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 on: Today at 05:01:24 am 
Started by jesseweiss - Last post by Jon Brunskill
I did a shootout recently, trying to choose a console for myself.

I went for the UI24. It sounds much cleaner and more dynamic than the XR18, or in my opinion anyway. QU24 is a nice unit but you can't connect a laptop to it with ethernet, your control is iPad only. Not good enough for me.

here's my review:

 on: Today at 03:23:48 am 
Started by Patrick Cognitore - Last post by Chris Grimshaw
Some thoughts:

Since the mains and subs have their own processing built-in to perform crossover duties, you shouldn't need to mess around with EQ/crossovers at the desk. -15dB at 100Hz on the main speakers will be losing you energy in the 100-150Hz range (where a lot of "punch" lives, and also messing things up around the 100Hz crossover point. You can bet the 200Hz cut on the subs isn't helping, either.

Chances are you've then increased the level on the subs to compensate for the lack of "punch", which has mostly boosted the lower bass, which is a lot of work for the sub drivers.

Next up, bear in mind the subs are only a pair of 10"s, so you've got less cone area than a 15" per side. 4x10"s in total would probably match a single 18". How big was the room?

I have some main speakers that use a pair of (very good) 10"s per side, and I'd hesitate to run a full band in a large room through them.
I think this is simply a case of not enough rig for the gig (although your EQ cuts won't help). If you're regularly doing rooms that size, I'd consider upgrading your PA system. If it's less frequent, I'd look at renting in racks-n-stacks from an external supplier.


 on: Today at 02:23:53 am 
Started by Steve Garris - Last post by Rich Grisier
I'm a little confused by this product line. You still have to purchase DMXIS, correct? DMXIS is not offered without a dongle, so you have to purchase theirs (I have a DMXKing Pro)?  So the Show Buddy Active is the midi interface, and DMXIS is the lighting software - correct? All of those newer, better features are a function of the midi software?

There are some blurred lines between product offerings. Iíll do my best to simplify it:

DMXIS - this allows you to create a light show that uses a virtual light controller on your computer. It comes bundled with the DMXIS hardware interface. In only works with that interface.

Show Buddy - extends the functionality of DMXIS by letting you map lighting events into a song.

Show Buddy Active - think of it as the new improved DMXIS... except you donít need to use the DMXIS box (although you can if you want). You can use your DMX King Pro with Show Buddy Active, but you canít use it with DMXIS. You donít need to get DMXIS if you get Show Buddy Active. Show Buddy Active does everything DMXIS does and a TON more. You can use Show Buddy with either DMXIS or Show Buddy Active.

The programming that can be done in Show Buddy Active blows away DMXIS. HERE is just one example.

If you have a program like Abelton Live, then you donít really need Show Buddy. DMXIS and Show Buddy Live can be used as plug ins with Abelton Live.

You can try Show Buddy Active as a full featured demo, except it doesnít transmit any DMX or ArtNet data- all the Midi stuff still works.

 on: Today at 01:39:36 am 
Started by Matt Greiner - Last post by Matt Greiner
I'm looking at adding a few more wireless kits to my inventory.  How important is it to stay in the same band?  I currently have 2 Shure SLX systems that are J3 (572-596), but can get a really good deal on some that are H19 (542-572). 

I understand about looking at available channels in my local area and making sure that I will have space available.  My question is more asking if the 2 different bands will play nice with each other, or if I'm asking for trouble.

 on: Today at 01:32:46 am 
Started by Patrick Cognitore - Last post by Patrick Cognitore
My band has the Bose F1 top sub system and last week in a larger than typical room we seem to be stressing the subs. The grills were rattling and to the ear the woofers sounded stressed, but also there was not a whole lot of impact on the dance floor.

At the same time, there was no indication of limiting or clipping from the speaker. My thought (and hope) would be that the built in limiter should kick in before there was the potential for damage to the speaker. I guess it's possible that the limit and clip LEDs are not functioning correctly, but it'd be unlikely to have that issue with both subs, right?

Some info on the system and set-up:

Subs are run off an auxiliary send, mains direct from L/R of mixer (Behringer XR18).

