norty303

QUOTE I think Welshy is looking for an answer to peoples own rigs?? In that case its about 18k of minimum 104db/1w/1m sensitivity horns. Midbass hits 144db+ easily with only 500w per box. If this is genuinely a real gig, knowing the environment, musical content, no of people, noise police, etc might be better than just looking for pure size/power. FK1 will outgun many systems twice its size (and sound better doing it) because Mr Andrews builds hugely efficient cabs

Do you want 'own' or 'access to'? Can do about 18k of 5 way horn loaded system myself. Can get acess to virtually unlimited amounts of other stuff if needed, EV x-array, Nexo Alpha, Void Stasys etc Suppose area will come into it too.

Seriously, don't question, just go out and buy some!! Having wasted so much money in the last 15 years on headphones (some which weren't bad it has to be said) I finally stumped up the £100 odd quid for some HD25's. Best money ever spent. I tend to use them in settings where the monitoring gets on for 3 or 4k and you can hear to cue fine. They have a really high sensitivity so they make the most of even the weakest headphone amps. They ain't no studio headphones mind, but they have perfect frequency response for mixing with. If you ever catch an outside broadcast team, particul

This is the reason why 'proper' lasers cost so much money. they have fully controllable XY scan heads allowing masking of areas and full directivity and any pattern you like, shone anywhere. So creating that time tunnel and then panning the whole lot around the room becomes a simple task - but not cheap unfortunately.

I was gonna suggest much the same thing, only the scanner versions. If you're after a versatile show that'll do it all you're best off getting lots of lights the same (see Stairville scanner above, but normal scanner, not barrel) About 6 can do almost every eventuality with the right controller and programming.

Have a look at Rentaldesk NX. Should take care of all your hire jobs/inventories, etc and has invoicing and job sheets all included. Its a free download but there is a commercial version which can be tailored a bit more. I've not had a need to yet.

There are wide variety of compression driver sizes, from combinations of throat size to diaphragm size. Commonly they'll be 1", 1.4" or 2" throats with diaphragms going from 2" up to 4". They do blow occassionally, thats why you can find many places selling the things. Some go for years. The more expensive ones tend to sound nicer and be more robust. I've got a pair of 2" Beymas that were around £150 each but they sound fantastic and I run them off 700w each with no blow ups. The horn is the separate piece of fibreglass/abs/plastic that bolts or screws to the front of the comp dr

QUOTE It is true that the bridge switch reverses the phase of one channel and then connects them in mono and yes you use the +ve of the left channel for one speaker wire and the +ve of the right for the other. But you may also need to link the two -ve terminals together as they arent always internally connected to 0V or earth. And if you have a grounded bridge amplifier, eg certain Studiomasters or some others that don't even mention this, manually connecting them in bridge may make them go bang! Bridgeable amps are also calibrated or designed to be calibrated more accurately/ run more sta

It changes colour to show its not the last selected but it'll stay a different colour to the rest (couldn't tell you what colour it is i'm afraid coz I've customized all of mine to make the selected heads easier to see)

QUOTE 600w per channel 4ohms from my amp... 4 speakers, 300w rms at 8 ohms each, parrallelled in pairs, that makes the amp run at a 4 ohm load? So does that mean each speaker gets 600w, or is it halved... 300w per speaker? Ok, first lets get away from 'making an amp run at a certain load'. This makes it sound as if it has definite modes of operation which it doesn't. It has a certain load placed on it, and delivers a given amount of power at that load. They choose 4 and 8R to quote in the specs as this is traditionally how they are run but they can equally do 6, 12 or 16 and will ha

Basically you don't have much choice (other than getting a bigger amp) If you parallel your speakers together it'll be a 4R load. Your amp can't cope with a 2R load per channel, therefore you can't use it bridged into the pair. Its worth saying that if these are mid/top cabs then there's probably little to be gained by getting a bigger amp. If they're subs then it may be worth trying to get more power into them. I seem to be saying this a lot recently, but a Behringer EP1500 would do the trick just nicely, bridged into the 2 cabs. (750w per cab) Thats 1.5 times the rms rating and

Its easy to create your own then if you're using freestyler.

Most software allows you to create your own fixture profiles, so long as you know what dmx values each gobo or colour is at. This will be in the manual. I had to create profiles for some Constella lighting when I started to use Freestyler. What software are you using?

