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 1 
 on: Today at 08:19:34 AM 
Started by Rolando Saenz - Last post by Mike Caldwell

The Speakon's are all crooked.  I would have to redo.  That would make me insane!

That panel was punched for Switchcraft connectors, that's why the Neutrik XLR are straight because they are the P series designed to fit into Switchcraft punched chassis.
Yea I would go crazy as well!!!

I solder XLR and Speakon chassis connectors, and have been using the Neutrik SCDR boots on the backof them many times and always use them on the back of a Powercon.

https://www.neutrik.com/en/product/scdr
 



 2 
 on: Today at 08:06:31 AM 
Started by Sean McKinley - Last post by Mike Caldwell
Yes you can convert the AP/EP connectors to Speakons, the Speakon MPR series will fit directly into the hole of an AP/EP.

You can get the basic crossover, EQ, delay settings from EAW,.

I am not a fan of doing speaker processing within a mixer, as mention too easy to have a expensive accident.

That said your using XTI 4000 amps, do the processing in the amp, download the Crown Band Manager software, connect to the amps and set them up to power the lows and mid / highs on the EAW's.

Ok for the subs set them up to be aux fed and use the high pass and low pass on a mix out of the board for those. A set up miss hap on the subs would not be as bad as it could be for the EAW's. 

 3 
 on: Today at 07:08:11 AM 
Started by Mike Galbraith - Last post by Mike Galbraith
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 4 
 on: Today at 06:50:22 AM 
Started by Sean McKinley - Last post by Joris Jans2
if it's you, and only you, who is operating this rig then you could do it but i would never suggest this workflow to anyone because the room for error is too big. this is aside from the brand specific timing&eq corrections which should be implemented in the desk matrices

 5 
 on: Today at 04:55:01 AM 
Started by Rolando Saenz - Last post by Scott Holtzman
2 mix monitor rack. I had 4 of these. 2 would clip together for on-wheel use, but were splittable for a one man lift up stairs.


The Speakon's are all crooked.  I would have to redo.  That would make me insane!




 6 
 on: Today at 04:46:37 AM 
Started by charles strickland - Last post by Helge A Bentsen
You're thinking of HyperMAC (as opposed to SuperMAC, which is what Sony called the 100 Mbps version before it became an AES standard); strictly speaking, the 1 Gbps version has never been incorporated into the (royalty-free) AES50 standard, so "AES50" refers only to the 100 Mbps version.

-Russ

Midas uses HyperMac on some larger consoles to carry several AES50-connections over single cat or fibre cable.

 7 
 on: Today at 04:35:50 AM 
Started by Sean McKinley - Last post by Helge A Bentsen
EAW speakers needs proper processing to perform at the correct level. You'll need a DSP or a DSP-controlled amplifier capable of running EAW Greyboxes.
Look for a used EAW UX processor, QSC Q-sys processor (These currently support KF, QX, MK and VF models), LAB PLM or Powersoft DSP amps (excluding the old M-series platform).

 8 
 on: Today at 04:00:54 AM 
Started by Peter Kowalczyk - Last post by Simon Lewis
We have passive (hardwired) splitters and transformer isolated splitters, all Whirlwind.

At the risk of being called ultra pedantic, hardwired and transformer isolated splitters are both "passive" ;-)

I got called out on the terminology some years back...!

 9 
 on: Today at 02:31:01 AM 
Started by charles strickland - Last post by Russell Ault
{...} while the upper version is HyperMax {...}

You're thinking of HyperMAC (as opposed to SuperMAC, which is what Sony called the 100 Mbps version before it became an AES standard); strictly speaking, the 1 Gbps version has never been incorporated into the (royalty-free) AES50 standard, so "AES50" refers only to the 100 Mbps version.

-Russ

 10 
 on: Today at 02:22:14 AM 
Started by Ron Roberts - Last post by Russell Ault
{...}
*Refusing to use IEMs due to "their tone" is false; IEM's mimic FOH sound better.
{...}

If it only it were that simple. I was reminded recently that part of the challenge of dealing with electric guitar players is that, for many of them, "their tone" is what's coming out of the amp ~45° off-axis and at least 1m away, and what's being perceived by a typically-on-axis microphone (or the poor sods on house left, for that matter) "doesn't sound right" regardless of the fact that it's what the audience will actually be hearing. It's why many guitar players don't want their instrument in their wedge (and IEMs only make things that much worse).

I once had a loud-enough-that-the-drums-needed-reinforcement-in-a-smallish-venue guitar player explain to me that he once tried a tilt-back on his amp but it "really caused him some problems". Or there was the one who mentioned that he couldn't put the amp offstage somewhere and rely on his monitor mix instead because what comes out of the wedge "always sounds too harsh and it causes me to play timidly".

-Russ

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