Mojoe

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About Mojoe

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  • Birthday 01/01/1
  1. Did a live recording the other week Had my protools session set to 44.1K, portools was set a the slave. But when the 003 unit played just befor the live recording, ther was alot of people around the two units and the 8mic pre's was set to record at 48K, didn't figer it out till later that the unit was set at 48K, did about 2 and half session befor I figered it out. so how do I convert a session at 44.1 and the recording done at 48K back down to 44.1, try and try but the audio comes out slow? Please Help MOJOE
  2. Hey for you Noobs, I have just one a basic run down of a live mixing desk,it of a Allan and Heath desk which you will come across a lot in this feild of work. The back. And the top. http://www.soundpunk.com/downloads/home/isauser/Heath.bmp[/img] Hope it helps. MOJOE
  3. Not long ago I went to the fairfield at NMIT melbourne where the people from Digidesign where showing off the Venue system and the D-show Profile system. My thought went to Profile set I think becouse it was the cheapest of the two. For around $50,000 the console was going for. http://akmedia.digidesign.com/products/images/dshowprofile-overhead-large_17134.jpg[/img] Features • Small footprint: 45.3” x 31.1” x 6.65” (1150 x 790 x 169 mm) • Provides 24 input faders in a single, compact control surface • Fully compatible with all VENUE I/O components, including Mix Rack, FOH Rack, and Stage Rack • Employs the same D-Show® software as all VENUE systems for complete show file portability between systems (running D-Show 2.5 or higher software) • Eight output faders, plus eight rotary output encoders, provide control of all group masters and/or plug-ins • Dedicated dynamics and EQ encoders offer control of both onboard dynamics and EQs as well as plug-ins • Features eight fully assignable function buttons for flexible control • Eight GPI inputs and eight GPI outputs allow D-Show Profile to send or respond to simple switch closures Info from the digi website. When I saw the console My frist thought was it look great, well layed out, runs the same software eq-plug-ins as the HD rigs, you can get a mix up and running without having to know the layout of the software, and all those little extras when there are things such as power failure. But under all the hype my head started thinking and I realised that that when you buy this desk you also have to but a separate HD interface to go with. So now the money start to add up. You would think if your going to dishout all the cash $70,000 all up with HD interface, that this is a system that run on software and I think that if this is dependent on the software why not sell it with the software? What do people think of this? What is your thought? MOJOE
  4. When EQing up a room there are a couple of things that i have learnt that are always handy to know when EQing. Firstly, It really helps if you have one of these, a graphic EQ. When first ringing out a system I always start with a test CD, with frequencies running from 50Hz all the way up to 18K. I also have a sample of pink and white noise to work with. This assists to find the nulls or dips within your PA system, you just play through your 30 secs snippets of the sine waves and adjust accordingly. Secondly, it is extremely important to have good reference music, something that is similar to what you will be mixing that night, and also something that you know that music inside out and that you've used it before in many different sound systems, car stereo's, pa's etc. By really knowing this music and it's sound in the different spaces, this is your key to EQing your PA system to compliment the performance space your working within. Thirdly, I've found this chart really useful, when doing sound check with bands. You can always ask what note or key they're playing in, and pull out the opposing frequencies to that note/key. Eg. in the key of A, pull out 440Hz, 880Hz, etc etc... C C# D D# E F F# G G# A A# B 32.7 34.6 36.7 36.9 41.2 43.7 46.2 49 519 55 58.3 61.7 65.4 69.3 73.4 77.8 82.4 87.3 92.5 89 104 110 116.6 123.5 131 139 147 155.6 165 175 185 196 208 220 233 247 262 277 294 311 330 349 370 392 415 440 466 494 523 554 587 622 659 698 740 748 830 880 932 988 1047 1109 1175 1245 1319 1397 1480 1568 1661 1760 1865 1976 2093 2218 2349 2489 2637 2794 2960 3136 3322 3520 3729 3951 4186 4435 4699 4978 5274 5588 5920 6272 6654 7040 7459 7902 8372 8869 9397 9956 10548 11175 11839 12544 13289 14080 14917 15804 16744 17740 18794 19912 21096 PS hey rhythmboy, could you please help me with my frequency table, it looks good before the save and then it goes all skeways :bang: EQing Gold As you can see the layout of the chart above is that you have the key C through to B, and the opposing frequencies sitting directly underneath it. With the combination of this chart, your familiar reference CD, and the Test CD for ringing out the PA. Also use your voice as a reference as you know the sound of this always, and it remains fairly constant from day to day. I also found this at www.har-bal.com, this is another helpful chart assisting you with ranges of instruments and /or voice, so you know the range you will be EQing to. If anyone has any other tips/helpful hints to add, more than happy to hear about them. MOJOE
