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Dirt Road Junglist posted:I'm not sure if this is the best thread for this question, but I figured it might be somewhat related. My dumbfuck ex/bandmate moved to Germany and left some of his gear with me. He just sold his Ampeg SVT 410HE 4x10 cab (this thing: https://ampeg.com/products/classic/svt410he/ )...to a guy in Boston. Serious answer is a proper road case and LTL freight. Plausible answer is crate that bitch up with foam, plastic wrap and wood, strap to a pallet and LTL or air freight.
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Mar 14, 2019 00:31
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ickna posted:Serious answer is a proper road case and LTL freight. Plausible answer is crate that bitch up with foam, plastic wrap and wood, strap to a pallet and LTL or air freight. Well, at least I live in a port city where LTL and air freight are readily available. Thanks! Just found out he also sold the corresponding tube amp. Pray for me.
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Mar 14, 2019 00:44
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Dirt Road Junglist posted:Well, at least I live in a port city where LTL and air freight are readily available. Thanks! When you ship the amp, make sure it keeps the top facing up or the tubes are gonna have a bad time. Pack it so it rests on top of at least an inch of dense foam for shock protection. We rent these out in road cases or strapped to set carts built that way, and they travel fine even on bus trailers that get banged around a lot. If you're paranoid, you can pull the tubes and and wrap them separately in their own box.
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Mar 14, 2019 16:14
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ickna posted:When you ship the amp, make sure it keeps the top facing up or the tubes are gonna have a bad time. Pack it so it rests on top of at least an inch of dense foam for shock protection. We rent these out in road cases or strapped to set carts built that way, and they travel fine even on bus trailers that get banged around a lot. If you're paranoid, you can pull the tubes and and wrap them separately in their own box. Oh yeah, definitely pulling the tubes. I had to ship a rack-mount tube compressor a while back and I packed the tubes wrapped in bubble wrap and stuffed into toilet paper tubes with the ends crimped and taped. I don't trust shippers to pay any attention to the orientation arrows on boxes.
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Mar 15, 2019 19:06
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Has anyone here replaced a fader on a Mackie mixer? My friend's CFX16MKII got a fader post snapped off by a drunk at a show. It looks like this:  The closest I've been able to find is this: https://www.fullcompass.com/prod/014281-mackie-130-031-00-mono-fader-for-mackie-mixers It lists the same resistance but the numbers after that seem to be some kind of manufacturing code and definitely don't match. But if the arrangement of the solder points and the resistance are the same then I'm good, right? Full Compass lists it as being compatible with the CFX12 and CFX12mkii, which are pretty much the same board with fewer channels. Hoping it's good for the 16 channel variant, too.
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May 9, 2019 23:19
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Grand Prize Winner posted:Has anyone here replaced a fader on a Mackie mixer? My friend's CFX16MKII got a fader post snapped off by a drunk at a show. Sound On Sounds says the CFXxxMKII series came in 12–, 16– and 20–channel versions, and it looks like both the legs and the resistance on the fader in the photo match the one on Full Compass. I mean, if nothing else, it's a cheap part. https://www.soundonsound.com/reviews/mackie-cfx16-mkii
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May 9, 2019 23:31
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Full Compass does a lot of local repair work, so their compatibility stuff should be pretty accurate. You may be able to contact them by phone or email if you want additional info. (I live close to them and know some of the staff but none in that department)
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May 10, 2019 02:58
