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 1 
 on: Today at 02:20:27 AM 
Started by Mike Monte - Last post by Jeff Lelko
Note:  My passive system was able to get louder .... but then again with a pair of folded horns and a 3-way 15" set of tops powered by a Crown K2 and QSC 3600 one would certainly hope so.

Yorkville Unity or EAW LA perhaps?

My LED's have amber but they are not as warm-looking as the real(?) deal.
(Maybe I just have crappy LED's -lol.) 

That’s a nice story Mike.  I’ll concede that I still have probably 5 or 6 dozen halogen Pars in inventory for the occasional special purpose.  Speaking to theatrics, it’s around the Chauvet Ovation Series where my eyes stop noticing the difference between LED and halogen, and the latest offerings by ETC and Martin (namely the Mac Ultra) could fool even the most discerning patron.  For concerts though I love being able to do with maybe a dozen moving washes what would have needed a 120k rig just over a decade ago!

 2 
 on: Today at 01:20:00 AM 
Started by Mike Monte - Last post by Matthias McCready
Copy Audio/Multitrack Playback

This is such a great tool not just for dialing things in, but also for self-improvement and for training.

 3 
 on: Yesterday at 08:58:55 PM 
Started by Tim Weaver - Last post by Brian Adams

They are already 109 USD, then i've heard stories of import and duty fees on top of that. Seems random though. Some things get charged a fee and some don't. Pretty expensive for a mic stand.

Oh and I don't know what was different about today, but it looks like Guitar Center carries them! lol  I haven't seen this before today.

LINKY

Learn to make a hyperlink

For what it's worth Tim, I've occasionally been charged duties or other fees on stuff I bought from Thomann. The amount has always been fairly minimal, if and when I've been charged. For example, I just bought some mics from Thomann, and the total came to $5,618.55. UPS later sent me an invoice for "government charges other than duties" and a brokerage fee, for a total of $43.67. I'm certainly not going to complain about that amount. I think I've also been charged more than that for less stuff, but still not enough for me to worry about.

I'm under the impression that anything under $800 won't be charged any customs or other fees. I don't know for sure if that's true, but I haven't been charged for any of my orders that were under that amount. The orders I know I got additional customs or other charges on were all over $2,500.

 4 
 on: Yesterday at 08:48:09 PM 
Started by Sam Costa - Last post by Mac Kerr
Welp, I was wrong then. I wonder if PK bought the patents off of Sound Associates?

(FWIW, according to this post from the archive, it was M2D; Mica didn't come out until about a year after the FLEXArray had already been in the field. For the sake of interest, here is the original, rather sparse, article from the Wayback Machine.)

-Russ

Now I'm abashed that I didn't remember that since Peter Fitz has be a friend for 48 years and Domonic Sack for more than 35.

Mac

 5 
 on: Yesterday at 07:17:58 PM 
Started by Sam Costa - Last post by Russell Ault
It was Sound Associates for the National tour of the Billy Joel musical, "Movin Out". I don't remember what generation of Meyer LA it was, maybe Mica.

Welp, I was wrong then. I wonder if PK bought the patents off of Sound Associates?

(FWIW, according to this post from the archive, it was M2D; Mica didn't come out until about a year after the FLEXArray had already been in the field. For the sake of interest, here is the original, rather sparse, article from the Wayback Machine.)

-Russ

 6 
 on: Yesterday at 07:16:51 PM 
Started by Mike Monte - Last post by Scott Bolt
For me it is a tough call between digital mixers and powered speakers ..... but......

Digital Mixers gets the nod.  For the following reasons:

1)  Incredible channel processing built in
2)  All-in-one solution in a very small form factor (I use an X32 Rack)
3)  Multi-track recording and virtual sound check.  This has made me a MUCH better live sound producer.  The ability to multi-track the band, then spend my time off-line adjusting individual channel processing and the mix has made a world of difference for me.
4)  Remote mixing.  NO SNAKE.  I rolled my old 100ft snake out to the garbage (couldn't get anyone to buy it!).  I can now mix from my mic stand
5)  Individual remote IEM mixes.  I have been using IEM's for a long time; however, having the ability to have each band member adjust their own mix on their phone .... wow.

