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 91 
 on: Today at 07:41:19 am 
Started by Mike Sokol - Last post by Mike Sokol
And here I was thinking 3 sine wave oscillators and 3 DC-300's  ::)
Chris.

IIRC decades ago one of the companies I worked with used a Crown DC300 to drive big servo motors on a vibration platform. Donít they go down to actual DC output because theirís no HPF in their signal path? Bad for speakers, good for servo motors...

 92 
 on: Today at 06:56:42 am 
Started by Mike Christy - Last post by Mike Christy
Ok, so Craigslist is a joke, and fleabay is raping us with fees, lets try the marketplace again...

Decided to split up my JTR 3TX rig, I have 2 pair (4 total) 3TX with Tuki covers, cables, (and dollies if local pickup). I have 3 of Jeff's original shipping cartons, so I can ship. Use 60# as a shipping weight please.

3TX, pair, $2000. Please put them to good use....

I have 4 Growler subs, little more tricky to ship these, they came to me dock to dock freight, weight 100#

Asking $400 each. I have them bundled on a dolly board right now, easy to move (maybe too easy right Jay?!)
They come with several NL4 speakers cables. 2 of these a side are a great match for the 3TXs.

1 essentially new PL380, $1400

1 PL6 PFC serviced by QSC and brought up to spec (Rob Spence owned this prior to me) - Awesome amp, just idles away and pumps out lows. $1000, Heavy to ship.

Sabine NAV360 sys processor, $400, I may have the SW on a laptop, I just need to look around...

What to do with an empty 10U EWI amp rack, wheeled, with custom dual 30A powecon distro, 4 chan snake, drawer?... make offer...

Email direct please, mkristovic @@@@@@@@@@ comc@st  daught N3t

Thanks,
Mike





 93 
 on: Today at 04:56:42 am 
Started by Scott Holtzman - Last post by Scott Holtzman
Thanks guys.  I was just trying to toss a bone to a forum member before I looked for a local vendor.   Going to give Will a shout.

I am in Cleveland and that office is full of engineers but their job is not to be a network tech!



Sent from my VS996 using Tapatalk


 94 
 on: Today at 02:41:45 am 
Started by Scott Helmke - Last post by Pete Erskine
Had a totally goofy but would-love-to-have idea today.

What if you took a phone, tablet, etc., had it running a speech to text app, and hooked it up to listen to the show intercom?

No need for a flasher, no worries if you were away from your station, just look and see if there's any text there.  You don't need to wear a headset to catch cues, either.

Are we there yet?  Anybody already doing this?

YES... check out http://avlifesavers.com/comtext.htm

 95 
 on: Today at 02:30:25 am 
Started by jasonfinnigan - Last post by Jean-Pierre Coetzee
We are aware this is a 4 year old thread right?

 96 
 on: Today at 01:23:04 am 
Started by Chris Wethington - Last post by Chris Wethington
First, apologies if this is a repeated question. I did some searching through the forums and found a lot of helpful/useful information, but nothing that was exactly what I'm curious about so, without further ado...

My band is gradually updating our IEM system. We currently run a Behringer XR18. It sits next to our drummer, who's hardwired in to the main out (where he gets click, background FX, and main vox). Our vocalist is the only one with a wireless IEM, and he currently runs the FOH mic to a splitter at the base of the mic stand, gives FOH their clean split, and runs the other line into the XR18. He has his own mix of click/FX/himself (separate from the drummer).

We're going to be upgrading to where all of us (5 total) have our own ears. Our main thing is just hearing ourselves in crappy live situations. I've read a lot, seen a lot, and know a lot of people who will completely mic everything with their own mics, send those signals to an s8, then split to go into their mixer and separately to FOH. I think that's a great idea - albeit not entirely necessary for us.

So what I'm thinking about doing is getting our own mics for cabs, our own vocal mics (split as I detailed above), and a trash mic for the drums (just for the basic sound). Then rather than split it all, run OUR mics all into OUR system for our IEMs so we know that at least OUR mix is the same every show - and then let the sound guy do his thing with his own gear and mics. Does anyone else do that? A con is potentially more stuff to plug up , but then again mic'ing a drum set is really about the same in terms of number of hookups.

