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norty303

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Everything posted by norty303

  1. Unfortunately, Lasers are either controlled by DMX (generally bad) or ILDA (genrally good!) The midi bit comes into play as a way of interacting with the software/hardware, so if you have a DMX desk that acepts midi in, then you can do this (although prob best off just using the desk) or ILDA software (such as Pangolin Live/LivePro, the Laserworld software which iirc is Lasershowdesigner rebranded) But you do need a DAC of some sort first. I use a couple of controllers myself, just with pots mapped to CC controllers for rotations and things, but I already have Pangolin LivePro and a
  2. The room temp is irrelevant compared to the temps the lamps run at.
  3. To comment on your specific speakers, I've got a pair of K112 that i use for monitors or very small systems that go out. they are ok, and I've run them off a selection of amps (mostly QSC RMX2450 and PLX3402 giving 450w and 700w at 8ohms respectively) I've found that they take the power ok, but they tend to start sounding quite nasty before the amp gets up near its max output, and with all these things, you should let your ears be the judge of whether they sound comfortable or not. My biggest issue with them is that they have an exceptionally bright top end on them (although they have the s
  4. Really for a professional show you should be using a reliable piece of kit. The Enttec Pro interface is only just over £100 and is a proven reliable performer that works with most of the free software out there.
  5. Smacking the voice coil former against the back plate won't do it any good, however if it isn't for extended periods you usually get away with it. An easy way to test for loose dustcaps is to tap the cone. It should sound dead, with a bit of resonance. You can hear the difference if the dustcap is loose. I've just had one of my reconed drivers suffer a loose dustcap and from inspection it looked ok. It was only once i cut the dustcap off that i could tell it had been vibrating as the sound went away. Easily reglued with a bit of Evostick impact adhesive or similar. However, you
  6. Actually, to expand on the over excursion thing, the Kilomax is a notoriously difficult driver to load right. In simulations for reflex cabs it runs out of excursion long before it gets anywhere near its quoted max power rating (1000w or 1200w iirc which is why people tend to buy them because they just see massive power figures). Even fiddling with port tunings and cab volumes tends to not give very satisfying results. If he is indeed driving it with moderate power in free air then I'd be inclined to go with this reason if the dustcap and surround look good. Check these links for s
  7. Rattles are normally caused by a loose dustcap, loose spider or surround or its the voice coil hitting the backplate due to overexcursion. If the person is using the driver in free air at high volumes its because its not loaded properly (in a cab by an air mass as it was designed to be) and the person is a numpty....
  8. Music signal is an alternating current (AC) which goes up and down, and when amplified causes the speaker cone to move in and out. When an amplifier 'goes DC' it means that it is putting out direct current which causes the speaker to only move 1 way, and generally cooks the voice coil on the speaker driver (the coil of wires that runs inside the magnet gap and makes it an electro magnet) DC is considered 'bad' and decent amps will have DC protection to cut outputs if its detected. Thats why a lot of amps are not rated for very, very low frequencies as the DC circuits detect the long
  9. If by the term 'amp' you mean the gain on the front of the amplifier then I'm afraid thats incorrect as written. Distortion is only introduced when either the input signal is distorted or the amp output is pushed past the point of clipping, where upon the THD will increase. How much THD is present at 0db is dependant on how the manufacturers rate their amp. Whether you turn the gain knob down or not, you can still drive the amp to this level, therefore achieving distortion. But as a standalone item, an amp with its gain up full is still doing nothing, therefore no distortion.
  10. You can also cause arc eye easily using a cannon and care needs to be taken how they're placed and how close people can come to the fixture. Some say they're potentially more dangerous than lasers........
  11. Noise = The stuff you can hear when its not doing anthing. Distortion = The stuff you can hear when its doing too much of something. Sound/signal/program = The (sometimes) nice stuff in the middle.
  12. Seems to be lots of slightly differing and confusing views here. The term noise is usually used to represent the total sound present when no signal is being passed and how loud this is being the noise floor. A lot of pieces of equipment specs quote a signal to noise ratio. This is at its greatest when the music signal is highest before clipping. If you run a mixer at 50% then it makes sense that the S/N ratio is going to be lower than at 100%. How much difference this makes is debatable in modern equipment. With the advent of digital equipment, resolution comes into play, and
  13. To be honest if you only have I'm the admin over at speakerplans and can say that the intention of the plans on the site is to get a as high performance as you can from a DIY design without having to resort to DSP. Most of the designs therefore rely on a very suitable driver for the enclosure, which tend to be the higher end of the performance bracket. In most cases the driver alone will set you back >£150 and thats before you factor in time, materials, tools, fixtures, fittings, paint, etc. A lot of them are horns which means you need to be looking at at least 2 if not 4 in order
  14. If your cable run is over 10m then use balanced as it has better noise rejection. If not then there's not much difference otherthan balanced connections tend to be on XLR connectors which tend to be more robust when being plugged/unplugged regularly.