Powered speakers have also been a HUGE change for the better.  They are lighter and better sounding than any passive setup I have ever used.  Note:  My passive system was able to get louder .... but then again with a pair of folded horns and a 3-way 15" set of tops powered by a Crown K2 and QSC 3600 one would certainly hope so.  Still, my PRX618S-XLF's and DSR112's get plenty loud enough for most any indoor venue I will ever play.  Outdoors, I rent more subs, but the DSR112's have enough to cover even a decent size outdoor gig (think festivals, etc)

Load in to setup time is WAY lower than it used to be and my poor old back loves me for the reduction in gear and weight.  The audience loves me for the better sound :)

 7 
 on: Yesterday at 06:17:44 PM 
Started by Riley Casey - Last post by Riley Casey
I have one diaphragm that fits the driver in the JBL SRX722 speakers and probably others. Sill in the sealed factory box. $125 plus shipping or pick up near DC / Baltimore

Last stop before Ebay

 8 
 on: Yesterday at 06:00:11 PM 
Started by JamesJudson - Last post by Matthias McCready
Also guys I heard many engineers say gain before feedback is independent of mic's sensitivity. But when I use Shure sm58 (cardiod) I found that GBF is more than when I DPA Gooseneck (hyper cardiod) why is that I don't understand.

I think you mean: "Gain before feedback is independent of the source" - different mics will absolutely have different points at which they feedback, feedback is dependent on the mics frequency response, the pickup pattern, and its location compared to the speakers (lets not forget the speakers pattern).

So in a given place in a room, a specific microphone will have a specific amount it can be gained up before feedback can occur, that could +4dB or it could be plus +50dB - whatever that level of gain that can be added it is independent of the person speaking or singing.

My main question is what should be the SPL level from main and delays in relation to each other.

While there are different methodologies how I typically set delays are:

1) I find the delay where the coverage of the delay starts, I place my mic there, and find the delay of the main - that is your time to set the delay speaker to.

2) After I find that time alignment for most situations I often move the delay speakers delay 1-2ms back - this will make the focus on the main speaker at the front of the room, rather than the delay/fill near you.

3) For level I usually set it so that the fill adds clarity and so it is not super noticeable that "I am walking in front of a speaker" I like to keep delays as natural as possible - When I walk from the custody of the mains into the fill, if it is noticeably louder it is too loud. Note if you do the delay trick from step 2 you can have the fill be slightly louder than without as our brain and ears are more sensitive to timing than they are to volume.

 9 
 on: Yesterday at 05:16:22 PM 
Started by Steve Litcher - Last post by Steve Litcher
Haven't had much luck listing/selling on this site lately (I have previously sold hundreds of items as I downsized my production company), but let's give this a try...

All items are located in Madison, WI (53704) and have been kept in climate controlled storage. None of this is rental gear/stock - it's only ever been used by me, and most of the time, it's been used very lightly/sparingly. None of the items shown here have toured - they've only been used for local production work. You'll pay actual shipping costs from UPS.