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Apologies if this isn't the place, I have questions about a minimalist live sound setup designed to do double duty as an outdoor sound system for projected movie nights. room is small, 20 people maximum. outdoor area is probably 50 ft by 50 ft and has access to mains power. I'd like to set up something where one or two vocalists can be amped to be heard above a bunch of acoustic guitars and hand drums, occasionally with a prerecorded backing track piped through instead. A karaoke-esque thing. I'd also like to use this for a stereo setup outside to provide quality audio for a projector in a large backyard. My thoughts so far are to use something like: Behringer q502 or q502usb - https://www.google.com/url?sa=t&sou...s4jIocNskFYfXWG 8" passive 100w rms pa speakers - Rockville SPG84 8" Inch Passive 400w DJ PA Speaker ABS Lightweight Cabinet 4 Ohm https://www.amazon.com/Rockville-SP...=8-3&th=1&psc=1 and an amp - which is where I need the most help. Given the small size of the room would a small class D amp suffice? Something like this? https://www.amazon.com/gp/aw/d/B07MV3PMZD/ref=cm_cr_arp_mb_bdcrb_top?ie=UTF8 Thanks peoples. Sorry if I'm unclear. r.y.f.s.o. fucked around with this message at 16:23 on Jun 10, 2019 |
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Jun 10, 2019 15:46
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You'll need more power than that amp. Something that can push at least 400w/channel at 4ohms. The idea being that when you overdrive an amp you add distortion to the output, which does more damage to speakers in the long run than just overdriving them. Something like the Pyle PTA1000 would work for those speakers. https://www.amazon.com/Professional-Audio-Bluetooth-Power-Amplifier/dp/B0010K6TXQ A added bonus you be able to just buy some speakon cables to run to your speakers instead of splicing in adaptors. The mixer you picked can only handle one microphone at a time, but there are a lot of options out there for small, unpowered mixers. If you're moving things back and forth a lot and just need a simple low-powered system, there are a bunch of all-in-one luggable solutions on the market. Fender Passport, Behringer Europort, Pyle has this one: https://www.amazon.com/dp/B07FMPPVVH/, Gemini has this one: https://www.amazon.com/dp/B00SVUO8GS/. Theycome with all the cables and sometimes speaker stands.
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Jun 10, 2019 20:55
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I'd add that for the movie night thing you may eventually want more low frequency, for rumbles/explosions/etc. Something like this would probably serve you well, but A. get the speakers first and use 'em for a while and B. if and when you do get a sub, try to pick one up on craigslist or your local facebook ads or whatever, you can probably knock a couple hundo off the end price that way. Dirt Road Junglist posted:Sound On Sounds says the CFXxxMKII series came in 12–, 16– and 20–channel versions, and it looks like both the legs and the resistance on the fader in the photo match the one on Full Compass. I mean, if nothing else, it's a cheap part. The Science Goy posted:Full Compass does a lot of local repair work, so their compatibility stuff should be pretty accurate. You may be able to contact them by phone or email if you want additional info. The part turned out to work perfectly, even if my amateur-hour soldering was a little ugly. Thanks! E: Just picked up a pair of headphones and the packing material resembled a mask of bizarre and frightening aspect. Don't know where to post this so enjoy: 
Grand Prize Winner fucked around with this message at 07:59 on Jun 14, 2019 |
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Jun 10, 2019 23:49
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Brute Squad posted:You'll need more power than that amp. Something that can push at least 400w/channel at 4ohms. The idea being that when you overdrive an amp you add distortion to the output, which does more damage to speakers in the long run than just overdriving them. Thanks for the information. After discussing it with my roomie (who is paying for everything, his house so his need, I'm just advising) he wanted an all-in-one on the smaller side of things, preferably with a wheeled carrying case and 4 or 5 inputs. I found a Kustom Profile System One on CL nearby for $200 and picked it up to see if it fit the bill. Over in the Amp thread someone gave their blessing to the Kustom PA so I went for it. It works fine but the sound is a all mids and highs - given the small drivers in the cabs it's not hard to guess why. I've been looking at adding a small sub to the system - it lacks a sub output, so I need to add it some other way. One option is to utilize the line level outputs it has, technically designed for effects loops or output-to-recording purposes - but I'd have to use a separate volume control for the bass which is sub optimal. Heh. Is it possible to split the speaker-out 1/4 connections, and have one of the lines from each output go to the high-level inputs on a powered sub? Am I right in reading that subs can be configured to deal with the high power output of the amp, step it down to something useful, then use an internal crossover to simply use the lower frequencies on it's own internal amp?
