norty303

An amp doesn't know what the rating of your speakers is, only the total impedance they present to it. The power is divided equally between any cabs connected to that channel. So 2 8R cabs in parallel will be a 4R load. If your amp gives 600w per channel at 4R then each cab will receive 300w. [edit - which is what you just said...oops! As Welshy said, you'd be best off running the whole lot through an active crossover using 2 amps, one for the tops, and one for the bass bins. If possible you should bypass the passive crossover in the bass bins as they suck power and aren't required if

The amp would be suitable for powering just the tops OR the bass bins. You'll get sound out of the whole lot together with the amp but those subs want around 750w+ each really (although the passive crossover may not take that much) to get going. Using the subs and tops together each cab will see 375w. The RMX is a fine amp though, and a worthy purchase.

Completely... These are not 'just a flashing light' ;)

Only the Masterpiece Replay some years ago. what did you want to know?

As was said just now, a couple of big strobes like the Martin Atomic with a dmx controller are fantastic effects but we do medium to large dance events so they're appropriate. Not sure if they're right for a wedding......

As you say, they're getting on a bit now, but given that you can pick up 4 with lamps for around £350 I don't see why anyone in the market for some basic scans wouldn't get the Martins over any of the cheaper new offerings from ACME, Chauvet, etc As I said in the post about Martin lights, the 812's have some additional features like being able to set crossfade and speed times by DMX if your controller doesn't support this. Scans always look better when they're smoothly gliding about rather than just jumping from one position to another.

Here's the details from the 812 manual. Martin 150 W Metal Halide Osram HTI 150 GE CSS 150 Martin P/N 97010107 97010108 97010104 Average Life 2000 h 750 h 1000 h Color Temp. 5000K 6500K 5000K Output 900 lm 1200 lm 900 lm The Osram is prob the most available and come in around £45-£50 each. Is this because you've just seen the set of 4 'sans' lamps on ebay perchance? A set of 4

Its not just build quality that Martin excels at, lots of their fx actually perform better in use, usually having some extra bit of control or special feature or smoother operation/faster action. Having compared some of the other kaleidoscope lights out there, they really are no comparison with an Ego 03. If you are going to invest the money in a Martin scanner or flower barrel then get the SCX600 or EFX600 instead, using an HT lamp and slightly better functionality. I currently own 8 Martin fixtures (and 2 Constella ones - agreed they are great units for the price) and would look at buyi

http://search.ebay.co.uk/dmx-3-5_W0QQfromZ...PageNameZRC0021

Because 8 core cable is really unwieldy and expensive, NL8's would mean refitting all my cabs, and it's decidedly less versatile if the rig is going out on smaller gigs using less sections. As with the XLR's, its about only keeping a single standard cable/connector type, rather than needing NL8 to go to bass, then out on 8 core to mids, then out on 4 core to high mids and tops. Also my amps are cased individually or in pairs to aid movement when not many hands are available so its not possible to have the whole lot wired permanently to a single patch board.

Well I run a 5 way active rig - subs, bass, mids, 2" compression drivers and slot tweeters, and each section needs at least a 5m run from the amp rack, so thats 25m for the stack that the rack is behind. Then 5 x 10m, 15m or 20m runs to get to the other side plus runs for monitors and some spares. Then there's all the 1m jumper cables for paralleling all the cabs together (5 per side just for the bass horns) I make sure i use 4mm core cable on my bass and subs and try to keep runs to 10m or less but all my amps are capable of delivering well at low impedance anyway (mainly QSC PLX3402's f

This will all be present in the manuals. Not sure the magic gobos will work off the Scimitar output though.

I wish i could say i had some nice cases but alas...... Plastic stacking boxes, 2 for 4x2.5mm speakon, 2 for 4x4mm speakon, 2 for XLR's and one for odds and sods. Power goes in whatevers left. Got about 150m of speakon and god knows how much XLR

I think I'd rather have a QSC RMX2450 for the money, a good reliable amp and makes more power.

