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Grand Prize Winner posted:Thanks for the advice! I'll take the time to do it right and have a separate DMX run. I use an Audio Technica ATH-M50 when I mix FOH, they're closed backed with generous padding and very comfortable on top of my glasses.
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Dec 17, 2017 01:13
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MockingQuantum posted:On a totally unrelated note to the question above, just gonna throw this out there: I work for an audio gear rental house that specializes in wireless mics, so if anybody has burning questions about the black magic that is RF, I'd be happy to answer (to the best of my ability). Are y'all renting out more 1 RU bi- or quad- receiver setups like the ULX-D these days, or is it still largely racks of stacks of single channel receivers like the ULX-S? Do y'all rent out anything that uses the 2.4GHZ ISM band, and if so how well is that working for your clients? I have a pair of SM58s that use it for situations outside our regular venue where I don't want to break apart my UHF rack for a one-off, but I'm still super weary when deploying them since there is a lot more things using the same spectrum. Haven't had any issues yet and the battery life is great (10-14hrs on a charge), but I haven't seen any touring groups come through with them or any other local venues make use of them yet so I'm still a little paranoid about relying on them.
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Jan 2, 2018 08:20
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MockingQuantum posted:I know that's probably way more info than you wanted, but I figured it's useful stuff for anybody else who is curious. Nonsense, that is exactly the kind of info I was hoping to get. I hadn't thought about multi-path issue either, so I'll definitely take that into consideration when deciding to send them out. I've always pushed for hard-wired connections on anything production related as much as possible, no matter how reliable it seems during rehearsals, due to your point about filling a room with bodies and cell phones is going to change things in unpredictable ways. Or sometimes there's an event in an adjacent venue where an outside production company brings in a rack of wireless that overlap (or worse, use the same group and channel) yours and fire them up during your performance. I still would never depend on anything that depends on an iPad for control, or wireless DMX during a performance, no matter how many hotshot kids come in talking about how well it works for them at their church every Sunday.
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Jan 2, 2018 20:14
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Definitely pre-amp gain
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Apr 6, 2018 04:59
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MockingQuantum posted:Question about mixers: I have a local theater that's bugging me about what mixer they should buy, and they're very dead-set on getting either an X32 or an M32. Thing is, I've used the X32 a ton and know it'll probably work just fine for their needs, but I've never even seen an M32 in person. Is there that much improvement over the X32 to warrant the price jump? I was going to bug some of the local production companies to see if I could borrow one for a show or two to see how it does, but apparently none of them have bothered bringing the M32 into their inventories, hah. I've used both and I couldn't justify recommending the M32 over the X32 for an in-house mixer for a small venue like this. I'd say stick with the X32 and use the difference in the price to get stage boxes or mics to round out their inventory. Electronically, there's not really a whole lot going on to justify the M over the X. The processing is all the same. Some people say when overdriven, the preamps in the M series sound better than the X series, but I wouldn't base a purchasing decision on that. The difference is mostly the interface - do you want the Acura or the Honda? Either one has four wheels and an engine and will get you where you're going. I've only encountered the M32 in smaller houses of worship with a bigger budget but not quite enough to reach or justify the smaller Yamaha QL/CL desks. It's in a weird market segment where they're trying to be either the luxury budget option or a budget premium option. The M32 feels like something a rental company would keep on hand to satisfy a rider, but not what they bother to send out when they send their own engineer out to mix on a turn-key rental. It's probably why you haven't been able to find anyone with one in their inventory.
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May 16, 2018 21:31
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Harton posted:So I found 2 used QSC k12’s for 1000$ for the pair in great condition. Of course I still have no band to use it with but whatever I regret nothing, they sound amazing with just a 58 hooked directly up to them. So I am going to need a small mixer to really get the most out of these. Any recommendations? I doubt I need anything too crazy, at the moment it would be more for vocals than anything else. But I would like to future proof a bit and get something with enough inputs for my imaginary future band. How much are you willing to spend and how many inputs do you think you will eventually need? I love those speakers. We paired them up with some of the subs for about half our shows when I was touring with Sandi Patty a few years back and they worked and sounded great even in some of the 800 seat venues.
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May 17, 2018 01:19
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Harton posted:That’s really awesome to hear, I’m gonna have to tell my wife that so I can try and rationalize the speaker purchase a bit more. Low budget easy suggestion from me is going to be a Yamaha MG16 at about $450. If your band stuff is largely setting the levels during sound check and leaving it alone, there’s actually a rack-mount version of the X32 we’ve been talking about in the thread at the top of your budget that has plenty of bells and whistles, but no traditional board and faders. It runs about $800-1000. You can do everything with the multi-purpose knob and screen on the front panel, but where it shines is letting you use your phone or an ipad for the control surface remotely. I don’t typically like to depend on wireless control in a production environment but it might suit your needs perfectly.
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May 17, 2018 02:28
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Grand Prize Winner posted:Has anyone here had a chance to mess around with QSC KLA-12s yet? We got a couple in at work and are not entirely satisfied. As a stacked pair they sound OK when you crank their gain to +5 or so, but when we used a single speaker and set the "Array size" knob to 1 the sound really sucked compared to the JBL VRX we were comparing it to. We're moving away from JBL and Harman in general now, so continuing to rely on the VRX system we have is a no-go. Anyone know a way to make these things not suck? What sort of physical arrangement and distances are we talking about here? Sucked in what way?
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Jun 2, 2018 18:35
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Loom your cables together before so you don’t have to make multiple trips back and forth. Put gaff tape over the cable in any foot traffic areas, leave 2’ or so of cable coiled on either end of the run so if someone does hook it with their foot there is slack to pay out instead of ripping your connector out.
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Jul 20, 2018 04:51
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Mastigophoran posted:One of the band members (keyboardist) wants to try being miced up on their accordion & concertina. I know it's popular for accordion players to have a decent cardioid mic aimed at the melody end, and a cheap simple lav mic clipped onto their bass strap for the bass. How terrible an idea would it be to get a couple of really cheap lav mics, like, < $30 total from amazon, and just stick one either side of their concertina, to let them get going? I'm looking specifically at MAONO AU200 these since they're a) cheap b) there's 2 of them c) battery powered d) youtube seems to like the make, but, they're not designed for being very close to the sound source, so, they may come in really hot or just clip/distort. My hope if it's just wrong we can return/resell easily enough and it won't break their bank account. It could work. Start with the lowest gain on the pack. You might want to roll the highs off by 3-6db. If they clip do what you can to get them a little further out.
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Aug 8, 2018 02:31
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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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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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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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Do you have a spare mix bus/output and two mics? You could solo a mic by the stage manager in your headphones and use the other as a talkback mic into the other bus that outputs to something like a wedge or headphone amp for them.
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May 9, 2024 18:03
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