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Jun 14, 2019 18:09
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You do not want to plug speaker-level signal into a line-in socket on an active speaker. Once you've messed around with it and got levels you like, take a pen or a sharpie and mark them on the mixer and then you won't have to futz with the settings too much. I'd advise against getting a passive sub because that amp won't be powerful enough to drive one. The insert channel on the system you've got needs a stereo splitter. Once you've got that in place, one channel is going to act as an in and the other is going to act as an out. Left should be in, right should be out, check pages 9 and 10 of the manual: http://www.mochamayas.com/Booking_files/ProfileOne_OwnersManual_DEC2005.pdf Just make sure whatever active sub you pick up has a quarter-inch in (or get a 1/4" TS to XLR-M adapter) or RCA ins.
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Jun 14, 2019 18:50
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Grand Prize Winner posted:You do not want to plug speaker-level signal into a line-in socket on an active speaker. Once you've messed around with it and got levels you like, take a pen or a sharpie and mark them on the mixer and then you won't have to futz with the settings too much. I didn't mean speaker (amped) to line-in - I meant speaker level to high-level input - based on what I read, those are designed to handle the amped signal even if the sub is itself amped. I looked at the insert ring / tip in / out (or whatever it is) method too though - will that be affected by the main volume control? It would be nice to have the sub level on the same level control as the rest.
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Jun 14, 2019 19:44
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Huh. I think you've been looking at home theatre subs, and it looks like some of them (all of them?) will do what you're talking about. Never seen that feature on live sound subwoofers before, and I've been working with those for six years now. If the sub you get has a labeled high-level input you're probably fine using it. If it only has line ins then you'll want to use the insert out, which I believe from reading the circuit diagram is controlled by the master volume control. If you're going to be moving this system around a lot I'd suggest getting a live sound sub rather than a home theatre sub, just because they've often got built in handholds and tend to be built fairly rugged to survive getting manhandled around a bunch. On the other hand a cheap home theatre sub would probably be cheaper.
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Jun 16, 2019 05:23
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Yeah I was looking at cheap HT subs - I'm putting this together for my friend who is working with a budget so cheap is key. I think I've got a handle on it now, I appreciate your help.
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Jun 17, 2019 01:10
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Keep in mind the insert out will only work as an out if you only partially insert the cable in the 1/4" jack. If you insert it all the way, your mains will cut out because they're waiting on a non-existent signal to come back from the sub. The record outs could work as a sub output, but they output the signal "in stereo" before the master volume control. So you'd lose that benefit. There's no balance control, so the signal should be identical between channels.
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Jun 17, 2019 19:34
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I'm looking for a powered mixer to replace my Yamaha EMX212S that bugged out on my recently. Unfortunately, it doesn't seem like Yamaha makes these anymore, and the newer models don't have an EQ, which really annoys me since they're pretty important for fighting feedback. This is mainly for a full band practice (PA will run a few vocal mics and keys) in a fairly small room. I know Behringer makes some similar products, but they have such a terrible reputation that I'm hesitant to buy anything from them. Thoughts and recommendations?
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Jun 21, 2019 13:17
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Imaduck posted:I'm looking for a powered mixer to replace my Yamaha EMX212S that bugged out on my recently. Unfortunately, it doesn't seem like Yamaha makes these anymore, and the newer models don't have an EQ, which really annoys me since they're pretty important for fighting feedback. This is mainly for a full band practice (PA will run a few vocal mics and keys) in a fairly small room. I know Behringer makes some similar products, but they have such a terrible reputation that I'm hesitant to buy anything from them. Thoughts and recommendations? The holding company that owns Behringer bought Midas about 10 years ago. They've incorporated some of Midas' tech and processes into their series of digital boards. I don't know how much has trickled down to the rest of their mixer lines, but their X32 digital series is solid. What's your price range and output power?
