norty303

Yes, thats how it works. When it detects feedback it cuts a very narrow band at the problem frequency. You can normally set them so that they release after a period or leave them locked on until manuallly released. The auto release is good for singers who move around a lot, the latched filters are good for things like turntable feedback where if it occurs will likely be a problem for the whole night.

Depends on whether you want to just know how to connect and use certain pieces of kit like active crossovers, delay units, etc or whether you're interested in acoustics and why speakers do what they do, how different designs work and what makes them good at what they do. This can then lead on to how to set them up to get the most from them using the equipment mentioned previously. Try prosoundweb as a good resource. It's a bit american (you'll see what i mean when you take a look) and focussed on live gigging but there's a load of resources and very knowledgeable people there including re

Oh, and if you're in the habit of running cracked OS's then i shouldn't worry too much. there's workarounds for everything. XP was supposed to be copy proof when it got released. The fact it had been cracked before it was even out says something about the state of things currently and i can't see that changing in a hurry. I wouldn't bank on Microsoft being able to write an uncrackable piece of software going on the security of their other projects..... Last time Microsoft blocked people downloading updates because of hacked versions, crackers produced a way of changing the license key on

How do they know if the sticker isn't on my PC? What if i don't want to put it on? This Big Brother is getting ridiculous.... If i see Mr Gates outside my window with binoculars i'll be chasing him off my property....

The old arguement of whether you should run stereo or mono too.... If you've got live vocals (karaoke) then it makes no difference mono or stereo and if you've got your speakers a reasonable way apart then unless you're in the middle you'll get no benfit from stereo imaging. As soon as you move closer to one or the other, at high volume levels, it'll drown out the output from the other cab so you could just run mono and save an amp channel or use it for subs. I don't know anyone who EQ's left and right differently for FoH but stereo EQ's are useful for band monitor mixes so you can have

The 2450 was (iirc) made for a marketing promotion and to be fair is not really very practical due to high moving mass. A 1850 should outperform it in most applications but as you say the wow factor is good http://www.dj-forum.co.uk/html//emoticons/biggrin.gif Have you ever been to The Fridge in Brixton? they've got some old (I think) EV 30" or 32" drivers in a reflex cab surrounded by metal caging. Look fantastic but soundwise.... http://www.dj-forum.co.uk/html//emoticons/sad.gif The Void 18 is still alive and kicking as far as i'm aware - a lot of people I know are still using them

But the damping factor of the amp is really only an indication of how well the amplifier can control the movement of the cone. Most modern day amps have more than adequately high damping factors, and even though this reduces as you get a lower impedance, even at 2ohms (or lower if you're lucky enought o own Crown Macros or similar) they have more than enough for PA requirements. Damping factor is one of the audiophiles most over-used and under-understood terms.

QUOTE With regular gigs to consider, I could never condone this practice. Far too easy to loose a speaker, and drop yourself in it for a gig which might be just a day away This is regular practise amongst most PA audio suppliers and manufacturers and is not some half baked notion of experimental audio that you seem to be painting it with though Gary. Where a speaker manufacturer recommends an amp size they will usually be in a range between the rms value and the peak value for that speaker. I've yet to hear of a disastrous cone blowing experience when using an amp twice the size of the r

The point of an rms rating is to give the continuous rating that a speaker can handle safely, this is usually measured with continuous sine or pink noise over a period of time. The reason why peak values are generally (on a good driver) double the rms value is because music is not a continuous signal but a series of peaks and troughs. I'm not suggesting running an amp that is double the rms rating on the speaker at half power/gain/input attenuator, i'm suggesting running at full power on the amps (amps should be run like this anyway for best dynamic range) and if necessary using all of the

QUOTE where the hirer had been reading some gumph about a 200 watt speaker wont be happy until you feed it 400 watts? Where's the gumph in that statement then Gary? Also the most common causes of driver failure are mechanical (surround tearing, spider separating) or electrical (voice coil burning up) When an amp is clipped it causes plateaus in the signal at each excursion limit which makes the speaker try to stay extended at each extreme of travel. This causes the voice coil to be under strain, heat up and eventually melt. Mechanical failures are normally through over excursion (e