ALL amps are capable of running bridged, even those without bridge switches (actually, some newer digital amps can't but we're not in that high end market so we'll discount them, ok ;) ) When you bridge an amp you're effectively using the 2 sides as a 'whole' which is why you have to change your wiring so that you're using the 2 positive terminals (if binding posts) or using 1+ 2+ (if on a 4 pole speakon). If your amp has only 2 pole speakons then you'll need to make up a lead that takes 1+ form output 1 into 1+ of a speakon, and 1+ from output 2 into 1- of the speakon. When you flip a

IF you're talking about just moving them manually then select the 2 heads and use the XY panel to move them. They should both move together. If you want to program then start a new sequence and build each scene like you would with a normal controller For versatility you're better off building just movement sequences, gobo , colour, fx sequences then mixing and matching in the submasters by loading the sequences into dedicated Cues e.g. build lots of different movement sequences, then load thewm into a single cue and save it. You can then load this into a single submaster channel. Then

Thats why I said it was 'not desirable' rather than not possible. Different people have different levels of success, however I think its a case of not putting all your eggs in one basket. I bought myt Enttec interface from one of the UK distributors and they also only stock the Pro interface as they supply to the pro lighting trade. In their view the Open USB was not reliable enough for a live situation. We're all doing this as a service to others who are paying for a certain level of quality. To have lights, music and whatever else might be running on the machione all go out together is

Do you run the lights from the same machine as the music? I wouldn't have thought this was desirable even with a fast machine as both DMX creation (especially if using a normal Enttec or open USB dongle with no dedicated processor of its own) and playing music require a lot of processor resources. Enttec don't recommend the Open USB dongle for live work for this reason. Given that an old PIII laptop will run lighting software its not expensive to get a dedicated machine and dongle compared to what you'd need to spend on a desk to get the same functionality. When I say push green on t

I've just gone to software control and its a lot more straight forward to program on screen as each light has an associated profile. So if i want green, i press the green button on the panel, stars gobo, i press the stars gobo button. You can also do more interesting things with movement e.g. circles and squares which you only find on much higher end desks. It can also send its output to Martin Lightjockey Offline Visualiser so you can design your show 'virtually' beforehand I use the Enttec Pro dongle (~£110) and freeware Freestyler software (Google it)

QUOTE So for those that are judging this system on paper / technical spec We can't because there aren't any to speak of..... QUOTE data of SPL, dispersion, RMS, speaker size, room size, even how the system looks but it all comes down to how the music sounds Thing is, all of things that you mention are contributory factors in how a system will sound, so knowing about them in advance will give an indication of how well it may perform. This is why manufacturers bother with supplying them in the first place (or not as the case may be...) I'm not knocking the system because I'm yet to

QUOTE followed by admiration and understanding when they spot the 'Bose' logo It is very much down to the market place the you're in, that dictates the reaction to the Bose logo.....

QUOTE I agree that using Db meters etc is all very well but we as the users are probably more critical of a system and like or expect it to sound a certain way to be satisfied. Its true that its important to set up systems by ear, often a SMAARTed rig for flatness will sound just that - flat. However at least with a flat response rig you then have a stable platform to work from. Some systems that sound nice out of the box are often really difficult to correct in the situations when they sound bad. Interesting point about the clarity at range. Did you use just one top per side with

QUOTE Its horses for courses and making comments about ??KW club and in house dance systems against the majority of Mobile DJ systems are like comparing a 4,000 HP locomotive against a Modern family saloon... Exactly the point I was making by quoting the extremes that can exist. Citing room capacity as a measure of what size rig is needed is absurd, no manufacturer should say 'this rig is good for 400 people' as in some cases it clearly will not be. Quoting Kw of power is not so good either, especially as there is no standard for what people quote (e.g. amp power under the load presented b

QUOTE I would have thought around 2.5 - 3K would be enough, especially as HK Audio tell me 3.2K is enough for 500 people. Again, all about application and need.... Might be fine for some music but we deal with techno/trance promoters with people who like the sound to be all encompassing. A big stack also looks the part. 3.5k in my world is a single sub with 2 x 15" + 1" tops, which is my 'bar room' rig. That goes out on anything up to 150 people. If someone told me the room will hold 400 I'd go with lots more. Main room at SE1 at London Bridge holds 600-700 and has 30k of Nexo

QUOTE 400 people witha pair of Mackies? I am surprised a pair of 12" cabs offered a sound that you were satisfied with. Each to their own, as I say, sound is very personal and I wouldn't have done that under any circumstances. You know your venues and market better than I do. I think that it comes down to environment and application. 400 people sat down for a quiet evening of background music requires very different gear to 400 people all wanting to dance the night away. For the events we do we wouldn't put less than about 12k minimum of PA in for a 400 capacity room. I'm sure that

Having seen a few posts about this system I just decided to go take a look what its all about.... The theory of having everything in a vertical line is sound, as phase anomalies in this plane are less important than horizontally, and they've eliminated comb filtering by having a single source... ...however they do make claims that they bend the laws of physics by stating that their speakers are not subject to the inverse square law with 'sound levels diminish more slowly with distance than conventional speakers'. Line array systems achieve better throw due to better coupling of the comp