norty303

QUOTE I do however have a 20hz cut off set on the system as I don't need to make noise below this. I don't know your kit but i'd hazard a guess that your subs will not make much useable output below 35-40hz. If they're mid/tops then go up at least another 10hz. Very little program material has anything that low and you'll get better performance using a 40hz hi-pass filter and stand a much lower chance of blowing your drivers. Reflex boxes are normally tuned for somewhere like 40-60hz. below this the driver is unloaded and will be prone to over excursion. QUOTE The rider will of

If you're after 'Pro' quality gear don't buy anything with 'Pro' in the product name. This is generally used by low to mid range companies trying to tap into the mindset of the punter who wants pro quality gear. The good stuff doesn't need to shout about it because people 'know' :)

It's a design flaw, pure and simple and part of the reason why i.. a) Don't like Mackie b) Don't like active powered systems. There's simply no redundancy if something does go down. Give me an amp rack any day (or night!) at least i can find a spare side of an amp if one does go down. I'd hate to see what would happen if QSC or Crown said 'Don't push it too hard for too long' I've only had one amp ever thermal on me and that was a QSC RMX2450 in bridged mode driving a (nominally) 3 ohm load with what amounted to sine waves (6 hours of DnB) for 6 hours and i had to flicker the cli

I can put you in touch with a very competent cabinet builder who's built all of my system (14 cabs around 10kw) to a very high standard. You might also like to check out this guy who's selling prebuilt Wembley B-Line cabs for £300 per pair unloaded. Put a Fane Colossus in there and you'll be rocking. the B-Line is a very well respected cab and is a kind of micro scoop design. http://www.speakerplans.com/forum/forum_po...p?TID=3101&PN=1 One other thing to remember if you are going to put a different driver in the other cabs - You'll need to make sure the enclosure is separated

QUOTE Just took a look at the fane drivers and they don't go low enough Aside from what Andy's just said (which is all good stuff), the frequency of a speaker is mostly determined by the box as opposed to the driver in it. I'd say that you might like to learn a bit about how reflex boxes work and perform before making any alterations or driver substitutions.

QUOTE like to see a method of disabling the strobe routine on any new effect As far as i can remember, didn't the old Twister 4 (and common controller board derivatives) have a dip switch setting without a strobe setting? I agree, the datamoon had a better than average set of dipswitch controls and i see no reason why more DMX standalone heads shouldn't have a few options in their settings. Processing and storage power is cheap nowadays, surely a bit of thought and input upfront in the built in sequences would pay dividends in the long run? Look at the lights that still sell well aft

QUOTE 45mins set-up and 30mins to pack away. Jealous!! 14 boxes and 1-1.5hour setups are 'de rigour' for me.... http://www.dj-forum.co.uk/html//emoticons/sad.gif

QUOTE then getting the ladders out and re-lamping halogens every weekend is very tedious I used to maintain in-house a 64 head Martin Robocolour II (Mk1) installation which used to do lamps on a more regular basis than specced. Martin eventually swapped them out for 218's but my only memory is a PITA!!

Can you post some pics? Also the size of the cutout as might be able to find a suitable replacement

The beauty of the Destroyer/Punisher is that they have a function (activated by switching dipswitch 9 on) that means they are controlled by a single DMX channel if you're not into programming loads (in fact, in multichannel mode you can still set dish, gobo, etc to still be sound reactive to different degrees). DMX Value Effect 0-50 Blackout 51-101 Slow Random Action 102-152 Medium Random Action 153-203 Fast Random Action 204-255 Random Speed and Action This is why i like them in conjunction with scans because you can quickly add progr

I'd investigate all other avenues as well as it's very unusual for 2 drivers in 2 separate cabs to go at exactly the same time unless levels are suddenly cranked by a significant amount. Try getting a small amp and a speaker cable with bare ends and touch them directly onto the bass driver terminals. this will tell you whether the driver has gone or if it's something else.

My point exactly, despite the scientific bit to the contrary, the Martin lights perform excellently regardless of lamp type and have been the mainstay of the pro lighting hire/dry hire market for many years. I save £7 every lamp i go through so its worth it for me. As my units sometimes get stacked on top of my bass stacks i do go through more than my fair share of lamps due to vibration.

Any leads that run inside your rack should be able to reach comfortably from top to bottom to allow for changes. You can easily cable tie or velcro loose loops together to keep them neat. Speaker runs should be kept as short as possible too, especially on subs that take a lot of power (e.g. 1k+) and ensure that they're of sufficient thickness (normally 2.5 to 4mm cross-sectional area).

QUOTE So in principle, a speaker with a 101db/m rating will sound louder from a 250W Amplifier, than a speaker with a 93db/m rating run from the same amplifier!. Or in another way, the lower sensitivity driver will 117db with 250w input. The higher sensitivity driver will do it with only ~45w input power and go on to a peak of 125db with 250w!!

