norty303

Be careful of using UV cannons in a mobile disco setting where they are close to the audience, perhaps rigged overhead on a truss, etc facing intop peoples faces. They can be very damaging to the eyes at those sort of ranges, only people don't notice it because of the wavelength of light. If you put a 400w whitelight at the same position you'd soon have people complaining. You can get good sealed 4ft units from Thomann with reflectors which give surprisingly good coverage (better than my cannons at short range) whilst being much safer and cheaper. http://www.thomann.de/gb/dts_u

Don't get too hung up on damping factor as a spec - once it's above a certain value you can pretty much ignore it, and it also varies with frequency and is often embellished as another spec to sell product. Any halfway decent amp will have enough for your use. It's only really applicable for bass use and even then, you'd only really need to start looking closely at it if running long cables and low impedances. I would also seriously discourage running an amp at 2R if possible. Only really good amps (read: expensive) do it well, and it seriously reduces the mean time before failure.

I didn't measure it but the person who bought it did! See the whole saga here... http://www.photonlexicon.com/forums/showthread.php?t=8278 I sold it as an 'under 60mW' laser head due to not knowing what it was (due to not having a meter as you correctly point out). Turned out it was doing a lot more. The other 717 I have was quite a bit brighter than that one (it was a later incarnation of the projector) so I'm guessing over 300mW. This would appear to be borne out by the fact that it is only a little dimmer than my new Laserwave head which was measured at 414mW before sh

GVG stopped selling lasers I believe due to the problems of meeting the EU regulations and the fact they were a simple importer and didn't really understand the specialities of the product. Your easiest way of getting a new key is to change the keyswitch, the GVG ones that I had didn't last long anyway before breaking. As for power, I had 2 of the GVG-717 which were rated at 100mW. However, the lower powered one of the 2 (the dimmer one) has recently been metered at 240mW so the other is around 300mW (generously overpowered!) These particular modules are by AiXiZ, not sure

Or even better, a Drawmer 2120, but they come up far less regularly

Basically, any decent speaker cabinet will have a few numbers associated with it: Power rating/handling: This is normally quoted as RMS or Continuous and is the amount of power the speaker can cope with if fed a 'continous' signal e.g. a sine tone without burning up the voice coil. Sometimes it is quoted as Peak power which is generally 2 times RMS rating. As music is not a continuous sine tone, you should aim for an amp of between RMS and Peak values in power output, as the 'averaged' power present in modern music is about 2/3rds the peak value. Impedance: The speaker will also h

Even assuming that connecting your tops and subs together makes them an 4R load, the amp is grossly underpowered for the job. Assuming that peak is 2x RMS on the speaker ratings, you have 800wrms power handling per side and only (at best) 250w to drive it with. If the internal crossovers preserve the 8R load then you only have 150w driving it. This is why it sounds good when the red lights start showing because it's only just really starting to work the drivers. You could at the very least go to 500w per side and gain significant increase. Personally I'd go for 800w or more per side (

Basic and a little misleading. It is possible to drive an amp to clip/limit without the mixer clipping/distorting, it comes down to a number of factors, including input sensitivity on the amp and any pieces of kit in between that may be attenuating or boosting the signal. It's all related to proper gain structure. If you have clip limiters on the amp and they are switched on then the peak light usually indicates them activating. If they are not switched on then the peak lights will indicate clipping. Hard limiting can still damage your speakers. The occassional flash should not p

No, unfortunately I'm not Mr Speakerplans. That accolade belongs to Mr Rog Mogale who runs Void Acoustics and designs all their phenomenal cabs. I'm just the admin over there :)

Glad to hear they're working for him :) For bass designs DIY is usually the best option until you get into really top end gear (where you then start to pay for the innovation R&D for having the next level of audio systems). That way you can spend the money on the important bit - the driver - rather than fancy boxes and marketing.

Someone was lying to you. Some of their earlier home stuff was ok, but for PA work it's junk. £60 is about what you should be paying for a reasonable cheap bass driver (12" or 15"), we're talking Celestion Truvox or some Eminence, or maybe Fane but be careful of some of the studio drivers not have much excursion. I'd say the Truvox present best bang for buck at the moment (they also do some very immpressive compression drivers on the cheap). If you want a 'good' driver, you're going to need to spend £80+ each and even then you can get better but into £120+ territory. Passive c

8ohms would be the nominal impedance. You should measure somewhere between 5 and 6 ohms

I was told by someone who does Martin board repairs that it's a multilayer PCB and when one of the common faults occur, it takes out some of the internal tracks making it unrepairable.