Channels sent to Sub Aux - Kick, Bass guitar, tracks, toms, playback audio for set breaks.

Kick and bass have channel HPFs of 45hz and 35hz, respectively.

No channels were clipping and the mixer was in the green.

Something to note: we're all on in ears and it's a silent stage - no amps, no monitors and electronic drums.

System crossover function takes place in the processing of the speaker itself, the Bose manual says it's a 100hz HPF in the tops. I don't know where or if there is a LPF in the subs (or high pass filter, for that matter). We're not using the thru output since the tops are fed directly from the mixer.

We are doing some broad out of band EQ cuts. Sub Aux has a -15db "Hi cut" set at around 200hz. Main outputs to tops have a "Low cut" ~100hz. The output EQs on this mixer do not have actual HPF and LPF available, to my knowledge.

Speaker stacks were placed the 2ft tall stage. If my math is right boundary cancellation should've been just out of the subwoofer passband, ~100-130hz. Rear wall was 25', and side walls were greater than 30' from each stack.


Any thoughts from Bose F1 users, or input from anyone else?

 on: Today at 12:01:48 am 
Started by Mike Sokol - Last post by Mike Sokol
My concern over trying to instill too much info is that the trainee's brains shut down and they absorb nothing, rather than taking away the parts about preventing electrical fires and not killing people through rejection of non-conforming outlets.

It's tricky to find the sweet spot between presenting too little info, and information overload. But reading between the lines it feels like something weird must have happened involving 3-phase power. In addition to a list of typical wiring situations they find themselves in, I'm also going to suggest doing a pre-seminar phone conference with a few of the trainees to try and determine just how much they already know. Could be a little... Could be a lot...

I suspect there's a certain stratification of technical levels, with some newbies needing to know the basics of how to test a stage for back-line stray voltages using a NCVT, and some veterans needing to understand power factor and how triplen harmonic currents can overload neutrals. Of course, there probably will be many techs in between these levels. They've also asked for a possible advanced training class in a few months, so I just don't know enough details yet to create a syllabus, but this sure is interesting. Once I get more info on their current technical level and the type of gigs they typically do, I'll be better able to focus on actual training content.   

Of course, I'm sharing this information with you so you can all mentally play along with the process of developing a training seminar. Personally, I've found that the process of preparing to teach a topic has made me a much better engineer over the years. And you guys are great at helping me come up with training ideas, so your input is very much appreciated. Stay tuned as I learn more.     

 on: Yesterday at 11:25:52 pm 
Started by duane massey - Last post by Weogo Reed
Hi Brian,

1. Make sound.
2. Keep making sound.
3. make it sound better.

Do you know who originally said this?

Thanks and good health,  Weogo

 on: Yesterday at 11:07:51 pm 
Started by duane massey - Last post by William Schnake

What is your personal "end game"?
Good question and it depends on who I am working for.

If I am working one of my systems for a festival or a concert, I want the audience to have as great of an experience as we can deliver with the acts that we are working with.  I want them to never actively think about the sound and production.  I want them to leave feeling that they got their money's worth.  I want the acts to feel as if they have been treated well and that it has been a good day.

If I am mixing for the band that I mix from the 70's/80's that had a few hits, I want the band to feel at ease no mater what I am working though with the sound system that has been provided.  When it's show time, I want the audience to enjoy the experience of seeing the band without think about the mix.  Many times with this group in particular I hear comments such as 'They sound just like the album'.  That is what happens when the band has what it needs and is comfortable on stage and I can do the mix and stay out of the way of their performance.  It's all about them...not me.

That is what I strive for sometimes with great success and other time with some success.


 on: Yesterday at 11:05:18 pm 
Started by Jack Arnott - Last post by Bob Stone
Such generalizations here going on against age groups. There are plenty of millennials out there that are proper functioning members of society with real careers doing real work and taking real responsibility for their lives. Every generation has had their good and bad.

 on: Yesterday at 10:53:22 pm 
Started by Tom Bourke - Last post by William Schnake
Rob, how did you network those slate tablets together?  8)

Tape Reels of course.  Anyone who used an IBM Mainframe back in the early 70's did it that way.

Former IBM Systems Architect (GIS).


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