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Some crazy guy called me 3 months ago.  "Willy we are getting the band back together"  This is what I could find on the school bus. And in my garage.

It ALL fits in a minivan even with mic stands.

I did not charge anything. But I got an equal cut! (free pop)  I am 73 so about 50 years since we played together.  Job was in April, its May and the van is still full.

lol well doesn’t sound like you are ready to hit the road!

I was going to bitch for doing a gig for free but it was a one off.  Keeping the value of the sound tech up is a mission here.

73 is 13 years away for me and I wonder if I will still be gigging.  Luckily I don’t have to schlep gear around anymore.  I work for one band that occasionally play a club date but there are 10 of them so we still have a stage hand.

The rest of the time my gigs are fully crewed so I just sit back and watch my team do its thing until I have to pin the stage and get ready for soundcheck. 

Take care


Sent from my iPhone using Tapatalk

From SynAudCon - Bob Coffeen

https://warrenmcelwain.com/obituary/robert-charles-bob-coffeen/

Bob founded R.C. Coffeen & Associates in 1964, consulting in Electro-Acoustics and Industrial Control Systems.  Following the mentorship of Dr. C. Paul Boner, Bob began employing a sound system equalization method on several projects.  His firm then took off and expanded!

The company continued through the years as Coffeen Anderson Fricke & Associates, later as Coffeen Fricke & Associates, Inc., Consultants in Acoustics and Audio-Visual Communications.  Bob was renowned for his research in acoustical engineering, particularly stadiums and performance venues.  Key projects included the original sound systems for Kauffman Stadium and Arrowhead Station (GEHA Field).  He was particularly proud of work done for arenas, stadiums, and churches across the United States, including Yardley Hall and Polsky Theatre at Johnson County Community College.

Bob’s skills were known internationally, resulting in many journeys around the globe.  He was also a private pilot and at one point, the firm owned two airplanes.  Flying was a great joy of Bob’s.  The firm was later purchased and continues today as AVANT Acoustics in Lenexa, KS.   

Bob resigned in 1995 so he could continue with his instruction in architectural acoustics at the University of Kansas.  He was an adjunct faculty member with the School of Architecture until his retirement in 2017.  In KU’s classrooms and labs, he worked with students in designing acoustics for planned or existing buildings and facilities.  He taught them how to use computer modeling and auralization programs.  A highlight of many years was an annual trip with students to Chicago for company and building tours.  Former students and colleagues honored him with the Jack and Nancy Bradley Student Recognition Award.  He also received an Excellence in Teaching Award, chosen by undergraduate students in KU’s Architectural Engineering department.

Bob received many industry honors throughout his career.  He was named the 2006 National Systems Contractors Association Educator of the Year.  He received the Rossing Prize as the nation’s top educator in acoustics by the Acoustical Society of America where he was a life member.  Bob was a life member of the Audio Engineering Society and a Life Member of the American Society of Heating, Refrigerating, and Air Conditioning Engineers.

Funny (ha ha..) to show the response of a vocal mic at 2 foot distance.

Hard to find what the proximity effect is in Shure documentation, more annoying since that is the primary difference separating the KSM8 and Nexa8 from the rest of their vocal line.

In the interview posted above, the Shure rep uses it for a bit and varies her distance, as well as off-axis. Worth taking a look at to get an idea.

https://www.youtube.com/watch?v=fc7IoXRlhSA&t=4610s

That's not an easily transportable system which was the subject of this thread,  That equipment is all well past it's useful like not saying you can't do a good show out of it.  When you can get a 3U box with 32 inputs with eq comp and gate/expander on each channel along with 8 effects slots its hard to justify dragging all that gear around.


The Yamaha club series are also heavy speakers with low efficiency. 


The heavy amps and equally heavy monitor rig is the icing on the cake.


You could not pay me enough to dray that rig around.  What do you charge for a bar show?

Some crazy guy called me 3 months ago.  "Willy we are getting the band back together"  This is what I could find on the school bus. And in my garage.

It ALL fits in a minivan even with mic stands.

I did not charge anything. But I got an equal cut! (free pop)  I am 73 so about 50 years since we played together.  Job was in April, its May and the van is still full.

I used several at The Troubadour in Los Angeles a few months ago. Solid sounding mics, stable with wedges. It was too hectic of a "throw and go" gig to get far into evaluating them, but they delivered. They had both models

Thank you for all of the replies.

We went to the Venue on Saturday and made some adjustments to the DJ part of the system. In the DJ feed in the DSP we reduced the level of the Subwoofer feeds so they are not as accentuated as they had been. There is still some cancellation in the booth but now since the sub level isn’t as overkill on the dance floor as long as the DJ doesn’t crank up the bottom end of their feed, it is more reasonable. Still kicking but not ridiculous.

I had brought a couple of 2’x4’ acoustic panels along to test to see if they would affect the sound in the booth.  I tried placing my acoustic panels in different places in the booth and if I put them on the back wall of the booth the Subs came to life in there a little bit more then without them. So to me it sounds like the sub frequencies are canceling acoustically off the walls in the Booth.

