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As far as PA goes, sounds like the perfect job for d&b KSL. Well suited to scale up and down for the venue sizes you've mentioned and full-bandwidth cardioid really cleans things up in the arena level.

I get a lot of shit for carefully checking power.  I don't do a gig without using the Extech CT70 it's in my gig box.  I wish that others would invest in them, it even has a tiny 20amp load bank it it!


Anyway Tim, what is a seal room?

A small room/tank with drain, water, and a place to keep the fishy snacks for the seals.  Back in the vaudeville era, "trained seal acts" were popular enough that infrastructure to support marine mammals were built into the venues.

When would this all start?
Do they have management that already has the schedule and venues lined up?
What other duties would you have other than FOH?

I'm closing my ticket on this, and moving on.

Long story short, my LG refrigerator has a "water pipe heater" in it to keep the water line (the line inside the freezer) just above freezing, which allows for the water to flow into the ice-tray for freezing.  The heater is broken or was programmed to stop working after "X" amount of hours of run-time.

I will be getting a small portable ice maker (counter top size) to replace the ice-maker in the fridge.

During my research, I learned that many manufacturers do not make refrigerator heating elements an FRU item.  Instead, they have you replace the entire refrigerator door (if the ice-maker is in the door), because they have made the heating elements as part of the door.  All you would need to do, as a consumer, is move the hardware/trim from the old door to the new door.  If the heating element is internal to the fridge, buy another fridge.

Interesting.
I've replaced plenty of jamb heater strips for walk-ins. 
But commercial stuff it built for repairability, consumer grade appliances aren't anymore I guess.  -although back when they last were, there generally wasn't any active "features" in fridge doors beyond shelves and butter compartments.

All good and valid suggestions. I wish I could say what the ultimate plan is for the gear? I have had some conversation, and it appears that there is an end market for the gear, so purchasing is ideal because they already know where it will go. I spoke again briefly, and it was mentioned that there was a relationship with JBL and if I was open to that. In the end I was told to ask for whatever I wanted. The trust is definitely there, which I appreciate, making me want to be even more open to options.

My idea of 3000-6000 seat venues to me, means Kara II, or perhaps K3, or similar from other vendors. However, thinking of just the Santa Barbara Bowl and Hollywood Bowl, they use K1 and similar Big Dog arrays for both; one is a 5000 cap and the other 18000, so perhaps I am off base? I just don't feel a need to have a dual 12" cabinet en' mass, for a 3000-seat venue.

I am leaning towards Digico still, but am familiar with the Yamaha family as well. I had initially not thought of the Rivage, but the PM5 certainly will be added to my short list upon further reading.

I am hoping to have an A2/SE that can assist in the design and building part of the system. Not sure yet if that exists for me? I used to be that guy where I would design the system, build it, and do other A2 roles. My experience, however, is mostly with Corporate A/V, so I am more familiar with the smaller systems. I have played a bit in the touring world as an A2, where the A1 seemed to do most of the design and system tuning, I just built the thing. My experience with A1's that design and tune the system, has shown me, that the result is as varied as the individual's mood. I would rather have someone else design it, and get it ready for me, I just tweak to taste and move on. But that is a large ask from an A2. I am not sure if an A2 and an SE is on the table? I guess what I would prefer is more defined roles, with the exception of the A2, I want to beat that guy up

It sounds like most everyone is saying go with an LA-K3, d&b KS, or similar. The VTX A12 is on the radar, I am just not sold on it yet.

Craig, interestingly enough, both times I did sound for this individual, I was doing a small wedding, or other basic event. So I was using my meager JBL SRX, or PRX rig with either an X32 or M32. I somehow made enough of an impression for them to single me out amongst all the possible people out there!!! This is my equivalent of the one in a million, where the artist loves me for me, and had not needed another person yet for this role. Now to prove I can keep it that way

Good, because you're too young to retire from our industry yet. 
-the world has plenty of "IT" people to go around, but nowhere enough knowledgeable sound people.

I get a lot of shit for carefully checking power.  I don't do a gig without using the Extech CT70 it's in my gig box.  I wish that others would invest in them, it even has a tiny 20amp load bank it it!


Anyway Tim, what is a seal room?

Was wondering the same thing -and I thought I was up on most oddball theater terms -from opposite coasts and 2 different countries.
Figured it's next to the Otter room but above the Sea Lion room?

I will look into the Extech unit, my Wiggy is starting to wear out. (lol)

Been quite a while since I logged in to PSW, not sure if this is correct site; however, seeking small show sound support for a private event, Dixon Missouri, June 1, 2024 - 5 piece band - Outdoor party - less than 200 people audience…. Please HMU with questions or suggestions- Thanks!

