EBS_freak

As soon as you get to the last bit... the bit with a *... it could be anything and everything.

PS @jrixn1 - you b*stard! You're killing rock n roll (headnod to Interesting FRFR story)

A single 10 wouldn't be my choice either... but I guess if the OP is used to a single 10 from the BF, then maybe the single 10 RCF not a bad alternative. @largo - the redundancy of a second powered cab kinda appeals to me for 5kg. @jrixn1 - are you going straight from the zoom into the RCF? Or still using the Genz as a pre?

I remember us talking about the Mackie DX4 with @dood - I've revisited it following a conversation with a friend that is looking for a headphone amp but with some sort of decent compressor/limiter on it. I think we said that it was a little limited due to the lack of a pan function on each channel. Turns out that the line 3/4 on the DX4 (7/8 on the DX8) keeps the stereo input in stereo as far as I can see... so if you are using a mono mix, you can add ambient stereo mics, or if you are using a stereo mix, you can use one or two ambient mics but they would be summed to mono. I didn't really look into this before as soon as I saw the lack of pan controls, I kinda gave up on it. Should note that the DX stuff doesn't do phantom for condensers either. Anyway, with guys that are playing with other bands and all sorts of desks, I believe that this actually makes for quite a cool alternative to a headphone amp. As long as you get yourself a collection of connection cables... and a headphones extension cable, for circa 100 quid (assuming you already have the iPhone or android device needed to control it), this makes for quite a cool piece of kit. For example, plugging into an analogue desk aux is pretty naff - but this gives you the option of some EQ, some basic compression (compared to the other digital mixers out there) and some reverb to make things a little less dry. That's pretty cool in my book. As a backstory, the start of the investigation was actually doing the same with a UI12 or XR12 because believe it or not, there seems to be very little out there in terms of a headphone amp with some sort of compression/limiter (actually processing as opposed to a volume control limit). I think that if you can afford it, the UI12 or XR12 would be quite a cool addition to your arsenal... as it will give you some great options as opposed to doing your own processing and both are very portable... but again, a greater cost.

Hi - I think I've answered most of your queries in the post above. With regards to the P2 and running stereo from the XR18 auxes, you are going to be a pair of auxes short... so two of you are going to be in mono.

As you've noticed - the PM1 is completely passive and all it does is do a cut of the volume. How loud it can go depends on roughly two things - the amount that the aux from your desk can put out and whether it's loud enough to drive a pair of in ear monitors in the first place... and secondly the impedances of your in ear monitors. The lower the impedance that your in ear monitors are the easier they are to drive and generally the louder they will be. (I say generally as other factors including things like speaker sensitivity come into play also). Strictly speaking, you shouldn't drive your headphones directly from an aux - an aux should drive an amp which in turn then powers your in ear monitors (this also enables you to use higher impedance headphones at (again) generally louder volumes. You are correct that it would be one ear only - the PM1 is designed to come from a headphone amp, either mono or stereo. So for stereo, you'd plug typically use a TRS jack into the amp and on the end of that cable, you'd have an unbalanced XLR that has pin outs of L/R and ground. If you are using two auxes, you can use a Y cable and achieve the same in terms of managing the signal. If you are using the aux, you'd have to wire a cable to split the single signal to the two pins to give you the LR... or alternatively, if you could just use a 3.5mm mono to stereo adapter jack on the end or your in ear monitors. The P1 on the other hand, does have an amp built in... and also has a button that will switch a mono source to stereo in the ear (although it will be just the same audio in both left and right ears). So could be easier without the faffing of custom wires or adapters. Finally, the P2 is effectively the P1 with an amp built in... and has a mono/stereo switch inside, so again, no adapters or faffing on that front. In reality, out the 3, the P2 is probably the best all round option for your case.

Lovely pair!

Not 12s but can confirm that a pair of RCF 735 or 745s will see you through no problem.

http://www.custom-lynx.co.uk/ These guys made one up for me.