  15. Wow, those things process delays too?! 'System Control by Texas Instruments'TM
  16. What are these 'delays units that do maths' of which you speak? I'm sure that DJGorey's suggestion of the Berringer Ultradrive (LMS) is one such clever box of tricks. You simply input the distance your delay speakers are away from the main speakers on the screen that controls the signal going to them, and it magically applies the neccessary delay! Distance is the only thing you have to consider, signal travels at near the speed of light so can be safely ignored as far as delay is concerned, even if you're using cables still connected to that 500m drum you thought was a good idea fro
  17. I seem to remember the 350 was a horn, with small mid driver and a 15" bass driver (with a propensity for having fragile mids an tops) The horn is a sealed unit, and the mid should be running in its own enclosure (or have a sealed back) so the only relevant bit is the port volume and the main bass chamber volume. Providing you preserve these and build a solid cab, you shouldn't change the bass characteristics much at all. Mid and top will likely remain unchanged as their parameters aren't being modified. For simplicity you could change the round ports for a single shelf port which
  18. There seem to be some other issues creeping into this discussionj about speaker cables.... smile icon Not sure where the balanced signal cable in relation to speaker cable came from but the point of a a balanced cable is for noise rejection, typically over longer runs where a cable is likely to pick up more noise. Runs under 10m don't really require balanced, although most people use them as its easier to just carry one type of cable. A good rule is to minimise the lengths of speaker cables. Better to do long runs of signal cable. I know some big installs that suffer badly beca
  19. The thing with clipping is that most amps never actually 'clip' (in the true sense) because they have onboard limiters to prevent it. So the light may well be flashing, but its indicating limiting rather than clipping which is an altogether different beast. In these situations it is simply the fact that the energy in the signal is higher as the average level is higher (peaks are cut off, but the signal below threshold, where the weight of a tune is, is higher up the scale) I agree, square waves are a bit of a misnomer, it's more likely the higher energy content present in those heavily
  20. Pretty much one and the same thing. What they aren't is outright volume/power controls. I'd say its a pretty certain bet that you're NOT over powering your speakers unless you're running a really heavy compression on your signal or you're playing sine waves through them. I believe that Soundforge (and some other audio analysis tools) can show average power for a given signal. Try loading up an MP3/wav into it and seeing how much lower than the peak signal the average power is. This'll give a good idea of how many percent over the RMS rating you can spec your amps.
  21. This argument has been done to death here, but I'd like to point out that this is not fact, it is Tony's opinion. The compressor will still allow the average power to rise, even though it will control the peaks. Most pro audio manufacturers specify amps of between 1.5 and 2 times the RMS rating of their speaker cabs. RMS rating is derived by a continuous signal being passed through the driver for a period of time with no mechanical damage occuring. This is normally due to the voice coil (VC) melting much like a heater element heats up. As music is dynamic, the VC cools between pea
  22. Own PLX's and RMX's for a few years. Never any problems although not as much 'grunt' when used on bass duties as some other amps (PLX3402's specifically) of equivalent specs (probably due to diffrent measurement criteria such as short burst signals over more sustained ones) All sound very good though
  23. Not sure what you mean by carry, the function of projection over distance is purely dictated by the spl at the speaker. An interesting feature of our hearing is that we perceive distortion as being louder, so nice big clean sounding horns doing 140db at 1m can sound less loud than some overdriven reflex boxes doing 130db. This may be why people still love some of the older 'brute force' amp like the Crown VZ5000 macrotech, because they actually have a bit more harminic distortion inherent in them than some of the newer designs. There is a fine line between when this distortion sound
  24. Yeah, to echo the above, I'm not sure how the equipment choice has anything to do with the techno scene specifically. I've been involved in the techno scene since 1992 from free/squat parties to more commercial events providing PA and rider equipment for some of the bigger names on the underground techno scene. From experience I can say that for the most part DJ riders specify a good quality Pioneer CDJ (400's probably come into that category although its mainly CDJ1000's - other brands don't seem to get a look in) and I've still got DJM600's that are accepted, although they now tend to
  25. On the mixer front, if you're going to splurge a large chunk of cash on a decent mixer then have a look at the offerings from Ecler (Nuo, Evo or if you're feeling very posh the SCLAT) Rane or Formula Sound. Rock solid and reliable although not quite as 'high street' as the other suggestions, they are quality kit. At a price mind.... Allan & Heath may also be worth a look although I'm not a fan of them and the build isn't everything it should be for the money (imo) edit: just noticed Dukesy mentioned some of them, that'll teach me for skim reading threads....
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