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Jun 24, 2019 20:40
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-snip-
Jeff Goldblum fucked around with this message at 00:56 on Feb 14, 2020 |
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Jul 19, 2019 01:06
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Has anyone here used a Presonus Studiolive 24.4.2, particularly its FX section? I need to mix a play and they have a bit with a live announcer who wants MONSTER TRUCK SHOW REVERB. I've just about figured out how to select an effect but literally do not have time to play with them between now and opening to really experiment with the sounds so if you've got an opinion what kind of reverb I should use I'd love to hear it. Also does anyone have advice on dealing with a time crunch? I'll have 30 minutes to set up 13 vocal mics and 3 DIs (guitar, bass, keyboard) and a laptop for audio cues, the PA speakers, the board, the table that it's on, all the cabling and a six-channel audio recorder followed immediately by run followed by 45 minutes to strike, every night of the run. The cast and band have agreed to help me set up but the cast are mostly untrained. What can I safely delegate? I'm figuring I can have the band set up their mics and DIs while the cast put put the speakers on poles and e3: and drat, I forgot the wedges! e: on second thought no, I should not let them touch the mixer e2: does anyone know whether or not the aforementioned board's aux outputs are balanced or unbalanced? e4: 30 minutes from entering the building to curtain still feels insane to me. at least we're loading our stuff into a storage locker on-site and not a truck. that would truly suck. Grand Prize Winner fucked around with this message at 11:38 on Aug 14, 2019 |
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Aug 14, 2019 09:48
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When I think monster truck reverb, and I assume you mean the kind of obnoxious voice over you’d hear opening a morning zoo type radio show I think a delay not reverb. RIGHT HERE ere ere RIGHT NOW ow ow Stadium PAs tend to have an echo effect because as the sound comes out of every speaker in the stadium it hits your ears st different times. massive spider fucked around with this message at 16:33 on Aug 22, 2019 |
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Aug 22, 2019 16:31
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Delay may have been better. I ended up going with a small hall verb and just played with the decay until I got something I liked. It was for 2 seconds out of an hour long play so it wasn't too big a deal. Lessons learned:
Random thought/question: are there any decent wireless systems whose receivers can run off phantom power instead of a wall wart? Seems like something that should exist but I can't find any or even evidence that it's ever been tried.
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Aug 28, 2019 06:42
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Grand Prize Winner posted:Random thought/question: are there any decent wireless systems whose receivers can run off phantom power instead of a wall wart? Seems like something that should exist but I can't find any or even evidence that it's ever been tried. No, the closest thing is that Shure has power cascades on the back of their newer gear that allow you to cascade something like 10 or more of them together from a single IEC. Depending on what is on them, if you lose power to the main unit, they all go off so you have to plan accordingly. Phantom power is really not a good idea though because then you're totally reliant on the console for power. If you want to program or anything before the console is switched on, you're out of luck. Not to mention in a larger set up where you have a mic splittler, if one console goes down, it could take the wireless with it. It's just better to have a dedicated source of power for most pieces of gear for reliability.
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Aug 29, 2019 18:04
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Also there is like no current behind the 48v to drive something like that
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Aug 30, 2019 06:22
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I know this isn't the thread for it, but it looks like the headphone thread is long dead. Can anyone recommend me a good closed back monitors for home mixing that really clasps? I want my fuggin' skull to squeeze when I put them on. I've had 280HD Pros and ATHX90s and the Monoprice ripoff but haven't found anything that really clamps and often it's the first thing to go on all of these (been through 2 280s because of the band). Want to keep in that price range -- any ideas or steps in the right direction?
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Aug 31, 2019 01:46
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Has anyone here worked for VTS in LA? They just put out a contractor call here. I've got a part-time AV job that sometimes gives me 60-hour weeks but more frequently lands me at around 10-20. Looking to keep more active in the new year since my creative stuff is kinda fizzling.
