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 on: Today at 04:36:12 AM 
Started by Peter Kowalczyk - Last post by Will Knight
+1 on the Everse 8.
Just picked one up about 3 weeks ago and love it. Using it to support small outdoor fitness / athletic classes (Zumba, etc.) for a friend.
Was quite surprised at the quality and output levels - all while using an EV wireless mic through the same unit.
Considering getting a second one because they fit a nice niche in my sound offerings.

 on: Today at 02:16:43 AM 
Started by Bill Hubbard - Last post by Matthias McCready
Meyer Ultra X40 with Meyer 900LFC


It is a pretty killer rig - talk to a dealer who can get you some good pricing (hint hint it will be much cheaper than Sweetwater).


As others have stated if you are not flying, don't bother with arrays or constant curvature - realistically $20,000 is not an array budget anyways.

 on: Yesterday at 11:26:02 PM 
Started by Eric Deweese - Last post by Kevin Maxwell
But it is July now, Wing rack is still not released yet...

And this surprises you???? Really?

 on: Yesterday at 10:55:57 PM 
Started by Woody Nuss - Last post by Dave Pluke
.........and pink champagne on ice.


 on: Yesterday at 09:20:37 PM 
Started by Eric Deweese - Last post by Xiang Cao
But it is July now, Wing rack is still not released yet...

 on: Yesterday at 07:52:21 PM 
Started by Bill Hubbard - Last post by Jon Dees
There used to be several systems that hit this market niche very well. These included, for example:
  • Nexo Alpha
  • D&B C-series
  • EAW KF650 or KF850
  • Meyer CQ

These products were/are all very common in different areas of the world and check all your boxes. Have you considered looking for one of these used?

Even a small format older line array isn’t a terrible idea even though, as others have indicated, if you aren’t flying then it isn’t better than a trap box and could be worse.

The successor to the above products are the Meyer X series, Danley products, Fulcrum products, etc.

Edit - I have had several responses recommending products outside of our budget. I really appreciate the input, but we are operating on a $20,000 budget and most of the recommendations far exceed that.

Really looking for opinions between the line array and column top choices below or other suggestions within our budget. And we are happy with RCF.

Again, thank you very much, I appreciate everyones input :-)

All – looking for feedback based on your experience.

Background - I provide sound for a wedding and events band. We primarily do weddings, but also do many high-profile events similar to weddings.

A typical event would look like this –

•   Usually 150 to 300 people, but up to 600 on occasions
•   Usually have a raised stage
•   60% indoors at your typical hotel ballroom and the balance outside
•   6 to 10 pieces
•   Typically 30% dinner music and the balance high energy dance music
•   Usually have 2 to 3 hours to set up with little help
•   We have a ¾ ton van to haul all of this around
•   Running a Midas M32R and Midas DL16 stage box, Sennheiser IEM’s and Shure SLXD wireless mics
•   22 plus inputs, 6 to 10 IEM and no wedges

Presently, we are using my system for these events, which is a pair of RCF 705 subs and a pair of RCF ART 932 A’s.
This system does a great job and gets the job done, but as you can imagine, I have to push it pretty hard for some of these shows, especially the outdoor venues. We are looking to upgrade the speakers for the upcoming season and add some front fills.

We did a show last year with a venue supplied system, (1) RCF 8004 with (2) RCF NXW 44-A’s per side. It was a great system and handled the show very well (600 people outdoors in a tent) I also have a friend that owns a large production company that thinks we need to run RCF HDL20’s.

We are pretty set on the RCF brand. After doing a lot of research here and other places, I would appreciate some input.

Pretty solid on the 8004. So, moving on to the tops, it looks like we would need, at a minimum (4) HDL20’s, (2) per side. 6 would be better, only for the flexibility of aiming and balancing the sound but would dramatically increase the investment. They have great horizontal dispersion, but only 15 degrees vertical, necessitating the multiple speakers. We would also have to upgrade our stands for the occasions when we pair the subs in front of the stage. And figure out angle deployment at every show, plus transfer and storage.

The other option would be to deploy (1) RCF NXW 44-A per side for most of our shows. This set up worked well last year. If we determined it wasn’t enough, we could add one more per side and stack them when needed. Would deploy quicker and use the current stands or could be mounted on the subs.

Not using front fills currently but want to add them. Looks like pair RCF HDL 6A would fit the bill. Low profile and the narrow vertical dispersion would be fine for the job.

Based on the above, I would really appreciate your professional opinions on which you might think would work best for us using the RCF speakers mentioned above and why.

And, if I have missed the mark completely, I would appreciate your recommendations, keeping the investment in the same range.

Thank you all very much!

 on: Yesterday at 07:41:43 PM 
Started by Woody Nuss - Last post by Mike Caldwell

Record Plant was more than a studio. It offered suites for clients, a hot tub, waterbeds, bondage gear and even mirrored ceilings.

.........and pink champagne on ice.

 on: Yesterday at 07:18:47 PM 
Started by Bill Hubbard - Last post by Dave Garoutte
Take a look at Danley SM96 tops and the TH series subs, as well as the DNA amps.
Then get some quality crank stands that can get the tops up high and use my Anglers to tilt them down.
That should just squeeze into your budget.
You will get nothing but compliments.
We ran 30 shows last year with that system plus fills, and doing 30+ this year.
300-700 attendees.
People are always amazed at the sound quality.
If you're near the SF bay, come to a show.
Mike Pyle is my source.

 on: Yesterday at 06:59:36 PM 
Started by Woody Nuss - Last post by Woody Nuss
Should this have gone in the "those who've passed" thread?
The Record Plant, the iconic Los Angeles recording studio that boasted that it spawned more hits and Grammy Award-winning music than at any other studio in the world, is closing its doors after 55 years.

Record Plant Recording Studios on North Sycamore Avenue in Hollywood opened in 1972, following the opening of a New York location, which closed in 1987. Another outlet in Sausalito closed in 2008.

The list of all-time best-sellers recorded at the L.A. location includes Eagles’ Hotel California, Guns N’ Roses Appetite for Destruction, and Fleetwood Mac’s Rumours, among many others.

Los Angeles Magazine reports the studio was a victim of advances in recording technology.

Studio engineer Gary Myerberg told the outlet, “There is no money in the recording music business. That’s basically like a flyer for your show. I don’t think there’s much hope for the recording industry in LA. If you want to go to the studio and spend $2,000 a day, just take that and buy a laptop and a sample library, or tell AI what song you want to make and it’ll make it.”

Guitar technician Jesse McInturff added, “The need for a big room is pretty minor at this point. There are less and less rock bands, and you could record Taylor Swift in a vocal booth the size of a closet.”

Record Plant was more than a studio. It offered suites for clients, a hot tub, waterbeds, bondage gear and even mirrored ceilings.

 on: Yesterday at 05:48:15 PM 
Started by scottstephens - Last post by Stephen Beatty
The first time we did the first time local town summer festival my friend did booking and scheduling.

Hmmm 10 minutes between bands. That schedule didn't last long. The next year we got a whole 30 minutes.

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