Actually the '18" better than 12"' comment was meant with some irony (damn you, lack of irony smilie http://www.dj-forum.co.uk/html//emoticons/tongue.gif ) One of the best performing subs is actually the LAB sub which runs on 2 x 12" drivers on a big horn. Unfortunately they were designed to be used in blocks of 4 (needing 2kw per cab) so a bit unwieldy for the kiddies disco http://www.dj-forum.co.uk/html//emoticons/rolleyes.gif Horns do seem to have a directional element to them, you can definately tell when you are off axis with them. As to the tightness of a 15" over an 18", mu

QUOTE this is simply to give the impression their amps are more powerful, but at the end of the day they are not cheating you, it;s up to you to know the differences of the tests they perform. ...but its also up to the manufacturers to tell us how they conducted their tests in the first place and the methods and environment they used. How many sub manufacturers do you know that don't state whether the frequency range their speaker will play to is the f3, f6 or f10 point? It's far too many imo. How many people really believe that they'll get useable 40hz performance from their 15" +

The sensitivity of a speaker is given as 1w @ 1m (which is calculated as 1m distance doesn't necessarily give accurate results when measuring. Working on the basis that 3dbA increase takes twice as much input power you can work out the rough estimate of how loud you can go. So a 99db/1w/1m speaker would give: 1w - 99db 2w - 102 4 - 105 8 - 108 16 - 111 32 - 114 64 - 117 128 - 120 256 - 123 512 - 125 1024 - 128 2048 - 131 So, the reason why people seek the best sensitivity is because ultimately it'll decide how loud you can go. A 106db/1w/1m bass-horn will always have the

OR - split gobos http://www.dj-forum.co.uk/html//emoticons/cool.gif I like them but we tend to use a lot of smoke at our gigs as they're generally underground dance events and the split colours is a bonus. Admittedly we use a lighting desk so its all under our control but i'd be upset without the option. BTW Gary - Happydommo and Dave Fired say hi ;)

Best bet is to try to get the setup right to minimize feedback risks. Make sure mains are in front of the singer, monitors also and using a good cardioid mic will help.

I'd still rather have the Ultracurve 8024. But thats personal preference.... ;)

The Behringer Ultradrive is so cheap now (£165 some places) that its stupid to go for separates. Far more accurate and has more than you'll need facilities wise for most situations

I find the XM8500 are sonically superior to the SM58 but suffer from slightly worse build quality but at the price they are, they're disposable. It's much easier to get £20 for a replacement at the end of the night when 'Metal God Wannabe' has thrown it around for the duration of their set.

If you can afford it go for a 2 x 31 band EQ with 1/3 octave filters. The ability to tune your system is much better and and you can use it to smooth out things like turntable feedback without changing the sound too much. You can pick up Behringer Ultracurve 8024's for good money on ebay, and they're a very nice sounding EQ. I own 2 for FOH and monitor duties. One question - why do you want the EQ? Is it because you're not happy with the sound of your system or that you think it could be better, or because you have a problem you're trying to fix such as room modes? Do you run s

Yes, I've encountered this with Soundlab and Constella gear which is why I posted about the polarity issue.... glad you got it sorted now ;)

Just checked the manual and it doesn't have the option actually. I did notice that it's 5 pin DMX as standard. Is yours 3 pin? If so someone may have done a conversion job on it and messed it up with the polarity. If you're using 3 pin to 5 pin converters then check they're right too.

Check the polarity setting on the desk. If its the wrong way for your lights they'll either default to standalone mode or just twitch about. I had the same problem.

Actually you're all overlooking one thing here which will be far more relevant to the copy speed... They're laptops, which means that the transfer is very probably going to be done over a network connection. Even with a high speed link (or Firewire/USB2) the disk access speed will far out strip the capabilities of the link so its not really relevant. And lets not compare system RAM with disk cache, its an apples and oranges thing - also the larger cache processors and disks don't 'always' give better performance. QUOTE The most favored today is Ultra DMA mode 2, aka UltraDMA/33 an

I'm assuming your sub has a passive lo-pass filter fitted. If not the sound that comes from it will be terrible as it'll be trying to play frequencies it was never designed for. Couple that with the muddiness from the frequency overlap between tops and sub and you have a recipe for disaster. You'll be wanting an active crossover and as Gary says a large dollop of amp to pump into that sub. 2 times it's rms rating is the generally accepted amount. Also (just re-reading your post again) with any mono signal, you want to make it a mono 'summed' signal - e.g. both left and right signals a

Hiya, can you just clarify what your 4 x 300w cabs are? If they're all mid/top or full range then there's no use in getting an active crossover.