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 on: Yesterday at 11:14:02 am 
Started by Brian Bolly - Last post by frank kayser

Wow.  That REALLY sucks.
Slow 'em down, anyway you can.
Locks keep honest people honest.  With bigger/more locks, one finds many more honest people.

Has anyone had any positive or negative feedback on these?

None of these do much for break-ins,  but should help in tow-aways.

 on: Yesterday at 11:10:06 am 
Started by scottstephens - Last post by scottstephens
Hey Guys,

 I am cleaning up a Midas Verona that has sat in a dusty warehouse for the last 2 years. The subject line says it all. Is there something else I should consider instead? Other than some dirt, it checks out very well.



 on: Yesterday at 11:06:10 am 
Started by Justice C. Bigler - Last post by Mark Cadwallader
The theory of the medico-legal case was that damage was caused by a momentary spike in SPL that caused the injury in an instant.  The case was not that there was a long-term exposure that caused this individual's hearing loss and medical condition.

As such, a "slow" reading would not be relevent to the case, only an instantaneous SPL measurement would be.  (As per the cited news article, at least.)

 on: Yesterday at 10:58:39 am 
Started by Luke Geis - Last post by Stephen Beatty
 I wonder if I should contact Alto about any upgrades to my TS310's for "Guitar Sound" updates.

 on: Yesterday at 10:53:13 am 
Started by Ike Zimbel - Last post by Ike Zimbel
Hi All,
I'd really like to hear from anyone who lives/works in US cities that have completed the re-pack. I'm on a tour that will be passing through Houston, Dallas, Atlanta, NYC and most of the other big cities, starting around mid-June.
From the re-pack charts, those cities are going to be really rough, but I'd love any first hand experience to see how bad it really it is.

 on: Yesterday at 10:44:59 am 
Started by Ike Zimbel - Last post by Ike Zimbel
Hi All,
Does anyone have the Pin-out to connect a plain-old SM-58 to the Lemo socket on a Sennheiser SK6000 pack?
A friend who runs a film sound rental house got back to me with this, which worked perfectly:
"XLR pins 1 and 3 to Lemo pins 1 and 2,
XLR pin 2 through 10uf/10V cap to Lemo pin 3. Positive of cap to Lemo end."
Thanks for the replies! :)

 on: Yesterday at 09:10:11 am 
Started by Justice C. Bigler - Last post by John Roberts {JR}
There is documented hearing loss in drummers (aka cymbal ear) from the crash cymbals being located a few feet from their (right) ear. A self inflicted wound. 

Of course cymbals have much HF content, so not exactly apples and oranges.


 on: Yesterday at 08:59:26 am 
Started by Rory Buszka - Last post by John P. Farrell
But in your experience, are these stage-box mixers really up to the task of regular use in a rapidly changing show situation?

No.  Show me any tour let alone festival doing this besides local sound companies or bands/hobbyists.  Anything mission critical absolutely not. 

Of course people are doing it, and if you don't need to guarantee constant control or have surprises on the fly it can work.  But a desk is the professional answer.  Even the pro software solution (Waves LV1) hasn't seemed to have caught on much after the initial show of interest upon it's release.  I've used things like a touch mix or DL1608 for breakout rooms or low input gigs with success but I'd never try and mix a complicated show on one.  They also act more like a console with a dedicated physical connection to the touchscreen adding a level of reliability over just a wifi connection.

Personally I love having a tablet as a tool during soundcheck (and it seems most will agree) but I need faders and a tactile surface where I can't scroll to the wrong input or get hung up on a drop down menu or scrolling through inputs, especially when I'm dealing with 50+ inputs, FX returns, Playback, etc.  Being able to use both hands on fader banks/encoder knobs on the fly is always going to be faster and lets me react to the unknown more appropriately.   

 on: Yesterday at 08:54:11 am 
Started by M. Erik Matlock - Last post by M. Erik Matlock
Most Importantly, Qualified
A conversion from punk to useful human being.
By Sully • April 19, 2019

Back when I knew everything, I dragged an obscenely heavy rig up an intolerably tall mountain in a woefully underpowered truck to an impossibly small theater in the backwoods of northern Pennsylvania.

Since this was when I knew everything, I had the somewhat surly local crew stack my compact TMS 3s two wide, four high, with the 15s coupled for maximum bass energy. Because stacking that box four high without a fork was sort of like pushing a dump truck up a hill with the brakes on, some of my help that day were engaging in a spirited debate regarding my experience level and the wisdom of my stacking choice.

Later, after the tinkling banjos from Deliverance had faded away, I began tuning the PA, carefully twisting up the low-frequency band-pass on the crossover while listening to selected cuts from Back in Black.

I was shortly satisfied that when my client arrived and listened to my subtle, intuitive tuning, he would turn to me with a grateful smile and request the EQ across left and right be removed since there was obviously no need for it. I practiced my thank-yous in a bathroom mirror backstage to achieve a proper balance of humility and steadfast resourcefulness.

The artist that day was Frankie Valli.
About an hour later Jim Sanders (a.k.a. “Redford”) strolled in, walked out to front of house, looked at the PA, looked at me, looked at the PA again then stuck out his hand and said, “I’m Redford…please don’t tell me you have the 15s coupled.”

Continue reading here:

 on: Yesterday at 08:10:35 am 
Started by Luke Geis - Last post by Martin Morris
As I typically do, I sit around on my free time checking stuff out, keeping up on the latest stuff that interests me and blogging words that most probably think are silly and wasting internet space. Today I caught a doozy. It turns out that one of the guitar companies that specializes in amplifier modelers ( digital guitar amps )  is offering a special FR?FR speaker specifically designed for reproducing guitar signals......

Enter the Headrush brand of Guitar amp modeling and their new Headrush FRFR 112 speaker just for demanding guitarists like you and me. Funny thing is, Alto has a peculiar looking speaker called the TS312 which looks exactly like the Headrush FRFR 112!!!! What a coincidence.

For those of you not familiar with the newer lingo in the guitar world, FR/FR is a newer term used to describe what we call PA speakers. FR/FR stands for Full Range Frequency Response. Who would have thought right? This term has been going around for almost 10 years but hasn't really picked up any real momentum until about the last 2-3 years when guitar modelers have actually started getting rather good. Most of the companies making FR/FR speakers are making one of their own design or at least the cabinet is original anyway. I'm quite certain several are just taking a basic powered PA speaker apart and putting the components in a cabinet that looks more like a guitar cab. Heck, some even look more like speakers used in a car type audio system.

Back to the two speakers at hand. Included are some pictures and you can see right away, that they are the same thing with a different name on them. My real question is, who actually makes the things? Do Alto and Headrush get them from another OEM supplier, or does Alto rebrand them for Headrush? I know that Headrush is not the OEM.

I say getting boned because as most of us know, Alto is not exactly the screaming example of audio perfection and performance. While no slouch by any means, they are not top of the heap. The Headrush company is a group of AVID employees that left and utilizing much of the technology that existed in the 11Rack ( ala Digi02 with ProTools for guitars ) created their own company. The 11Rack was at one point the best you could get before Fractal Audio came along and stole the show ( Fractal was always ahead, but no one could afford them and they were still relatively new ). Now Headrush is also leasing technology from Alto it appears. Anyways, here are some pictures to postulate over.

Luke - check out Big Mick Hughes on modeling guitars for Metallica ... and he so wanted to hate it?!

The whole interview is worthy of a watch - the guitar fractal/modeling fun starts at 6.50 mins.

Half a truck of backline ... history!!


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