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 on: Today at 03:30:16 AM 
Started by Bobby Gonzales - Last post by Paul Johnson
I too am a little confused here. I always end up using extra amps, for fills, or just extras, or anything really and have never subscribed to the run amps gain fully clockwise 'rule' some have. The systems driving the amps always have bags of spare. Using parallel splits just means to restore the status quo - you just turn everything up a bit, or in my case, shove the master a bit higher. The split loss is easily made up as nobody ever goes anywhere near digital maximum - as there's no need. In fairness, I don;t need to use the old splitter box very much as the stage boxes now have so many outputs - you just patch a few extras in. I've never noticed any difference in practice using the splitters, or extra outputs.

 on: Today at 02:52:18 AM 
Started by Plamen Milev - Last post by Paul Johnson
The bit about renegotiation made me smart. Pre-covid, I decided that Iíd but the VRX system for my band because we flew out to do a show on a beach, and the provided PA was a VRX system. These get pretty poor internet comment because theyíre not a line array, but people hate them. All of us including our sound guy thought they worked really for us. The theatre I look after is seasonal, so six weeks in the summer and the elderly EAW was perfectly OK but tired. The idea was to tour the VRX with the band and use it for six weeks in the theatre. The price here in the UK was almost full retail because nobody had them in stock, so I sourced them from dealers in Europe and one pair of 932 cabinets came from the US. They all arrived and I put them in the cases Iíd bought and three days later Covid hit. They sat in the store unused and the warranty expired. During covid the band leader was very ill and he canít sing, and our guitarist had a new mortgage on a house and got a full time job. Band is finished after over twenty years. I put the PA into the theatre at my choice, the venue unwilling to even consider a hiking if the agreed rate, so with just a few shoes left, itís not yet recovered itís cost by a long way, but it was paid for in my accounts for the past period and I guess I paid less tax. 4 subs, 8 tops and one blown already because I thought Iíd be in control of what people did with it, and I messed up. As itís the first blown driver in probably 30 years, I guess the old system, that people used as Ďextraí to their own toured ones, was safe, while now, people see the new system and want to use it as a total replacement, and push too far.

 on: Today at 01:51:26 AM 
Started by brian maddox - Last post by brian maddox
So, now I'm curious, what wouldn't the S do for you? Would the SD have done it? I've run both boards but I'm quite a bit more familiar with the SD, and my relatively limited time on the S led me to believe that they were just two very different front-ends for pretty similar back-ends, but not in your experience?

(I think your TF comment is spot on. I played around with a floor demo unit while standing in line at a service counter once, and even there it was obvious that it was no LS9.)


I needed at least 1 (and really 3) 5.1 surround mix busses to do this job right. And, as it turned out quite a few more input channels. But we got it done and thatís what counts.

 on: Yesterday at 10:41:02 PM 
Started by Rick Dennis - Last post by Craig Hauber
Simple question.
I need the brightest possible bulbs that I can find for PAR 38 cans. Preferably, LED.

These lights will only be fired on occasion, on momentary switches. The purpose is for impact . Something comparable to Lightning strikes. They won't be on long enough to get hot. In fact they may only be on for 1 second - a couple times an hour. Not looking for blinding light, just something that stands out as huge, over the other Chauvet Par 64 lights on stage.

I'm sure I could go to a Walmart and experiment in buying bulbs, but I figured I would ask here before spending experimental cash. Thanks.
These ones are quite bright and white -only 5000K but still whiter than most.  They don't seem to have much switch-on lag either, but I've never tried to simulate lighting with them either!

 on: Yesterday at 10:34:43 PM 
Started by Lee Wright - Last post by Luke Geis
I carry a different attitude and perspective about the whole covid thing and how it has impacted me and my career. First, it is busy as hell right now, so it is obvious that a large number of people give zero crap about covid. The ones I get angry about are the ones that require masks and negative or vaccine cards at their event for all staff..... My thought is this: If you are so scared, worried, and or proactive against/for covid, then what in the hell are you throwing a party for? And if so why are you requiring a whole crew to heed to your wishes in order to add security to your indiscretions? Refer to point A...