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Dec 21, 2019 05:36
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So, I'm nickle and diming my way into a new PA system for my band. We're still pretty small-time, at the moment. But, as I have taken it upon myself to handle the PA system, our preparedness is kinda flying all over the place. Currently, I have in my possession: 1x Yamaha EMX312SC Powered Mixer, with two 300 watt amps 2x Carvin 1584 Passive Speakers, two-way including a 15" and 8" driver, rated at 400w/8ohm, to be used as mains (they're big) 1x Peavey M112 Floor Monitor, 15" inch driver and 3" tweeter, rated at 65w/8ohm, to be followed by any monitors my bandmates happen to add on (unlikely) I have some concerns about scaling power, and was curious if someone here could just take me on another crash course through how power is divided in series and what to watch out for. Obviously, at this moment, if I were to run the monitor, I would have to keep it on its own individual chain and run things very low to avoid blowing the coil. However, 300 watts split between two towers rated at 400 watts peak doesn't seem like it would put out very much, so I would have to forgo the monitor and amplify each Carvin individually. 300 watts may be overkill, if I'm not mistaken, unless we are playing a larger venue or outside. But, I also don't want to undercut the amplifier, itself. There is a strong possibility I may try to trade either the mixer or the speakers with my bar (not a venue, just a donor setup for public address), which I believe is made up of a Yamaha mixer, QSC power amplifier of unknown wattage and a pair of TOA 380SEs. Bottom line, if anyone could help me to put the pieces together in my head to just confirm that I am going in the right direction, I'd appreciate it. E: bar speakers identified as 1980’s TOA 380SE, intended for electronic music reproduction with full-range, 3-way and bi-amp options, 360w/8ohms, 15” driver and horn. Jeff Goldblum fucked around with this message at 03:10 on Feb 19, 2020 |
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Feb 14, 2020 01:16
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Well, at least something fun is happening in the world. I've been tasked with the responsibility for a karaoke setup for an upcoming party. I figure something like a Behringer QX1002USB mixer, some reasonable mics, PC to run everything and an additional monitor for the lyrics, perhaps an (audio) monitor for the singers, but I mean it's karaoke, not pro singers. The mixer choice is because it has built-in compressors on the mic inputs, plus built-in effects for a bit of plate echo or something. Amp and speakers are already in place. We're probably gonna have the speakers slightly in front of the singers to avoid feedback issues. Any pitfalls I haven't thought of?
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Aug 8, 2020 19:25
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KozmoNaut posted:Well, at least something fun is happening in the world. I've been tasked with the responsibility for a karaoke setup for an upcoming party. A small, powered monitor for the singers might not be a bad thing if it's available otherwise it seems fine. Maybe a mic stand or two for those that like to get into it. Also make sure you have enough power cables and long enough XLR cables to get where you need to. Oh and something to sanitize the mics with. We like to use mouth wash on the capsules but also wipe the rest of them down; anything is better than nothing. Can have a bunch of different windscreens as well that you sanitize. Here's an article from Shure about cleaning: https://service.shure.com/s/article/how-should-i-clean-my-microphone?language=en_US i am kiss u now fucked around with this message at 20:43 on Aug 8, 2020 |
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Aug 8, 2020 20:40
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Yeah, the guy hosting the event has a set of LSR305s and some other random powered PC speakers, we can rig something for monitoring duty. Mic stands are a good point, I've already got one around here somewhere. We want to do duets, so perhaps one more. Cable-wise luckily 6m and 10m mic cables are reasonably cheap from Thomann, I'll definitely go a little overkill on cables and adapters. For sanitizing, good point. I'm going to get a couple of those buckets of alcohol wipes that I've seen businesses use for touchscreen terminals and give the mics a wipe all over between singers. Oh yeah and a bunch of foam windscreens to switch out and sanitize, good idea. Thanks for the input 
KozmoNaut fucked around with this message at 21:23 on Aug 8, 2020 |
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Aug 8, 2020 21:19
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Everything is coming together nicely, I got my hands on a very lightly used Behringer QX1002USB from some Ukranian guy who's been DJ-ing since the 1970s, cool dude with lots of crazy stories. And I got a drat good deal on two mics, a Shure PG58 and an AKG D5 for roughly the same as I would have paid for two brand-new Behringer mics. I know they're way overkill for a bit of karaoke, but there's nothing wrong with a bit of quality.