It's been a while since we had a good geek out in here and as a few people have asked what I am running from both here and various places outside of BC, I thought I would actually get around to getting it down on paper, so to speak... So here's a brief, high level overview. So, as I've mentioned in this thread, I run two desks and this seems to be my fave go to rig at the moment because it's so powerful and a really compact package to carry around. In reality, all of this weighs in at less than two decent wedges (12-15) and is about the same size. In this solution the backbone are the DL32Rs - the reason being is that they sound great, they support Dante and have all the I/O (that'32 channels in and plentiful amount of auxes!!) on board without having to buy a load of snakes or stage boxes. (For example, the X32 Rack is the same size but doesn't have all the I/O that it is capable of supporting without buying extra boxes/snakes). Front of house is used as you would any mixer... but I don't use any of the auxes for monitoring - this leaves all those auxes free for matrix mixes, delay lines, outboard fx etc. This means we can EQ, compress, use all the fx we would like to use as normal for FoH. Anything input into the Dante network, whether that be via a mic, line in, or another Dante device, is available to be used by any other device on the network. Just configure what channels you want to subscribe to and on which device. The Dante cards in the FoH and Monitor World mixers have two network outs - each of these go to a switch that in turn, provisions the two networks. These switches never share data between each other... although a replica set of packets is set to both set of mixers - meaning if any network is disrupted, there is no loss of transmission as the other network should be able to fill in any late or missing packets in the data transmission. To be honest, I've never had any issues with running Dante on just a single network...but I've always had a dedicated network for running this setup. (For example, if you were somewhere where there is already a network, you can just plug into that and it'll work alongside any traffic that is on that network... however, you will be at the mercy of that network... and you would hope that there is some QoS configured so the Dante traffic gets priority. Anyway, I digress). Note - there is no reason to have big rack mount switches like I have... I just like rack stuff, and wanted the availability to plug lots of Dante stuff in (for example, at a recent gig I did, there were a number of Dante enabled recording devices - getting the multitrack recorded was a case of just simply plugging in a laptop, subscribing to the required channels and then hitting record in a DAW). Anyway, 1 or 2 Cat5e/6 cables are better than a 32 way analogue split! Whatever is presented to the FoH preamps, is presented to the Monitor World desk digitally via Dante (it's literally a duplicate of the audio signal post the analogue to digital conversion but before any processing has taken place on it at FoH). What this means, is that I can apply separate processing, completely independent of FoH. Additionally, it opens up a whole new set of FX engines that you can use for your inears... you don't need to be compromised by using the return from whatever the FoH is using. Guys that are taking just an aux off a FoH desk probably find an unprocessed bass quite clanky... in MW, I can EQ and compress so the inears users have a more studio-esque sound. Similarly, having the ability to control the bass drum is another great plus... if you are running with some big subwoofers, it's unlikely that you'll get away with boosting the lows to the point where you want it in your inears without killing everybody in the audience (and lets remember, most people wont have that sort of control anyway because most auxes (depending upon the desk in question and the routing) are sent preEQ and processing. (You can get around this by splitting channels digitally on the FoH desk and having an IEM channel and a FoH channel - but that eats into your channel count!). All the inears users are controlling their mixes (via iPhone/iPad) via the auxes on the MW desk - either to the IEM transmitters, or to a hardwired pack. There's a wireless router that is connected on the primary network - this provides the DHCP for the connecting clients and also passes the control data from the apps to either of the desks that you want to control. The top laptop is used to configure the Dante network (if its configuration needs to be change - e.g. if you are adding devices etc - but for the most, it's stays static for the setup you see here. This first laptop also has Dante Via installed - quite a clever piece of software - means you can put the output of a specific application on the Dante network and assign it to a channel/return on a desk. For example, if you run a DJ app, you can run that app and only the sound of that app will appear on the Dante network and nothing else. (Surf YouTube, watch Facebook and all the sound apart from the DJ app comes out the laptop speakers/headphone socket but not the PA!) The second laptop has Dante Virtual Soundcard and Waves Multirack on it. This means you can record the gig straight into a DAW (although to be fair, you can record straight to a USB hard disk on either of the desks). The later bit is the interesting bit - that enables you to use plugins, that you would in your DAW, on your PA... so all those nice compressors, modulations, SSL EQs... all there. There is one caveat however, the latency is maybe just a little too high for inears without the PCIe card and caddy - but for front of house, it certainly works well! The dotted line is to say I don't tend to use this as to be fair, the DL32R has it nailed unless you really want some special processing that it can't give you natively. What is really cool... if you run out of auxes in MW, you can add another monitor desk by plugging it into the Dante network and duplicating MW into another MW. No analogue snakes or splitters here. Just keep adding desks! Of course, if you wanted to, you can still use the auxes on FoH for monitoring as you would without a dedicated monitoring desk. Additionally, indicated by the dotted lines going to nowhere - you can keep plugging Dante devices into the switch... so for example, as mentioned in a previous post in this thread, I did a gig where Dante was feeding multiple desks - one for mixing for an online broadcast, one for IEM users, one for wedges where the players are just not interested in IEM and of course, didn't need all the processing, FoH... and then all the various laptops that we were using for recording, Waves etc. So there you go... good enough for stadiums yet still small enough for pubs. Overkill? Maybe. But it's fun and the inears mixes never fail to bring a big smile to my face.

