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The tricky part is the outlet has grounds and neutrals separated-the genny may or may not have banded ground/neutral.  From a safety standpoint, tie the grounds together and you "should" be fine.  As long as equipment is modern, other than ill advised potentially short surge devices, the neutral shouldn't be connected to anything that matters anyway.

Several years ago I provided the rig/lights for a stage at an outdoor festival ....... the client supplied a generator.
All of my power amps (XS4300/K2/IT6000) worked except for one (an XTI4000 kept going into fault mode).  That amp was handling the low drivers in my 4-way rig.
I ran a cord to a hardwired outlet 100' away for the XTI amp and did the gig.  No issues at all mixing the power sources.

Your mileage may vary.


 

My suggestion is the SL1200MKIII or whatever the current model number is. Been the industry standard for 40 years.

I'm not a fan of the tribe either, but I'll be interested to see what sort of control the Wing Rack will offer remotely (if different than the Wing).  This is the achilles heel to any stagebox-style mixer in my opinion. 


When I made the jump in 2016 from Mackie DL-series to A&H iLive in my personal inventory, sound quality was a huge improvement.  However, the incredible routing flexibility of the iLive means the App can only adjust certain things (no access to scenes, no access to FX parameters, no routing adjustments etc) that I had gotten used to with the tablet-only control format of the DL.  I have a touchscreen PC toughbook I can run the editor software on for more control, but I generally bring a surface if there's more than a few inputs.  I can't seem to get the editor software windows to scale nicely on my screen, so it's still not ideal for screen real estate use.  Either I have to scroll left and right because everything is large, or the buttons are so small I'm playing "operation" with my stylus not to hit the wrong button. 


In the right circumstances I don't mind mixing on glass and one less item to bring would be great.  I typically mix a few gigs a year on an X32 rack (not mine) and I will say I appreciate all the control available remotely over the iPad; I find it pretty fast to operate, especially mixing monitors and FOH compared to the double-tap mix bus selection method of the iLive. 

If my clients had the budgets to cover my cost to upgrade to DLive I'd do it in a heartbeat since I love the format (I have several mix racks with Dante cards and surfaces), but I don't need the additional bells & whistles (more busses, inputs, plugins) that come with DLive (64in/32out has been plenty for me but SQ falls short and Avantis Solo is looking tempting).  iLive's are still going strong, meeting rider needs for my level of work, and the T112 is still incredibly walk-up friendly to mix on (routing aside). I recently mixed on an M32 and only touched the screen four times during the show while remembering it's not a touchscreen. 

I have been very impressed with the app controllable features in the new DM7 app from Yamaha (just offline) which is very appealing to me, the DM7C is on my shortlist against the Solo but neither are a mixrack format mixer.  Hoping to get 1-2 more seasons out of my iLive rigs so I have plenty of time to over-analyze my options.

Jon Dees just blew my mind with the mention of Mixing Station for iLive so I guess I know what I'm doing for the rest of the weekend. This is game changing for me. 

The SRM's were insanely heavy.  You know the only difference between them and a turd?  Corn and fingernails.  Crude but accurate.

I always thought the SR1530s that I believe Heath is talking about (there was not an SRM1530) were a pretty special speaker. They came from a time when Mackie was primarily manufactured in Italy with high quality components and QC. While arguably a bit underpowered, they were always very smooth sounding and required very little "work." Agreed that with subs under them you could get a lot more output, but even as a full-range main for DJ type stuff they really worked well. And they were *only* 100lbs, which wasn't bad for a 3-way active speaker with a wood cabinet back in the mid-2000s. I sold mine during pandemic down time but kept their big brothers, the SR1232s. They still go out with 4x powered single 18s as part of a "quick and dirty", low-budget band rig.

Regarding other comments of 2-way vs. 3-way. I'll echo that a lot of it comes down to logistics. Easier to get a smaller/lighter 2-way box up in the air and over the audience, which IMO will yield better results than a 3-way box that you can't get over people's heads.

While we are talking about logging out does anyone know what "time logged in" measures?  It doesn't increment just because you are logged in, it seems to increment very slowely.


SH

I feel like I heard in years past that it is based on pages browsed, and it presumes an arbitrary amount of time, say a minute per page?