I had placed a call to an acoustic consultant that I have been aware of for years and is known by other friends in the audio business. I am not mentioning his name or his company on purpose. I left a message but he never got back to me. He lives not far from this venue and from looking on his website he seems to be reasonably priced. I think he is semi-retired and doesn’t run the company he started that makes a bunch of different types of acoustic treatments. But I am not sure if the venue Manager/part owner of this venue is in a position to spend more money at the moment. 

To answer some of the comments. The DJ part of this doesn’t have turntables but the DJ can bring them and tie into the system. There really isn’t enough room in the booth to set up the standard DJ coffin that a DJ might bring. So if they setup outside of the booth then they might have a skip problem. I am not a DJ and I try not to work with them so I may be using the wrong terms here.   

The butt kicker or more preferably that type of transducer mounted underneath the Booth right where they stand might help. The chances are they won’t be sitting at all. I have one that attaches to a drum stool for use with an electronic drum set and if set right it works great if set wrong it is an annoying butt massage. I got it when a church stopped using an electronic drum set and went back to acoustic drums. I don’t use it at all.

I am not sure that I would say that the booth design was to save money. I think it was just what the owner wanted and had no idea that it wasn’t the best design. The main owner (there are a few people involved) owns the entire strip where this venue was built. ONE of his restaurants is at the other end of this strip. It is very high end, not the kind of place I go to regularly. But the chef of that restaurant once brought a large amount of a Pasta dish to us for lunch as we were working, it was great. 

There is a speaker that the DJs can use in the booth if they want to. There is no place in the booth for a Subwoofer and I would worry that it would interact with the room subwoofers. Also I don’t think the manger thinks this is enough of a problem to pay for the addition of that. I am worried that a DJ might think there isn’t enough low end and boost it to compensate. I realize that the DJ may not listen to the manager telling them to walk out of the booth and just listen to how it sounds in the room.

I probably should have said at the beginning of all of this that they are not really aware of the sub cancellation in the booth. Their issue was how loud the subs are in the room and complaints from outside the venue because it was so powerful in there. I was the one who was concerned that if the DJ in the Booth doesn’t hear the low end in the Booth that they will try and compensate and boost up the low end making it too loud on the dance floor and everywhere else. After we were done with the changes we made, we cranked the system and I walked outside to listen and I didn’t hear any of the music that we were playing outside of the venue. I didn’t try it with the door open to see what the difference was. 
 
So for now we will see how thing go there (after the changes we made) and deal with them if they have a complaint.

For loop driver (amplifier) there are multiple manufacturers. The 2 best (for what my experience is) are WilliamsAV and Ampetronic. But there are other, cheaper ones, also available.

Noting that in the US, Listen Technologies distributes Ampetronic as of last year. Prior to that it was Willams.

There are a small handful of major sound companies that might have experimented with a primitive stage box. There is a benefit to putting the mic preamp closer to the mics, but the huge downside is difficulty varying the gain from FOH. One solution was to use only modest fixed gain in the front end, slightly worse for S/N but better for preventing overload in the middle of the show.

Nobody made  one that got traction and persisted. Today with digital consoles and digital gain control it would be relatively easy to make one that overcomes the technology limitations of several decades ago.

JR

All kinds of things 'seemed like a good idea at the time' in the early - mid 70s. Coming from the days of say doing sound for the early folk music groups, think Peter, Paul and Mary it's easy to imagine why someone would think that preamps on stage where a good idea. They would have been pretty shocked to discover that dynamc mics on screaming rock n roll vocalists could put out half a volt. Clearly that kind of thing didn't come back around til active mic splits appeared but hell I used to think that carrying JBL 4560s and 2350 radial horns into small bars for bands and getting a cut of the door seemed like a good idea. Thankfully that business model didn't last long.

Preamps built INTO the snake just seems like a nighmare of potential problems.

I can see why having the preamps on stage to have a higher signal level traveling down the snake, but if that were the case, a rack of external pre-amps would seem like a much better solution.

EDIT: In watching the video again scanning to where he did the KT cable (it has been a while) he had no issue with 50 and even 100 meters of the KT. Only when he went over 100 he had issues.   KT100meter

Douglas,

If you watch Dave test for ESD interruptions using his sparker on the KT cable you will see that he manages to cause a drop-out with only a single 50m spool of the cable.  This happens as 12:12 in the video you linked.  Granted, it happens when he's sparking the Midi ports (I think) which may not be a realistic test, but he could repeatedly induce ESD once he went to 100m (2 spools and 1 coupler).  It also seems like it's easier for him to induce ESD at the stagebox than it is at the console.

For our needs, running around the edges of large ballrooms, 50m is not enough cable.  The LyxPro cable that we are using is sturdy, but I don't have the necessary test equipment to measure its insertion loss at 250'.  I suspect that it may be close to the -24dB figure that is the critical number for a stable AES50 connection.  The search continues