norty303

As i said in my posts, if making the utmost amount of sound is not a requirement then using smaller amps will suffice, and may well be safer if not overdriven. However thats not most applications, otherwise we'd be all using 90db sensitivity reflex boxes, running at half volume off 50w amps. My current buying practise is to buy/build the most sensitive box i can with the highest power handling, and then put the biggest amp i can on it up to about 2 times the rms rating. However i think Tony Andrews (of Funktion1) has the perfect solution, by building boxes with very high sensiti

[geekmode]All depends on whether you're doing html or using forum meta tags. I do all my forum posting using tags in square brackets rather than making posts in html[/geekmode]

hehe, i like these sorts of discussions.... The way i understand it, the speaker cone attempts (under control of the amp, to a greater or lesser degree, depending on things like damping, offset, etc)) to track the waveform presented to it. In a situation where the waveform is hard limited and starts to become square, the cone is trying to track the plateau at the extremes of the wave. For short periods each cycle the amp is attempting to hold the cone on this plateau, effectively a constant voltage, which is where i think the DC quote comes from that people like to mention (which i

I believe that the crime of mobile phone use on the move is soon to become an endorsable offence (3pts, £60) as a result of the review since the law was introduced. They have concluded that £30 is not enough of a deterant, which it clearly isn't. I can also stand proud as a non user of even handsfree.... ....however i do own a rocketship of a motorbike which gets thrashed round in a reckless manner (to myself i might add) over the finer weathered months of the year, and despite 6 points during my formative years, it would appear that i still haven't learnt my lesson. In t

When you say 'bin' do you mean a sub? I would think one of the better investments you could make would be an LS400 sub and analogue TD contoller. They will cost a bit but they resell very well also. Maybe keep an eye on ebay for the controller but they do fetch high sums. All of Nexo's PS range sound dramatically better when used with the controller, and will go much much louder as well, safely, using the sense lines. The controller applies dynamic EQ to the output depending on output level which is why they sound so fantastic at all volume levels.

The 'THD @ frequency' outputs are more useful when you are looking for amps to do certain jobs as they give you an indication of how they'll perform under certain conditions (such as an amp to run subs exclusively) I was reading the other day that its actually very easy to produce an amp that gives outrageous outputs at relatively low distortion levels, but only within low frequency bands. This to me sounds like an ideal way of getting big, cheap bass power, however what prevents people from doing so is the marketing, as its a very specific design goal. And think of the bad press when a

Yep, sarcasm is one of the major failings of the internet in my humble opinion. Having to wrap text in [drippingwithsarcasm][/drippingwithsarcasm] tags doesn't quite do it does it! ;) Merry Xmas!

Edit: took so long to type some of the stuff has been covered since i managed to post the bloody thing!!! :) Andy has pretty much hit it all, however the playing it safe option doesn't work in all arenas. Sometimes the outright power level is what is needed and so running as loud as possible is the goal (not in mobile DJ'ing though for most of the time i suspect) I will contest this point, but only from an outright power perspective. The fact that the bigger amp has more headroom means that when those fast transients hit the amp it is better able to respond than a smaller

Some people, yes. But you not only voice your distaste for the music but your opinions on the people that do like it too. But then i may have misinterpreted your response.

Always try the manufacturer's website first. http://www.martin.com/service/service.asp?...;support=Martin

I will second that Bolan......same s t just a different label Sorry but it's not my thing.......and never will be...... Everytime I get some muppet come up and say "got any drum and bass, mate" (even had some clown say that about 1 minute into the start of the karaoke, was he trying to be funny do yah think?).......i just reply with a polite "yea sure, will see what I can do".........then carry on with my set...... Never had one come back and say "Why aint you playing what I asked for" they just seem to fade away.... Also had to do a whole gig once where the guy only wanted

Wow, i'm shocked by the responses from some here. I think some people are far too opinionated about someone elses day. Take the money and do the job, or not. But don't slate them for their decision. If you feel it will mar your reputation as a traditional disco then don't take it. I get asked for PA andlights for the occassional one like this where they have a friend/friends who are dance DJ's but have no kit. I also did my best friends wedding in July where we played til sun up in the barn. there had been other entertainment all day and evening for the family and older folks. W

I use a Solar 250 with a gel and 2 distortion wheels counter-rotating. A bit more expensive to begin with but i use them for lots of different things so best if i can use the same projector. Works out cheaper.

