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 1 
 on: Today at 08:05:45 pm 
Started by Jason Raboin - Last post by Nick Falbo
Those frequencies are not available for business operations, only personal and family.

Not true for all non-licensed frequencies, there are frequenceies in the 900mhz ISM Band (the Motorola DTR series use this) band that are license free for business radios, and the MURS frequencies can also be used without a licence for business use. In the United States, the Multi-Use Radio Service (MURS) is a licensed by rule two-way radio service similar to Citizens Band (CB). Established by the U.S. Federal Communications Commission in the fall of 2000, MURS created a radio service allowing for licensed by rule (Part 95) operation in a narrow selection of the VHF band, with a power limit of 2 watts. The FCC formally defines MURS as "a private, two-way, short-distance voice or data communications service for personal or business activities of the general public." MURS stations may not be connected to the public telephone network, may not be used for store and forward operations, and radio repeaters are not permitted.

Here is the text of FCC Part 95 Subsection J: 95.2703   Definitions, MURS.
MURS. A two-way, short distance voice or data communication service for facilitating personal or business activities of the general public.


 2 
 on: Today at 07:34:12 pm 
Started by Greg_Cameron - Last post by Nick Falbo
For a while now, I've been dealing with an intermittent buzz induced into my vocal mic channels on different boards in my regular venue. Avid Venue, cheap Mackie mixers, you name it. The more vocal channel you have, the worse it gets from the addition. However, if you're hearing it in the mains and you polarity flip a vox channel, it will cancel much of the buzz. So the issue is common mode from channel to channel. I thought it might be the LED PAR working lights that were installed a while back. Or maybe the Lutron dimmer controlled string lights in the venue. If you turn the the LED PARs off, it does reduce the noise somewhat. The noise lives around the 8k range, so it's some type of switching artifact.


Today I was getting it with two SM58s on short booms in front of a single JBL SRX812p wedge (self powered box with DSP using I-Tech type amplification), all plugged into a Mackie CFX mixer. Pulled the power plug on the back of the JBL box, buzz all gone. Plug it back in, buzz back. Move JBL power cable which is parallel to mic cable, buzz almost gone. For a rock show, I'll have 4-8 of these on stage. Sometimes the buzz is noticeable, other times not. It seems the high speed switching devices in these boxes are pumping out RF and it's getting rectified into the audio band into my sensitive mic cables, possibly due to proximity of the boxes AC cable to the mic cable(s). Pulling the signal cable from the back of the box doesn't change anything, so it's not a ground loop related issue with the rest of the system and the JBL box. I'm using Whirlwind MK series cables all around, they're decent. Short of replacing all my relatively new SRX monitors, any recommendations on mitigating the issue? Would ferrite beads on the SRX's AC cables help?


Suggestions appreciated.


Greg

I use my SRX rig at least two times a week and have only run into an issue like this once in the venue. It was caused by a comcast cable tv box which was plugged into the same circuit. Once i unplugged it and the coax line running into it, sound went away. I have run my mic cables and some mic snakes parallel with the power lines for the speakers and never had any issues. All of my cables are Hosa with Rean connectors or custom made by myself with Neutrik connectors using cable that only cost me $0.32 a foot. By any chance are these running off the same power circuit as a dimmer or florescent light? Does it happen at every venue or just one?  Is your power 3 phase or single? Have you had your power checked to make sure there isn't any frequency issues or phase issue if you are running 3 phase? Is there proper grounding on the system? There is a lot of variables to this. Last year i ran 263 shows with my SRX rig and never had an issue.

 3 
 on: Today at 07:25:12 pm 
Started by Mark Amber - Last post by boburtz
Hello all,

I am trying to do a little research into cable trunks. A survey and poll of sorts

- Why Fiberglass vs. Riveted? It seems like there is a preference for fiberglassed trunks.
- I want to do 1/4 by 1/3 dimensions... tallness? what works for folks?

We do mostly ballroom and convention center work. Right now we pack in largeish 1/4 pack cases but they are too deep to be useful for smaller cable like XLR, lighting, data, powercon.

