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until that pneumatic tire goes flat......

There's always a tradeoff, and a tire inflator is a cheap piece of insurance to fix the issue fast.

Hi Folks,

Since we're talking mic stands, any cure for quite old K&M stands that have droopy legs?
The allen screws won't do any more tightening.
Maybe some sort of shim in there?

Thanks and good health,  Weogo

You can get new plastic inserts for the legs as spare parts IIRC.

until that pneumatic tire goes flat......

Large diameter will let you roll over objects more easily, wide will help to float the wheels over the grass and not dig in.  Gurney wheels, as I recall, are tall and narrow.  They'll dig in on soft turf.

Thanks Rob .....So it does have similar restrictions to the A&H units - just executed differently. I would have been surprised if it didn't have some way to prevent 'accidents'.....

Rob's got it.
The nice thing about the Touchmix is that you can use more than the two? iPads that A&H allow.  Plus a native Android app.   Also access via phone, but cannot give admin rights - a smaller set assuming primary use will be for personal monitor mixing.
frank

I have slight issues describing this in English, since it isn’t my native tongue, so I’ll try to resort to some kind of an analogy that I hope makes some sense.

Think of the cable/pvc as a kind of capacitor that stores a static charge. The longer the cable the more charge it can hold before it releases its energy by a sudden discharge that is quite powerful.

If you were to split the cable into smaller segments you practically isolate each pvc section from each other (converting a single capacitor into several smaller ones) and thus each segment then stores much less energy and any sudden discharge will therefor be less powerful than the whole run would be.

I like this better, but what did you mean by:

"The longer the cable the ‘better’ the buildup becomes. Breaking up the cable in segments will help as the buildup in each segment becomes less."?

In the design of a front-loaded horn (full-size, not vented or tapped horn) what part(s) of the design would be affected by the parameters of the chosen woofer?

You will probably find more in depth answers to topics like this at diyaudio.com.

Horn porn

R U horny ?

Does Meyer usually do listening rooms? Last year in Vegas, they had a sort of lounge where people could sit and chat and grab some food and drink.

The Danley and Yamaha/Nexo rooms were definitely worth sitting in.

Generally the “amp volume control” is just an attenuator on the input signal.
If you want it quieter, either turn down the source or the amp. Both have the same effect. It isn’t the knob position that is adding distortion, it is simply driving the amp too hard.

The PLX 3002 and 3102 are not great amps for subs. They simply don’t have the power supply for it.

For me, I almost always have the input knobs on my amps WFO. That way, the worst that can happen if someone messes with it is that it gets turned down.

If it were me, I would turn up the amp, and stop running the mixer EVER into the red. Think red = bad. In the digital world, you NEVER want to get close to clipping. Once you run out of ones, bad things happen to the sound.

I agree with 100% of this.

As far as protecting gear from idiots, the safest thing to do is make sure you have way more speaker than amp.  If the RMS rating of the speaker is 4X the peak rating of the amp, it's pretty much impossible to burn up your subs even if driven into full square wave insanity.  Now, of course, that means leaving a lot of headroom on the table.  Matching RMS rating of the amp and the speaker will give you decent power and you'll be safe against all but the complete idiots that like to drive the system into solid clip.

If you're in control, having an amp that delivers 2X the RMS rating of the sub can be generally safe, but a little screw up can result in big expenses.  The difference in volume with that extra power is only a couple db.  Is the risk of damage worth that?

Yeah, that's more elegant than what Riverdance (c.2000) did - a dab of museum putty where the arch met the heel, embed the little A-T mic in the putty, and secure with a small strip of gaff tape.  It was a 2 mics in parallel wiring scheme.  IIRC they killed a mic or 2 every week.

The irony was that the tap sounds in the PA were recorded.  The live mics were back up for the playback or if another dancer had to substitute for a lead and danced a different routine.

I never saw riverdance live, only bits on tv. Hard to imagine making such a mess for a back-up and still trashing mikes, can't imagine the hit the pa took on that. As i don't have splitters this year i have one mike on a left foot of one and the right of another. Noone wanted 2 packs as there wardrobe my fail from the weight. And if we get to prerecorded in this show i may be done. First show was tonite and went well, only 9 more to go.