I take it that you didn't read the thread then? :-p

Not cheap are they. Suspect you need a crossover at some point too.

I think you are talking about Bluetooth multipoint - it seem to intelligently switch between devices but not allow concurrent connections to flow. Eg what happens when you try back audio from your laptop and phone at once? I suspect one device would win out over the other (probably the phone as the manufacturers assume you'll want to take a call?) Pleasureboards are great but I'm reluctant to replace the cab that I've got rid of with another sizeable thing to cart around.

I was pleasantly surprised by the build quality when I opened it! I think BT is strictly one to one on the pairing. Funnily enough, I'd already questioned this - but for a different application where I want a large number of devices listening to just one transmitter.

@knicknack - this should give you a better idea...

Yes - via their kickstarter project but they do sell direct off their website.

You wouldn't need a split. The woojer has a headphone amp (a very good one at that) built into it. so signal chain would be - Stereo/mono aux->woojer->headphones or Stereo/mono aux->wireless pack->woojer->headphones

It has a mini jack in socket in addition to a bluetooth link. So you'd run it from the aux on your desk or after a belt pack (or whatever else you may be using)

Indeed - I was at the very same venue a couple of weeks back. Scary to think I was there at the same place that horrible, horrible act took place. For Ariana, I guess she will always have that burden to live with. :-( Not her fault in the slightest but I know I would find it very hard to come to terms with.

You mean you haven't tried it yet?!

And when you realise that the design of the 735 and 745 means that the vast majority of the vocals are going through the horn and not the woofer because the horns in those boxes can do way more than those typically found in their competitors. (Much lower crossover points) You also can't say that a 12 is better or worse than a 15 in a PA box - that depends on the horn that it is coupled with and the design of the box it is in. A QSC 12 will not keep up in the lows with either the 735 or 745. Yes, you can add a sub to extend out - that's more to carry... but you could also add a 8003 to your 7x5 - which compared with to a QSC with sub will still be easy sailing. I get that you dig your QSCs but the 735 and 745 are completely different beasts compared to the other cabs mentioned here. Check out cabs with 3 and 4 inch horns and you'll see what I mean. The thing is, you won't find those sort of horns in 1. A plastic box (apart from the 735 and 745) and 2. Under 1k (or even under 2k) - apart from the 735 and 745. That is why these particular boxes are killer. If you must have a 12, check out the 732 and report back - truthfully. I wouldn't run the 732 without a sub though - unlike the 735 or 745.

OK - I've taken a Woojer on a proper gig. In fact, the whole four piece band were all sporting Woojers. Here's the scoop. EVERYBODY BUY A WOOJER NOW. Freakin' incredible. Compared to the difficulties that I was having with the setup whilst running a "virtual sound check" with my rig, when running the setup with a full band, there was no real headaches. I was driving straight off an aux, no compression, no EQ, just straight out the box and everything was kicking hard. I'm not sure why I was getting different results with my virtual sound check but I'm confident that in even the most simplest setups it works. Setting up was just a case of watching the aux output and making sure that it didn't peak past 0dB - but crucially, ensuring that if running a headphone amp or wireless amp into the Woojer, it was up high enough to register a firm sensation with the woofer but without distortion. Within 5 minutes I got it exactly where I was wanted. I played with the app and set the response to 3 o'clock which gives the Woojer some extra sensitivity... but I found myself winding it back down a tad on the physical device in the end. After the gig, it felt really weird not having it on anymore. I can't actually see me gigging without it now... and I never was one for missing the "trouser flap" thing. With this round my pelvis, it feels like theres a truck load of air being blasted right at my pelvis. Amazing sensation. Everybody in the band agreed - even the sceptical singer. The drummer thought it was awesome too - and a much more portable solution than the P&D throne/Buttkicker. The headphone amp in this thing is great... it drives headphones very loud! (In fact, I'm sure you could drive it straight off an aux (as I've stated previously) and it would be great and negate the need for a separate headphone amp). BIG BIG BIG SMILES. PROPER EXCITED BY IT ALL. >>> THIS IS A GAME CHANGER <<<.

Also, if using active speakers with a mic/line switch, make sure it is switched appropriately. With regard to the green lights on a channel, memember that a mixer is summing all the channels... so that if all your channels are registering near 0, by the time they are summed at the LR, they could send the main output into clipping... so be careful where your LR is placed. In other words, don't push that LR too hard.

Ha ha. No need to do that. There's guys on here using the Soundcraft UIs, RCFs, Behringer XR16/8s and X32s, Mackie DL, QSC Touchmix, A&H GLD and QU series stuff... amongst other things!

Im guessing you haven't read through much of the thread then?