QUOTE D'OH!..... I got my mucking names fuddled! Spot on Robbie! That's the lack of sleep mushing my head Doubly silly as I'd mentioned his name in my post before yours.... ;)

The Dance Stack is actually not as nice as the Res4/5 rig which share the same bass bins. For a single F218 bass bin the list price is ~£2275 with the Res4 top cab coming in at ~£2900. So thats ~£10,500 for 2 stacks before you even get onto amps and processing. Not sure what the recommended amps are currently, either MC2, Camco or Lab Gruppen I should think. The Dance Stack uses 2 F218 per side, plus an infrabass, so thats about £12,000 for just the bass end for 2 stacks. However you'll be pleased to know that most people won't pay list price, you'll prob get around 30% of that with

We use a lot of Nexo gear, from the PS stuff up through some of their old SI series and up to the Alpha/Alpha E. The PS stuff is superb and really pushes the boundaries of what a small cab can do. We tend to use the PS15's and LS1200 subs mainly although the PS10 are phenomenal speakers too. You have to use them with the dedicated TD controller to get the best from them, and use some serious amplification as they eat watts. The controller applies dynamic EQ depending on spl, so that the bass and tops always sound right. They use a sense line to monitor the change in impedance caused b

Martin Audio are excellent speakers, expensive but you do get a quality product. I've never heard anyone say that the W8C's weren't a fabulous cab for the money (silly money though it is!)

QUOTE Haven't used it yet but at 37 kgs I could do with a crane to move it around. If ever there was justification for switch mode and digital amps, that is it!! I think if you're going to lug around a heavyweight amp it might as well be a beast, the Void Infinite 8 does 2.4k a side at 4R and a whopping 3.7k a side at 2R and wil run that load day after day, flat out (having seen them do just that at some festivals last year) Thats 7400w bridged into 4R!!!!!!! I struggle to think of an application where you could get a load of that impedance which would take that sort of power.

If you're after an Ohm bargain I know someone who has got 2 mk1 Ohm trs212 tops, 2 mk1 trs218 bass bins and a cred controller for the princely sum of £1200. Depends if you need a rig of that size but its an absolute bargain. http://www.ohm.co.uk/ohm_products_trs212_01.htm http://www.ohm.co.uk/ohm_products_trs218_01.htm Of course they'd need amping too but thats a system that'll cover a good size audience with high spl if needed.

450 a side at 8R isn't a big amp. Thats the same size as a Behringer EP2500, QSC RMX2450, T.amp 1400, etc which are all distinctly middleweight. All of those are about 700-750w at 4R per channel Also, it's far better to talk about 'per channel' sizes of amps as describing an amp as 1600w is simply misleading as its not clear the load or if its a combined output. The cheaper end of the market tends to use this sort of advertising to make their product sound more powerful than it really is.

QUOTE The choice of DMX address of each light/fixture is actually made compulsory for you by the controller. Not necessarily. If you've got 16 channels for example you could set 2 8 channel lights to be addressed at 1 and 9 respectively making better use of the available channels (so you set 2 heads per scene). This sort of technique used to be used more on older desks with less DMX channels available

Yeah, the first time i heard power alley properly was at a gig we were doing at Ally Pally with about 30k of Martin Wavefront (W8C WSX) and you could find the centre point and then take 2 large steps and be in the trough. It was so pronounced you could point to the space on the floor where the next peak or trough was going to be and be dead on. We tend to use two stacks of tops, mids, bass (70-160hz) due to needing the bass bins to put the other cabs on, and then centre stack the subs (30-70hz). Whilst you still get power alley from the bass bines, the distributed nature of the cabs means

What might be your best choice is to get an active crossover and use the soundlabs as the mid/tops and add some bass bins/subs to augment them. When people say they want more punch it usually means they want more bass they can hear/feel. as Andy says, you won't get much of an improvement by changing the drivers as the box is likely all wrong. I could recommend some proven solutions but it comes at a cost. Thats the thing with pro audio - it s rare to find something great for not much money. Its cheap for a reason. I don't have a single driver in my system that cost less than £100 (even

What you are hearing is not standing waves but what they call 'power alley'. When you have subs in separate stacks you will get cancellation between them at points in the room. If you draw a line directly between the cabs going out into the room, on this line will be maximum summation and is whaere the term power alley comes from. to either side of this will be a dead spot and a bit further out another peak but less so than the centre. It continues like this in a fan shape, the distance between peaks dependant on how far from the cabs you are and how widely spaced they are. It is for this