QTY ONE (1) = Audient EVO 4 USB Interface w/case & cable - $70 + shipping
- One (1) available
- 4-channel USB-C interface - great for system measurements
- Includes USB-C cable and travel case
- Compare at $129 new (I paid $112 new)

Photos:
Audient EVO4 - 1
Audient EVO4 - 2
Audient EVO4 - 3
Audient EVO4 - 4
Audient EVO4 - 5
Audient EVO4 - 6


QTY TWO (2) = Furman PL-PRO-C 20A 120V Power Conditioner w/boxes - $250ea + shipping
- I have two (2) of these available
- They have some minor rack rash from being racked/unracked and from being stored on wire shelving
- Work perfectly
- Includes factory box
- Has replacement plug on cable
- Compare at $574ea new (I paid $425each)

Photos:
Furman - front
Furman - top
Furman - bottom
Furman - back



QTY ONE (1) = ROLAND OCTA CAPTURE USB Interface - $400 + shipping
- I have one (1) of these available
- In excellent, like new condition; rarely used
- The preferred interface for SMAART software (interfaces with it and offers preamp control through SMAART)
- Does not include rack ears
- Includes carrying case (soft case)
- Compare at $639new (I paid $525 for this)

Photos:
Roland - Case
Roland - Front
Roland - Back
Roland - Bottom
Roland - Top


QTY ONE (1) - SURGE-X SX-1115-RT SURGE SUPPRESSOR AND POWER CONDITIONER 15amp - $475 + shipping
- I have one (1) of these available
- Has an asset tag on the front
- Offers far superior protection and conditioning than Furman units
- Compare at $979 new (I paid $766 new)

Photos:
Surge-X - Front
Surge-X - Top
Surge-X - Bottom
Surge-X - Back



QTY ONE (1) - SYNTAX CABLE (by BTPA) 250-foot CAT6A Ethercon Snake w/Ethercon ends - $300 + shipping
- I have one (1) available
- Extremely high quality Syntax Cat6a cable, assembled by BTPA in Chicago
- Was on spool; no longer have spool
- Has brand new Neutrik Ethercon connectors/shells
- Is at least 250-feet (more likely 275-feet); was used with Midas M32 and DL32
- Has small nick in housing, but is E-taped over and has been fine. Nick is maybe 1/8" in size; invisible unless looking hard for it
- I paid $895 new for this

Photos:
Syntax Cat6a Cable - 250ft



TERMS OF SALE - READ CAREFULLY
- All prices are FIRM
- Not open to deals, trades, lower priced offers, payment plans, etc.
- Can accept Venmo, PayPal, or Zelle at no extra charge - I will cover the payment fees
- If items are online, they are available; I'll update the postings as I sell items
- I can meet you within a 2-hour radius of Madison, WI for a local pick-up
- I've sold hundreds of items on PSW with 100% happy customers
- Can only sell to the LOWER 48 UNITED STATES (no international sales)




SOLD ITEMS:

QTY TWO (2) = Jensen ISO MAX DI boxes - SOLD
- I have two (2) of these available
- They are essentially like new; I'm not certain if either were ever used beyond initial testing...
- They accept 1/4", 1/8" (3.5mm) or RCA inputs and convert them to XLR
- Compare at $349ea new (I paid $265each)

Photos:
Media Max 2 - front
Media Max 2 - input
Media Max 2 - output
Media Max 2 - bottom


QTY ONE (1) - Various Elite Core RG-58X RF Cables - SOLD
- An assortment of antenna/RF cables in shorter sizes; all are 50-ohm cables and connectors
- Two (2) at 6-feet
- Two (2) at 8-feet
- One (1) at 10-feet
- Brand new, in bags; never used
- Hand made by Elite Core in USA
- Compare at about $34ea new (package would cost you $168 new)

Photos:
Elite Core - 6ft
Elite Core - 8ft
Elite Core - 10ft




 10 
 on: Yesterday at 04:32:35 PM 
Started by JamesJudson - Last post by Mike Caldwell
Don't worry so much about SPL numbers, since the delay is from the DBX 360 I'm guessing that output is just an extension of the main mix.
Set the level of the delay fills so that when they are on you don't really outwardly notice they are on but when you mute the delay zone feed you can tell that they are off.
Easy to do when using the DBX360 app to control the DSP remotely, you can be in the delay zone while you make adjustments.

As Kevin said, a metronome click is too easy to be a click off, by ear random tapping on a mic is better.



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