one side of the subs by 4 ms. Didn't ask why, I just did it and he seemed OK with it.

Now I'm wondering...why? Maybe there was too much bass on stage? He didn't go up there after I delayed one side. Or maybe he had too much bass at FOH and wanted to steer "power alley" away from him. Or maybe it's his preference?

Any ideas on why he would want this?

4 ms is roughly 1/4 wave length of 70hz. ( 3.5 feet or so )  Not sure if that is the frequency he wanted to move the power alley around at or not but I would look in that range first. As others have stated I wonder where that delay time came from.

Douglas R. Allen

 2 
 on: Today at 07:29:03 PM 
Started by duane massey - Last post by duane massey
It's jut crazy how cheap some of the lights have gotten.  OR, it's crazy how expensive they used to be.  Or a combination of the two. :)

No, but the Showdesigner's are pretty easy to "roll your own" as long as you don't need to label the channels.

 3 
 on: Today at 07:22:30 PM 
Started by Debbie Dunkley - Last post by Scott Bolt
Do you get prolific snot before the magic smoke comes out?
Seriously, I accidentally had the gain on one side pegged (probably got bumped when putting it up on the pole and I either didn't check, or it was poor lighting and I didn't notice).  I ran it an entire set and noticed that one side sounded "better" than the other.  Sure, you are thinking that the side that was pegged was the "bad sounding" one right?  Nope.  The pegged side was running in hard limit the entire set (found the issue in the beginning of the 2nd set).  You couldn't even hear that it was pegged.  The only sonic difference was that the horn was limited and the woofer was pushed to its limit and that sound combo over a sub just sounded good on that side (I don't recommend doing this on purpose to see what I am talking about though ;)).

After backing off the gain, the speaker sounded identical to the other side and I had no issues with that speaker for years.

So no, it has not been my experience that the DSR112's are fragile ;).

Just last week, my wife turned on the PA with the mixer pegged (daughter had been listening to the headphones like they were speakers near the computer).  Squeeeeeld something awful until my wife managed to turn things back off (scared her to death).

Again, no problem.  Speakers are fine.

My experience with the DSR112 is that it is incredibly tolerant of vast amounts of stupid ;)

 4 
 on: Today at 07:00:36 PM 
Started by Craig Hauber - Last post by Craig Hauber
Not sure if this should be posted here or in installs, but the odds of knowledgeable electricians seeing it here seem better.

For an installation of self-powered speakers and TV sets around the upper perimeter of a large bar room, do the outlets have to be GFCI or served by a GFCI breaker?  They are dedicated circuits, 2 for speakers and 3 for TV's (11 receptacles total) all up high out of reach for any other use and hidden by the device.  All devices are commercial-grade and not consumer electronics (home stereo or video)
New ground-up build and commercial only, no dwelling units, offices or additional rentals attached.
-This is just a curiosity of mine as we plug into whatever is there but have been having issues with random tripping at one location but none of the others in the past have had GFCI -or any problems.

And by "GFCI" I have been going by assumption from pictures, but I now realize that it could be an AFCI?

 5 
 on: Today at 06:56:44 PM 
Started by David Allred - Last post by David Allred
Get yourself a DPST relay with a 110V primary and 1A or so for capacity for use as auxillary switching or isolation.  Wire one side of the coil to the line-in neutral, route the L1 or hot side of the line to the common on the relay on the control board.  The NO side of the relay will go to the other side of the auxillary switching or isolation relay.

Use the NO contacts independently for each fogger.

Thanks.  That confirms what I thought.

 6 
 on: Today at 06:26:07 PM 
Started by Tim Hite - Last post by Scott Helmke
The cost of dealing with returns of defective orders often means it's cheaper just to let the customer keep it.

Well, that and being able to leave the E-waste with the customer instead of taking back to the factory.

 7 
 on: Today at 06:18:32 PM 
Started by John L Nobile - Last post by Kevin Maxwell
That works too. I usually don't mind power alley as that's where most of the dancing happens. Except now. Dancing is not allowed here yet.

I don't usually mind the power increase up the middle. It is the power decrease to the sides and then the increase again as you go farther out that I mind. I like a more consistent coverage in the intended area of coverage.