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Aug 14, 2020 14:42
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KozmoNaut posted:Well, at least something fun is happening in the world. I've been tasked with the responsibility for a karaoke setup for an upcoming party. You’ll need monitors, regardless of whether they’re pro or not not hearing yourself isn’t fun and amateurs want their voice loud loud loud in the mix. There are iPad apps for karaoke than run lyrics.
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Sep 22, 2020 16:12
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massive spider posted:amateurs want their voice loud loud loud in the mix. Yes... amateurs...
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Sep 22, 2020 16:43
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massive spider posted:You’ll need monitors, regardless of whether they’re pro or not not hearing yourself isn’t fun and amateurs want their voice loud loud loud in the mix. We've got enough random speakers and amps that we can absolutely rig up some monitors. I just need to bypass the compressor, otherwise that's kind of mean. For the lyrics part, we'll be using Winamp on a laptop, since it handles both videos and actual karaoke files that sync to MP3 audio.
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Sep 22, 2020 16:53
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Is this the right place to post about the most overbuilt PA I've ever seen in my life? I hope so! I'm a retired (lovely) club DJ who now mostly does audio setups for medium indoor venue shows, outdoor festivals, and the occasional wedding. So I'll appreciate it if people are like "naw that's totally appropriate, you're just using systems that are too small"  This is two LD MAUI44s, and eight (8) powered monitors, on a 20 foot by 10 foot stage. They also had a 32-channer Heath Allen mixer just to the right of the stage there, and six wireless mics. I don't set up for large venues but I feel like this could have driven a couple football fields with 500-800 people. We were at an elementary school soccer field with about 60 people. There were also three stages, with people playing flutes and guitars, unamplified. They were not happy. When I get up to hit play on the iPod for the Irish dance school I asked why the buildout. One of the two audio engineers said it was for the band coming on later. I tried to ask the sound guy to turn it down but he got super defensive and told me he had to cover the entire soccer field. Then went on to brag about the MAUI5 he had set up at stage two, 200 feet away. Anyway, that's my story. We had to leave before Coldplay showed up because we couldn't hear each other at the other end of the field.
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Oct 16, 2021 20:21
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i've never worked with the LD MAUI44s, so I dunno about the mains. But I'm definitely chuckling at 8 wedges on a 10x20 stage.
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Oct 18, 2021 04:31
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cruft posted:This is two LD MAUI44s, and eight (8) powered monitors, on a 20 foot by 10 foot stage. They also had a 32-channer Heath Allen mixer just to the right of the stage there, and six wireless mics. I don't set up for large venues but I feel like this could have driven a couple football fields with 500-800 people. Definitely not, even clustered you'd need at least 5x the amount of subwoofers
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Nov 2, 2021 05:08
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Virgil Vox posted:Definitely not, even clustered you'd need at least 5x the amount of subwoofers Interesting! Do the mids and highs have to scale up at the same rate, or is it mostly bass getting absorbed by the audience?
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Nov 2, 2021 13:24
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cruft posted:Interesting! Do the mids and highs have to scale up at the same rate, or is it mostly bass getting absorbed by the audience? It takes a lot less energy for the highs so usually you can get away with only a couple highs assuming you can get the coverage angles. A good rule of thumb is 2:1 subs to tops. At least with average direct radiators. Increase the sub to 3:1 or 4:1 if bass heavy dance music. If it's speech then 1:1 if even that maybe a kick bin. I've never seen that column array but it probably does a good job covering a wide area evenly but might suffer with kick/punch feeling (100-200hz) because of the small drivers. I could be wrong though b/c the area of all those tiny drivers is probably more than a dual 15, just was not impressed at all by a Bose unit similar to it. I think column arrays used to be all the rage before the 90s but it's easier to get the spl by point source or line arrays now.
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Nov 3, 2021 00:11
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Also does anyone know what's with this "paraflex" subwoofer hype all of a sudden? I get a culty vibe like the BFM gang. Seems like a band pass type design? Or a hybrid horn like the Cubo.
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Nov 3, 2021 06:03
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