Tom Young wrote on Tue, 17 March 2009 05:31 |
Bennet got it right. JP is on the end (on the right when looking at the photo) and Taz is the 2nd dude (with glasses and in middle) to the left of JP (again; when looking at photo). |
Jason Dermer wrote on Sun, 15 March 2009 10:04 |
... So this is what this system really sounds like. ...it sounds like we took a tarp off of the mains. |
Steve Payne wrote on Sat, 11 April 2009 16:40 |
[] metering - everywhere. Really cool is the Master / PFL metering which can be switched to display: RMS/Peak/RMS+Peak (my favorite.) We can thank JR for this really cool contribution to the ProDesk! |
Teri Hogan wrote on Sun, 31 May 2009 14:33 |
Well, our 24-channel ProDesk 4 finally arrived and we immediatley put it to the test, doing 3 shows in 4 days. After the very first sound check, John turned to me and said Jason Dermer described it perfectly...someone just pulled the tarps off the speakers. Couldn't have said it better ourselves! |
drewgandy wrote on Wed, 24 June 2009 00:34 |
Ok, so can anybody with one of these things do the measurements and tell is with proof that the console does not have a high shelving boost built in? Maybe 3db of that "Air" that Mackie used to do? drew |
John Petrucelli wrote on Sun, 28 June 2009 22:13 |
LABsters, Although some of you already know of his involvement, I wanted to give a public -THANK YOU- to JR for his contribution to the ProDesk-4 console. I think most everyone on the LAB (at least) suspects that JR is a pretty smart guy. We first met during the Peavey/Crest "Strategic Alliance" and have kept in touch after we both left the PV family. When I was planning the PD-4 meters, I asked him for some advice on micro-controllers (he uses one in his Resotune drum tuner). After talking a bit, he said that he always wanted to resurrect a meter design he first implemented (and patented) in the 70s. It was able to display Ave and Peak simultaneously; he could now do it "easily" with a micro. How could I say no? We worked together to produce the meter sub-assembly below; JR wrote the code and came up with the basic HW design, we did the layout & packaging. JR was even able to incorporate some later suggestions Bennett made at a trade show (hey, it's only software... ) The ProDesk has been very well received and everyone LOVES the metering. So once again, Thank You, JR! Couldn't have done it without you. JP |
John Roberts {JR} wrote on Wed, 24 June 2009 11:24 |
I have had some private conversations with JP on this subject. I am pretty sure there is no funny EQ tricks involved, but this would be simple enough to test. Note: I once encountered a european powered mixer that had some bass boost when set flat, but that turned out to be because they were using a knob designed for vertical instead of horizontal orientation on the tone control, so it was a half spline off. Despite being unintentional (?) it sounded audibly different at point of sale. My suspicion with the APB is that there is a cumulative effect of decades of solid electronic design practices, and good ergonomic design. How a product responds when you twist the knobs will impact perceived and real results. JR PS: I always thought that "air" knob on the mackies was to compensate for the suck. |
drewgandy wrote on Sat, 18 July 2009 21:50 | ||
Hi John, I wouldn't expect any funny business with APB. I was just joking about an eq boost. But I am very curious about these kinds of descriptions. From an engineering standpoint I would expect these kinds of comments concerning different speakers or mics. But the difference a console sometimes makes is hard for me to grasp. I've been there though. There are a few lower end boards that, no matter the speakers being used, just don't result in as pleasing a sound as other boards. For awhile I thought it had something to do with that silky smooth fader thing that uber expensive consoles might sport. You think that the sound is somehow better on account of the feel of the controls. I had a recording guy once comment that he tried the mackie onyx 8 channel mic pre box and thought it sounded "steel gray" or something like that. Well, that's pretty much the color scheme they went with. Maybe it needed some red or brown on the front panel to "warm it up". I worked with a band where a couple of the guys said that they could often walk into a bar or club and within a minute or two of listening decide which mixer they were using without ever seeing the FOH. They said they had gotten pretty good at it after several years of playing 3-4 nights a week in places all over and hearing their own monitor mixes through various consoles. I certainly don't dispute that we can be trained to hear certain things that the "average" person wouldn't pick up on but when a different mixer is like taking a tarp off the speakers, what's really going on? The graph that John Petrucelli posted is pretty impressive. They obviously don't have a problem with the center detents on the eq not being flat. drew
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David Karol wrote on Tue, 08 September 2009 22:31 |
One thing I really like about this console is the new metering. |
Phil Ouellette wrote on Sun, 25 July 2010 13:30 |
I'll bet the variable HPF has a lot to do with eliminating low end mud from the mix. Getting rid of that will do wonders for the clarity of a mix. |