I think that a big rig is probably defined by the space/number of punters it has to cover. The fact that some systems can do that space with fewer smaller boxes is immaterial (imo) 2 FK1 F218 bins (900wrms) and 2 Res4's is actually very small size wise, but a serious amount of output for its modest power requirements (comparatively) Powered with about 5k rms of amps it'll seriously outgun any reflex/bandpass loaded '10k' rig of any manufacturer. Therefore a physically small system with the specs to cover a large room is a 'big rig' in my book. If you have to quote a po

Try googling gobo, there are a lot of companies that do them, with some fairly extensive stock patterns, particularly if your head is a standard size or very popular (e.g. some Martin heads)

As i said, unless you use some sort of other controller (through a merge thingy) to take charge whilst you program FS you will never (well not currently anyway) be able to program whilst still running a show. In order to grab a head and actually change settings, in most scenarios you need to hit the 'release all' button which will stop any running cues. There are thoings out there that will do it, just not FS. The reason why i asked what interface you have is because MagicQ IS a free download and if you have one of the supported interfaces (Enttec Pro is one of them) you can mak

Perhaps asking this on the Freestyler forum would prove more fruitful. However i can tell you that what you're describing is (as far as i'm aware) impossible in FS. I work 'on the fly' when doing lighting, using a lot of busking type effects to suit the band/DJ/music. FS relies on having pre-programmed chases. In order to programm new stuff you have to release all which immediately kills any running cues. If you want to busk you can do this by pre-programming a load of cues and using the submasters for realtime control. By building cues based on only movement, or colour,

A lot of those holders also come equiped with a slot for a spare fuse (included for free!!), i'm finding most of my new stuff equiped like this.

C-Mark = Audiohead = Thomann T.amp Although some recent findings have been that the quality of components varies between them. The AH4000 seems to be particularly plagued by problems and should be avoided but i'm not sure you can buy them anymore anyway.

With the advent of AD/DA converters and digital equipment, these problems have been more common. Every digital item has a latency associated with the processing of the signal. If this is a single LMS unit like a Behringer ultradrive, dbx Driverack, etc that does it all then its only one item. Where venues use chains of digital kit it can soon add up as each adds a latency into the equation. Blind tests have shown that 11ms is the lowest latency detectable by the human ear in the vocal range at least. When you consider that many digital units have latency around this value, its easy to see

Hey, what can i say, it was gone 3am, i was more than likely pi:cense:ed!! You gotta feel for the people who come out drinking with me..... ;)

2 points: Most decent amps should be happy running mismatched loads. I run splits on my smaller rigs as its less amps to carry, subs on one side topes on other. The Behringer EP2500 falls quite a way short of the required 1000w @ 4R that the OP specified. Have you looked at the Matrix STR series? There are still some about and the STR3000h gives 1000w at 8R and 1500w at 4R per channel and they are good and reliable. Can be had for around £400. PM if you want a contact for someone who still has some.

Yep, subtle difference between the 2. If the input simply passes the signal thru the cab (direct from input to output) then it will be exactly like running the cabs in parallel (because it is wiring the x-over in parallel with the top cab). If the top speaker benefits from having the low frequencies cut by the internal crossover as well then it'll still be the overall impedence of the crossover that the amp will see.

I believe that you're suggesting wiring each individual socket back to the lighting desk, which is basically like parallel wiring speakers to an amp, and i'm assuming there would be impedance issues like that. DMX needs to wired in series as far as i'm aware, otherwise you wouldn't need repeaters and splitters if you wanted to break off from the main lines (which you do)

But lets face it, a single scanner is a pretty poor effect really.