Thanks!
Everything we have that is feasible goes into a 22.5" x 30" trunk. Distros, all cabing, monitors, lights, workbox, etc. Makes packing a truck a snap (assuming 90"), and looks pro on the jobsite. We have a few empties for packing misc. one-off stuff (extra cpc, small mixers, breakout packs, etc)

 4 
 on: Today at 07:24:28 pm 
Started by Andrew Broughton - Last post by Jeremy Young
This is kinda brilliantly "out of the box" thinking.  Now i want to try it.  :)


Here's a neat video from Powersoft showing off that exact idea.


Given the price of an X8 I kind of expected it would make me fries too!

 5 
 on: Today at 07:12:42 pm 
Started by Rob Spence - Last post by Rob Spence
Thanks all for the suggestions and help.

The wedding happened.
Wedding planner was a pleasure. Bride & groom were great. Never met any family. Only time anyone came by mix position (side rear) was to compliment on sound. Made me happy.
Only family request (aka demand) was from father of groom via wedding planner for the band to keep it down.
The band did that up to the last hour when the energy level climbed. I had master fader at half.

Lavs from Brian worked a treat. Shure MX150 omnis.

Truck half unloaded. Having a beer now.




Sent from my iPad using Tapatalk Pro

 6 
 on: Today at 07:11:20 pm 
Started by Mitch Smith - Last post by Jeremy Young
I think he means that the PA system is run mono.  I'm sure he can clarify his thoughts, but I think he meant that even if the main mix is mono it's still beneficial to have your IEM mixes be stereo mixes (panned appropriately). 

The argument for running your mains in mono is that not everyone in the house will benefit from the stereo imaging between the left and right mains (which is entirely dependent on the seating area and deployment) but everyone wearing both ears of their IEM's should have their head equidistant to the two sources so stereo imaging would still be helpful.

At least that's what I hope he meant!

 7 
 on: Today at 06:34:03 pm 
Started by Guy Morris - Last post by Brian Jojade
Brand name is meaningless.  Linksys offers such a range of devices from utter crap to decent, you can't rely on the brand name to determine your needs.

Now, when designing your WIFI network, it's important to know what you actually need.  Most consumer grade devices are 3 in ones.  They are a router, a DHCP server and a wireless access point.  If you are not connecting your gear to the internet, or another network, you don't need a router.  If you statically assign the IP addresses on all of your devices, you do not need a DHCP server.  That leaves you with needing only an access point.

With WIFI, you need to realize that no matter where you go, you're likely competing with other devices and making it work reliably can be quite a challenge.  Putting a single access point up and cranking up the power is usually NOT the best method.  Consumer grade routers work fine in the home, but they do not handle it well when you get in a room with hundreds of people.

What I've found to work best is to get the access point as close as I can to where I need it.  I used to use Airport expresses and put one at FOH, one at monitor world, and sometimes one opposite side of the stage, all connected via ethernet cables.  Since I'm running a line to FOH, adding another piece of cat5 to the run is no big deal.

The Airport express was handy, but is now discontinued.  For simple installs, I've had really good luck with with the Ubiquity Unifi line of access points.  It's very handy that they work with POE so all I need is an ethernet cable and I can drop an access point wherever I need it.  Their software is pretty powerful in monitoring interference, although I haven't had any trouble in live work with them.

 8 
 on: Today at 06:21:30 pm 
Started by Mitch Smith - Last post by Brian Jojade
I'll argue for stereo ears, even if a mono system.   

This I do not understand.  If everything is running in mono, what does splitting a mono signal to 2 separate busses achieve?

 9 
 on: Today at 06:18:25 pm 
Started by jackmoore - Last post by Brian Jojade
If buying the speaker, there may be many better choices than the Mackie unless it is practically a gift.


Yeah, I concur with this. The sound of the SRM450 is not the greatest, and as a stage monitor, not all that pleasing.  Of course, there are worse units available, but given the opportunity, I'd stay away from that box.

 10 
 on: Today at 06:17:57 pm 
Started by KnightStream - Last post by Mac Kerr
Is it unwise to update

Please go to your profile and change the "Name" field to your real first and last name as required by the posting rules displayed in the header at the top of the section, and in the Site Rules and Suggestions in the Forum Announcements section, and on the registration page when you registered.

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