Dane

Hi All,
Anyone know about what the original selling price was for a Crest Century VX 64 frame loaded with 40 mono and 8 stereo inputs and 8 empty slots with blank covers as well as a full doghouse case and 2 PSU's in about a 20 RU rack?
I'm mostly just curious because honestly, I can't at all remember how much this board was new. ThaT'S JUST TOO MAY YEARS AGO FOR MY OLD BRAIN TO REMEMBER.... I think the manufacturing year was 1999 OR 2000? But that's just my best guess. I'll attach a couple photos.
Thanks!
Mark

Hi guys,

As a quick update, I sold my QSC KW181’s as I haven’t been using these anymore. For any bigger events I’ve just been using my DXR15’s by themselves which have been fine.
Last night I did an event and one of my got to hear/use the RCF HD10mkV’s over a pair of 702as mkII subs. First, what surprised me was how small and light the subs were. Secondly, I was also very surprised at how well the performed. There was a full band, drums, bass, keys, guitar, bass and vocals and everything went through foh. The drums were fully miked and there were no amps/stage monitors. The bass went through a sansamp into the pa,  the guitar went through a modelling pedal and everyone used IEM’s. Whilst I didn’t have the system turned fully up I was very surprised at how good this system sounded.
I notice RCF have released mk3 versions of the 702as and 905as subs. The newer 702mk3 is a little bigger and 3kg heavier whilst the mk3 version of the 905as weighs around 4kg less than its mk2 counterpart. Both mk3 versions of these RCF subs have their Bass Motion Control but I’m not sure how much difference this makes to the overall performance?

I am hoping to borrow the HD10amkV / 702as mk2 system and give it a good try out next to my DXR15’s to hear how they compare. I’m also interested to know how the mk3 version compares. If this little RCF system at least matches the audio quality and output of my DXR15’s, I could see myself making the change. The thought of taking such a small lightweight system to venues instead of my big and heavy DXR15’s is extremely appealing!

Two stories to tell -


Second is personal, and how I nearly did great bodily harm to another PA provider after I recovered.  "Rock on the Tarmac" at general aviation airport, we're providing additional subs, power, and processing for the subs.  Airport electrician wires in 2 feeders to 2 circuit breakers for 120/240v 100 amp service in a brand new panel in a newly built hanger.  Most of the PA was on one distro, and our sub power and DSP was on a second distro.  Another of those "it's quiet until we put them together" problem.  Audio isolation transformers only changed the sound of the hum; pin 1 lifts were more successful.  I then ask the PA provider if the neutral and ground in each of his distros are unbonded.  "Of course!"  After the show, I do the disconnect at the panel as the electrician is at the other end of the ramp, disconnecting food vendors.  On the second service, the electrician (for reason I'll never understand) stabbed the neutral into the bus bar from the Line bus side.  When I removed it, the neutral feeder wire grazed a line bus 'finger'.  The result was a loud bang and flash (neither of which I remembered immediately after), and a coworker leaning over me asking if I was okay.  Eventually I got up, ears ringing, and followed the feeder to its distro.  I opened the distro, found the neutral and ground bonded (hence the arc flash), so I took my diagonal cutters and installed high impedance air gaps in every conductor, put the cover back on, and vowed to kill that SOB.  Revenge is a dish best served cold and Mother Nature took care of for me a few years later.

So anyone want to guess the problem in the lovey atmospheric theater?

All of this was around 25-30 years ago, and both directly changed the ways I deal with show electrical distribution, how I specify power needs, and how I work as a show electrician.

When I was doing this gig https://www.prosoundweb.com/road-stories-5/ the following year. I went over to talk to the genny op (same company, xxxxxx, as mentioned in my other post) about something. He told me he had to go and get something (maybe a ground stake) but the genny was up-and-running and we could hook up whenever, and walked away, with our Cam-Lok tails laying in the grass... I looked around and noticed a mother with a small child playing nearby, and figuring that could end real badly decided that at the very least, I should drape the tails over the metal bumper of the genny (it was one of the small trailer types) so the female ends weren't exposed to tiny exploring fingers. Well, as I did that, one of the hots, the blue one IIRC, hit the bumper and compressed the rubber on the end enough for the brass insert to make contact...also with a very bright flash and bang. On subsequent inspection we discovered that the insert had not been pushed far enough into the rubber boot when it was assembled, so it was only about 1/8" from the end of the boot. Not a great start to the day