While we are talking about logging out does anyone know what "time logged in" measures?  It doesn't increment just because you are logged in, it seems to increment very slowely.


SH

I always assumed it was logged in and actively browsing the site but I admit I've never checked. I'm at 60d, 12h & 30m now, will try to remember to check in a day or so's time.

If you want to get spicy you can try an iLive now that Mixing Station supports it. $1500 for an iDR-48 on eBay today (plus $900 for a Dante card).

I want them to sell a software ‘upgrade’ (and downgrade) for the AHM-64 to turn it into an SQ rack. No new hardware, just marketing expense.

I know what rack only products A&H currently has... I am trying to say there is a market in the middle, a market with people with fists full of money for the right product. I choose not to support the tribe as well, I am merely talking about what I perceive to be a major product gap. I don't need to spend $9500 on a CDM32... An SQ6 is $4999 and I would happily pay that for the SQ feature set in a rack only format. Heck, I would pay a touch more if it had all of the features and enough I/O (mainly outputs) to properly populate a rack for a self contained band.

The Wing is targeting that demographic, and I believe it will end up being a smashing success... Much to my disappointment. We will see what happens as that product launch unfolds. I will stress once more, I want to live in a world where Behringer exists less.

No experience with either box mentioned sorry - although I'd like to try both as they look like great products.

Years ago I mixed a band that had a pair of Mackie SRM 1530s (Mackie SRM in different forms was industry standard in Australia at the time). I liked them (compared to standard two way boxes at that market level). We didn't have subs, things were expensive 20 years ago, but I always felt like they voiced things in the mid range, especially the snare, vocals, better than 2 ways.

They would have benefitted from subs though.

The SRM's were insanely heavy.  You know the only difference between them and a turd?  Corn and fingernails.  Crude but accurate.


The DZR's sound orders of magnitude better than the KW153's QSC's three way offering. Would love to hear the NX985.

After a few gigs with these, I can say they project incredibly far and well. Vocals never struggle. They are built solid and the wide dispersion pattern works GREAT for outdoor shows. I will say that I definitely spend more time notching EQ on these than almost any other modern day powered box I have owned in years. Not BIG notches but a lot of time listening to reference songs outside tweaking for it to sound the way I am "used to hearing the song". That does not mean better or worse, it means different. I still fully believe this is due to the extremely low X over point for the HF driver. It makes for a very warm mid range but I also spend some time taming the HF to make it more my cup of tea. I would not call it shrill, just a smidge bright for my ear running flat out of the box with no EQ. You will be able to tune the box within 5-10 minutes max when you sit down with it at your gig. I don't have any good suggestions for EQ as it is up to personal taste. Out of the box, my DZR 2 way cabinets sound "smoother" with no EQ, but these project with clarity for days from the front of the crowd to the back in a way the DZR cannot hope to touch. These are not a "hifi" studio sound to me like my EV QRX or Yamaha DZR boxes. They really remind me of most 3 way boxes.

Enjoy the show, these will impress you with vocal clarity and throw. I have yet to do a rock show with them, but for blues, R&B, bluegrass and acoustic, they provide a wide, great and consistent soundstage for the entire audience. Not a bad seat in the house. Just get them up high enough. I have mine crossed at 90 with 1-2 JBL SRX828p subs under them for most shows. They'll outrun the subs by far every time.

For EDM, I doubt you'll touch the EQ on these much, maybe a smidge of a cut around 2.4-2.6khz and again around 8.2 khz and they will be plenty loud with the midrange presence most EDM demands. Just make sure they are crossed over at 90-100 hz and you have enough subs!

Thanks George (or Goerge sorry!) - i have told they are very loud and clear and i cannot wait to crank them up. Obviously, i'll tune by ear but ill keep an ear out for 2.4-2.6 and 8.2Khz and yes obviously i'll crossover at 90-100hz. Thank you and I'll report back here once the event has passed.

It's likely your web browser. Could be a corrupted cookie, private browsing mode, or general gremlins.

While we are talking about logging out does anyone know what "time logged in" measures?  It doesn't increment just because you are logged in, it seems to increment very slowely.


SH