QUOTE For every 3db of extra sensitivity a speaker will ( nominally ) be twice as loud. 3db is normally what they term as being the amount the level has to increase for it to be perceivably louder. In order to achieve this you will need to input at least twice the power (twice the power will not actually yield 3db increase due to the losses from heat/power compression) So if you can get a speaker with 3db higher sensitivity you will need to drive with half the power to achieve the same results. Many pro-audio speakers run 106db sensitivity through the use of horn loading. These will

Yep, lighting will eat more than sound. Don't forget that amps will very seldom draw their output rating due to the nature of music. A lot depends on the type of amp, whether it's switch mode or toroidal and the caps its got in it. Using a good 13amp+ rated extension (not too long) I can run my whole rig and processing plus decks. Thats a Matrix STR3000 (1500w/ch toroidal) 2 x QSC PLX 3402 (1100w/ch switch mode) and RS500 (250w/ch toroidal) and QSC RMX2450 (750w/ch toroidal) Total output power 9400w. If i can, i split the sub amp on a different socket on a different ring if i can f

QUOTE At £260 for a PAIR of direct drive decks But remember the Soundlab DLP3's, they were direct drive and flippin terrible and next to useless in a loud environment. Having all of the 'spec' boxes ticked doesn't necessarily mean it's any good. I may well end up being surprised about them but I very much doubt it.

They're not Technics My opinion is that no other deck is worth buying as it's not rider friendly (but i'm more in the rental game so it's more relevant). Stanton and Vestax have got close but I'm still not keen and neither are many DJ's. Loud clubs are a real test of a deck. I've not seen the turntable to comment but If they're around £400 the pair I'd go for 2nd hand SL1200/1210 EVERY TIME! ;) Also bear in mind, if you did ever want to hire them out, people would probably refuse to use them. They will also probably not hold their value very well - Technics, once 2nd hand, ten

QUOTE One thing I would never recommend is the M33 conversion. Are you saying you wouldn't recommend the Martin conversion for their Destroyer/Punisher or are you saying any sort of 'home bodge' M33 conversion. If it's the former i'd be interested to know why. For your information Andy, we used a pair of Destroyers at a Brighton venue (200 capacity) on Monday and at the end we had the sound guy complaining of headaches because the lights were too bright for him and his desk was the other end of the room. These are at least 3 years old so there definately isn't a problem with diminishi

I'd also point out that the rating you're looking at is for the woofer driver on it's own. Depending on whether they're piezo bullets/horns or proper compression drivers you're looking at a rating of around 250w - 300w rms for the whole cab at 8ohms. I'd recommend using an amp of between 200w/ch at 8R and 450w/ch at 8R. If you plan on boosting bass frequencies then you need to be careful. I'm not a fan of using amps with attenuators turned down. I prefer to run them all the way up and reduce the gain somewhere back in the signal chain. This removes the possibility of someone unexpect

The problem s with the grounding were due to some components not being trimmed short enough and grounding against the case - easily fixed by trimming and isolation (I used gaffa tape!) The IDC's seem to be a simple case of a poor component. I've heard of cases where people have had to bend the pins slightly in order for them to make contact inside the socket, just a sloppy fit really. Reseating with switch cleaner solves it in most cases. QUOTE I would recommend the DBX Driveracks. Although, at £350-£400, the Driverack PA is more expensive than the Behringer Ultradrive Pro, keep i

I take it you know about the IDC connector problem then? And the I/O board, case isolation problem? And the sometimes funny software glitches? Don't get me wrong, i love mine but those are some of the issues people have encountered that i know of.

Yeah, i was going to ask the same. the Behringers have very good sound quality, even compared to more expensive units like the dbx. To be honest the only one i'd upgrade to from there would be a DR260 driverack but that's megabucks in comparison. If you're having problems, post up and i'll try to help out with fixes coz i've got one and i've had to sort it from new. It's not hard but Behringer have had some problems with internal connectors that cause audio probs on some units. I'd probably stay away from Phonic and Alto stuff myself

Check the lamp. If they are the ORIGINAL Twister 4 then they would be on a 100w lamp, not the 250w ELC that they were later converted to. This might explain the dimness

PM me and i'll give you a contact for someone who'll probably be able to supply it cheaper than that. He might still have a (slightly) used setup for sale if you wanted a real bargain!! Go and take a look at www.speakerplans.com for some designs by Rog and also to read some of his wisdom about speaker design theory. He's currently living in the mountains of Tibet where he's designing speakers and amps!! He emails the designs back to Void for prototyping!! I was lucky enough to meet the man at this years Plasa and he is truly a one off. Check out http://www.speakerplans.com/index.ph