It's a problem across the whole Ego line unfortunately. I've got some 03's here as spares donors - unfortunately nothing seems to ever break on them apart from the boards!

I find active gear an even bigger pain than non-powered gear, especially if you've got subs and tops. 4 set of signal cable, 4 sets of power cable instead of 1 main power line and 4 easy to handle speaker cables (or 2 x 4 core cables) Powered gear is ok in some situations (DJ monitors) but not for others (floor monitors on a busy stage) imho

Yeah, sorry Andy, must've missed that post. I think i saw the first one about the bridged 1500 and skipped to the end of the thread. Agree with Andy, the 4k is a great amp if it does what they claim, and the price is looking great. Oh, and if you think you might ever want to expand your system, stick with 8R cabs. 4R is fine if you ever only intend to have one speaker per channel on the amp. As soon as you want to pair up, 4R cabs become a problem, especially on bass as very few amps that you will want to spend money on will drive bass at 2R. The only amps that I know of t

You'd be better off spending the little bit extra and getting the EP2500 and running one cab off each side in stereo (~450w per cab). You'll barely notice the difference between 450 and what is in reality around 550-600w from the 1500 (you'll see the 4R bridge specs are at 1khz, not full range) Bridge mode runs amps harder for a given load and so can reduce the mean time before failure. Always buy the most powerful amp you can afford, it'll sound better on your speakers as it'll be able to be more dynamic.

And if you go for one of any reasonable power rating (>80mW) then make sure you understand the implications of operating it and what you may have to do from a H&S and licensing perspective regarding paperwork, risk assessments, etc

So, if the cabs are empty, what is the 'built in' filter you are referring to? If its the one on the amp, these are 'usually' a high pass filter to cut out damaging low frequencies that the driver/cab combination is unable to produce. Some do have a low pass filter as well, but its not the norm. If you are looking to put anything over 300w per cab then it may still be more economical to use an active crossover as you could spend £30 to £40 per cab on a passive filter/crossover network. If you wanted to be able to pass through to some top cabs and have them filtered too then tha

I'm not sure i understand you. Are you saying you already have some bass bins with filters already installed? In which case yes, you can use the filters fitted I suppose, as ong as they have the power handling for your intended use.

I believe the Eminence designer software is a stripped down version of BassBoxPro, quite a capable application. I'm not sure if it supports the incorporation of other manufacturers drivers but you may be limiting your choices if just going for Eminence. WinISD is also a free application for calculating reflex and bandpass enclosures. If you need components then I'd go somewhere like Blue Aran or Pro Audio Parts. I'm not a fan of filters in bass bins but if you want the simplicity then Eminence do a range that will probably fit the bill. Probably best if you first of all fin

What size are the midrange drivers in the satellites? If they are smaller than 12" then I'd guess you could get away with bullets/slots. Otherwise I'd say you need a 1" or 1.4" compression driver. The other consideration is how much do you want to spend? A pair of moderate compression drivers with horns is going to set you back about £100, and you may then also require passive crossovers (and an L-pad if the rest of the system is really that unsensitive) depending on how they are set up currently. For either option you're going to have to modify the cab.

God, I'm gonna get shouted down here I think but simply buying some decent kit would help. From looking at the Cube setups on their website the best they appear to achieve is 90db (which I assume is with 1w@1m - although it does say max in some cases.....) That is unbelievably poor and no wonder you're wringing its neck to be heard. Good sound (that lasts) usually costs a bit, but soon pays off when you're not replacing components every other gig. I think there are some threads on here about why the sensitivity of a speaker is often a more important number than it's power handling

I'll correct my previous post about the origins of the LW software, if you read this thread you'll see the various versions that existed (again, cracked Mamba version doesn't instill confidence...) http://www.photonlexicon.com/forums/showth...orld+showeditor I expect you've got the version that is HE-Laserscan clone. If you need documentation or help might be worth looking for that software rather than the LW version. edit: BTW if you have the software, do you also have a DAC? If so, there may be a good chance the one you have is compatible with Mamba Black from Medialas. Mig

Hopefully the laser related forum is Photonlexicon, you won't go far wrong there... Be sure to read the seller review about Laserworld :wink: I'm not sure its about being the Skytec of lasers, its about their honesty and dealing with customers.... I also have a review of LW there too.... I'm curious about the midi controlled laser, especially when you consider the cable length limits associated with the communication format... not much good when it's rigged up in the roof! Have you got a link to the laser in question? The Laserworld site has their products listed, along w