I myself am not vaccinated, will not get vaccinated, and truly don't care whether you finally get to throw that party you have been waiting two years to do. In my area, it is pretty hard to find a crew of vaccinated individuals who are well trained in our craft. We can't find enough people to work as it is, so one less party won't kill us. As to what we have had to do in order to keep the wheels rolling, well, we just keep putting out help wanted ads and trying as hard as we can to keep up with the number of jobs we have coming in. We wear masks when we are indoors as required, we keep our distance from people as much as we can and more or less, do as we have always done, just with not nearly enough staff to do it.

Our policies have changed. We increased our minimum to weed out small, low-profit margin jobs. We require a non-refundable 50% deposit and full payment 30 days in advance of the event. We schedule our setups and strikes to be separated from other vendors to reduce contact and clutter. We advise our clients that there are still rules relating to covid and that the industry as a whole is still recovering and adapting to them. We tell them we have to limit changes because we may not be able to get a certain product in time, that we need to staff well in advance to meet certain desires and things are more expensive than they were two years ago.

My advice, only chew what you can swallow, make sure you know your local rules relating to covid, and charge your clients appropriately. It is too busy right now to take everything that crosses your table, so cherry-pick your clients and maximize your profits while you can. Soon enough the market will be oversaturated with vendors again, so set yourself up to align with the higher markets. Don't overextend and certainly don't under-deliver simply get everything you can.

 on: Yesterday at 10:22:42 PM 
Started by Debbie Dunkley - Last post by Craig Hauber
Possibly but I think I have my answer - I really just wanted to see if others have encountered any issues doing this.
One fun thing I did years ago was taking 4 of the 18-ga IEC cables and fitting them all into a single Hubbel male edison.  That way I could neatly run 4 of the lights off just one connection without cube-taps or power strips (they were all IEC and did not have loop outs).  I even used different length IEC's so the cords hung nice and tidy with minimal excess slack loops.
I doubt it was at all in any way code acceptable but it survived a couple theater tours (where I was the only one handling it). 

 on: Yesterday at 10:14:24 PM 
Started by Justin McDaid - Last post by Brian Jojade
Sounds almost like the bypass button is stuck.

It would be odd that BOTH buttons are stuck the same way though.

 on: Yesterday at 10:11:43 PM 
Started by Plamen Milev - Last post by Brian Jojade
My worry is that I play pre-recorded music (djing) so in my case 4000W@4R bridged seems to me like asking for trouble.

That's exactly why I feel the limiter is a must and since I have DCX2496(A+B for tops and C for sub(sum of A+B)) and DEQ2496 I have no excuse not to set it. The thing is I have no experience with the speakers (SRX718s) and hence my post.
I did a gig and had limiters set up to 1600W@4 bridged but my tops couldn't keep up with the subs so I had to reduce the gain on the bass. They were 300W continious each. I now have Yamaha S115V rated at 500W continious each so time to revise my set up.
I also stack my SRX together for extra dB gain and always against a wall.

Be careful with using a limiter, as it may make things WORSE not better.  While a limiter is great for taming fast high power peaks, that rarely is what kills subs. HF drivers are more often blown out with that sort of problem.

With subs, it's the average power over time that's usually going to be a problem.  With the dynamic range of music, hitting peaks means your average power is significantly below that peak.  However, if you throw a limiter in the equation, you now eliminate those peaks and the average power can go UP, thus increasing the chance for damage.

Putting a peak limiter on subs and hoping for it to provide protection means you need to massively reduce the capabilities of the speaker for effective protection.

 on: Yesterday at 10:04:39 PM 
Started by Bobby Gonzales - Last post by Brian Jojade
If you do have drastic signal loss when splitting an XLR feed a few timesÖ something is wrong.


You should easily be able to split a signal a half dozen times with no issue.  Amps that have an in and out essentially are just a split no different than an external one.

 on: Yesterday at 09:09:33 PM 
Started by Dave Garoutte - Last post by Bob Faulkner
I just did a 2-day art festival music stage in the redwoods.
Fog-rained saturday (everything got wet) and lovely yesterday.

The promoter had a line of remote speakers a couple hundred feet away through the woods.
We set up a Senny ew300IEM for tx with a paddle at the stage, aimed roughly at a Senny ew100 rx with a paddle on top of one of the remote speakers.  Then hard wired between the three remotes.
It worked almost perfectly, with occasional dropouts until I aimed the paddles better.

It's fun when stuff work out.

How were the remote speakers powered?

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