But also, in the hypothetical, if we were to spend a bit extra to get an s8 and self-contain all the splits, etc., and get mics for a full drum kit: How many mics and on what drums would be safe for a typical venue? I wouldn't want too much (don't really want to set up a ton of mics and overheads), but also wouldn't want not enough to where the mix isn't what it should be for FOH.

For reference: We run analog gear; tube amps & analog pedals. I know about TwoNotes, and would love to have those, but alas money is tight for the time being.

Thanks!


 97 
 on: Yesterday at 11:47:31 pm 
Started by jasonfinnigan - Last post by Mike Caldwell
I took the image and jacked around with contrast to try to see the cabinets better. 2350 horns, 2405 slot tweeters and I swear it looks like the slot tweeter on the left has the slot in a horizontal position and the one on the right is vertical.
Sounds like TAD drivers from you description.

The cabinet below the horns appeared to have a grill on them, maybe someone put grills on the front of 4560's, if they are 4560's and loaded with JBL 2220 15's that would have some punchy mid bass/ mid range.

How did the system sound?
If all the components were working good and even with vintage 1980's era processing that system would not be so bad, actually it would be kind of fun to re visit!

How were they powering and processing the system. 
Set up correctly with modern day processing would really bring it to life, but not make it any lighter to move around!

And think how many times over that system has paid for itself!!!

 98 
 on: Yesterday at 11:18:41 pm 
Started by Douglas R. Allen - Last post by Tim McCulloch
One of the things I always hear about the M32 is the "preamps" and the great sound.  Some have suggested that it is because the pres fail gracefully when overdriven.  Everyone has had the experience of drummers hitting harder than in soundcheck or folks turning amps up.

Earlier this week I was in a favorite venue that is running an M32 into a Meyer house system.  A non-audio/techy friend came by and asked me about some "distortion" they thought they were hearing.  Went out in front of the mains and sure enough, every time the drummer leaned on the kick or the bass player dug in you could hear this nasty crackle.  I've seen my Soundcraft get pushed into the red when a singer really screams or the bass player discovers extra "headroom" on his active bass.  But never heard an obvious nasty crackle like that.  I chased down the "soundperson" and told them that both the kick and bass were overloading and I guess they trimmed the gain a bit because it cleaned up.  Maybe they got fooled by a really quiet sound check and the band really lit it up in the last set.  But it really sounded bad.  So much for graceful overload.

There is no need to be within 12dB of input clipping (0 DBFS) let alone actually clipping an input.  None.  And I wouldn't be surprised if the next box in the signal chain was presented with an unusually high input level, too.

I guess nobody is old enough to remember when a common amplifier input sensitivity choice was 0.775 volts for FULL TILT BOOGIE output level.  Imagine hitting that with a +18dBv input level...  :o

 99 
 on: Yesterday at 11:05:59 pm 
Started by jasonfinnigan - Last post by Don T. Williams
The horns were indeed aluminum.  They looked like cast iron because they were sprayed with an acoustical damping material that made them look like cast iron.  Those old Alnico magnet drivers made the cabs feel like cast iron.  I'm pretty certain the rig wasn't at Woodstock.

 100 
 on: Yesterday at 10:35:58 pm 
Started by Douglas R. Allen - Last post by Stephen Kirby
One of the things I always hear about the M32 is the "preamps" and the great sound.  Some have suggested that it is because the pres fail gracefully when overdriven.  Everyone has had the experience of drummers hitting harder than in soundcheck or folks turning amps up.

Earlier this week I was in a favorite venue that is running an M32 into a Meyer house system.  A non-audio/techy friend came by and asked me about some "distortion" they thought they were hearing.  Went out in front of the mains and sure enough, every time the drummer leaned on the kick or the bass player dug in you could hear this nasty crackle.  I've seen my Soundcraft get pushed into the red when a singer really screams or the bass player discovers extra "headroom" on his active bass.  But never heard an obvious nasty crackle like that.  I chased down the "soundperson" and told them that both the kick and bass were overloading and I guess they trimmed the gain a bit because it cleaned up.  Maybe they got fooled by a really quiet sound check and the band really lit it up in the last set.  But it really sounded bad.  So much for graceful overload.

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