 8 
 on: Today at 06:01:35 PM 
Started by John L Nobile - Last post by Brian Jojade
Yep, the delay will certainly change the pattern of the subs. Whether or not it will be helpful obviously depends on many other factors.  I'd be curious as to how the BE came up with that specific number, or if he just asks every venue to do that for him and doesn't really know what it does himself, but someone told him that's what makes it sound better....

 9 
 on: Today at 06:00:22 PM 
Started by Steve Crump - Last post by Chris Grimshaw
"The powered version claims to be 6db louder peak, wonder why."

Yeah, me too. Considering the powered version has a dynamic of 1000watts and the passive version has a peak rating of 1000watt, assuming that they both have the same drivers and cabinet design why would they perform so differently? I know so little about the FIR processing, but I would have assumed that if the eqing was used to smooth things out that the powered version would not have gained 6db over the passive? But again, I am at best a novice.

The +6dB peak on the active version is more likely to be because the passive crossover has 6dB of attenuation somewhere.

ie, the speaker itself has 6dB higher sensitivity at some frequency (hint: likely to be the compression driver), but the passive crossover prevents us from using that. Since the active speaker has amps directly connected to the speakers, they could (in theory) make use of that 6dB more output at a certain frequency.

I wrote an article about this stuff a while ago: https://www.prosoundweb.com/spec-wars-looking-inside-loudspeaker-spl-specifications/
When I got particularly annoyed at a trade show.

The short story is that, yes, you can technically get those SPLs out of active speakers. For a short duration. At a frequency you don't want. Doesn't matter if the rest of the drivers can't keep up, or if Bad Sounds are happening. That SPL came out of that box, so that's what they'll put in the brochure.


One well-reputed manufacturer (whose wedges come strongly recommended in another thread around here) will line up 10x of their speakers under test, keep a peak SPL meter running, and connect a Very Large Amplifier to each speaker in turn. Power levels are increased until no more sound comes out, and then they move to the next one. Loudest sound at the mic is what goes to marketing.


I don't know about you guys, but I like it when:
1) My speakers survive the gig
2) My speakers sound decent while doing 1).

So a lot of the testing isn't particularly useful. Meyer's M-Noise is a good place to read up on sensible testing protocols.



With regards to the bass ports, positioning isn't super-critical. I've seen them firing out of the bottom edge (towards the performer's feet), which works fine. Even if you won't gain much SPL by going for a ported box*, it does help to keep the drivers cool, by exchanging air with the outside world.

* When the cabinet is under-sized (as stage monitors often are), a ported box may actually return a worse frequency response than a sealed box. With EQ being readily available in the Pro Audio world, though, I'd be inclined to go for ported anyway if you're willing and able.

Chris

PS - FIR processing is just another form of EQ, but where you can adjust the frequency and phase responses independently. It's neat stuff that can be really useful for crossovers-without-phase-wraps, but there's a latency penalty. I messed around with FIR a bit, and did a write-up here: https://www.grimshawaudio.com/fir
I've applied those principles with my current set of stage monitors, all of which are passive. They now sound great. Bi-amping still has its benefits, of course, but a good passive crossover means you save on amp channels, cables, etc.

 10 
 on: Today at 05:56:31 PM 
Started by Sam Saponaro Jr - Last post by Brian Jojade
The orange extension cord is likely not allowed for stage use.  Covering it in black tape at least hides your shame of having an orange cord on stage, but it still would not be code, as that needs to be SO rated cable.  If it's wrapped in black electrical tape, yeah, balls broken. If you used gaff tape, I'd give you stink eye, but at least a nod for trying.

The 12/4 cable should not be a problem.  I don't think there's anywhere in the code that specifies that all wires need to be connected, although I could be wrong.  But, standard outlet boxes with knockouts are a definite no-no.  Those are designed for permanent install. The knockouts are too easy to accidentally knock out, and worse, the clamping mechanism is designed for a stationary box. Rotation and movement will mean the cable coming loose in the box quite easily.  Code also says that the box should not lay on the stage with the outlet facing UP. You need a box that rests on its side to satisfy code.

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