  5. Hey this is for all you DJ,s out there, one day that you might have a situation where you are to set up your own PA system. I've found on utube a few tutorials on PA set up and signal flow understandings, compression, EQing and so forth that may be useful. 1qhVS3MAanA Speaker Placement tornRFVtGxI Gain Level 7WVCxgtKLSI Mixing Desk Set Up 7R9r9gSrTrk Graphic EQ eXCaKStVAEs How To Use A Compressor RUxK9CgUgto Bus Levels tvPDMpdnjy4 Signal Flow For A PA Hope this helps. MOJOE
  6. What was the worst PA system you ever had to work with? Set up? What were the speakers, issues? Terrors, stalking band members etc.? Tell all... My worst experience, I'll start with this one... I’ve two. Firstly I was hired to do sound for a six piece band at a local venue and the it was a walk in job sort of. The band owned their own PA. It consisted of some really old Bose speakers, that had seen better days, they used two of the same speakers for foldback. The desk was a soundcraft spirit desk, missing a few crucial knobs. There were no DI’s in and considering that most of the band had instruments with DI connections, this was baffling that they were all running straight into the desk. There was also a reverb unit, (didn’t work), and because of the shabby speakers, it had an EQ unit, that EQ’d nothing but muddy mids, no highs, no lows. And a Samick Amp, what can I say about this? I hadn’t known they made amps. One thing I do remember about this amp is that as soon as the six piece band got fired up and started singing/ playing at the same time, the amp would cut out completely leaving, Nothing! I would look at the amp and there’s this red light just sitting there and a room full of punters, glaring at me to do something about it. The guitarist was the previous onstage mixer/soundy and had his own ideas about how to run things, and wanted it done the old way, which meant having everything maxed at the beginning of the gig and this left no room at all, to raise any levels, for example bring up the vox, etc. I was advised that the foldback wedges were to sit on the side of the band, and not in front of the singers, and the singers then would complain they couldn’t hear themselves in the fold. The fiddle then had too much of the singer in his fold. And one night the dancers danced all over the foldback wedges, no damage done as they were already wrecked. I did about ten of these gigs on a monthly basis and had many a night where I was white as a ghost with fear of this PA system and the band from time to time. It did get better as I got them to upgrade some of their gear, not much, but some. They purchased the Behringer powered speakers, but still used the Samick amp with the Bose foldbk wedges. If anyone else has similar stories to share, make sure you reference what set up haunts you in your dreams. I can tell you, this one does it for me… MOJOE
  7. Good point. Thanks for that will keep dreaming. MOJOE
  8. Thats another great option/feature that they were talking about on the night. By the do you know of any course or day info session on offer to bring me up to scrach with the digidesign venue system. If you could help that would be much appreciated.. MOJOE
  9. Thanks for that Brums should come in handy when sitting on the crapper makes for some light reading. Good link. MOJOE
  10. Just wanted to say that I went to the digi venue night that was held at NMIT the other day, now I see why all the hype for just $50,000 you could have your self the profile set up. (Not bad if you had the cash) Do any of them systems have latency issue? But one thing I did like was the idiot prof set up like be able to run a mix even with out any info on the system. MOJOE
  11. I just found out about this new product today and I feel a bit Rip off, I brought my 003 only when the just came out in stors, I wounder if they will do a trade-in other 003 modles? But it is good to see that digi took the leep forword. About Time MOJOE
  12. Hey this link should help with the mid-side micing-http://www.shure.com/ProAudio/Resources/HowToUse/us_how_to_use_stereomics If not just look around the sit there should be more to help you.. MOJOE
  13. Hey here is the general outlay of what I'm using. Had a bit of a play sometime today had alot of of issues with the signals from the desk and the flow of that going through pro tools. I managed to get the signal through pro tools but the signal did not come out with the reverb, I even tried to use the main outs of the 003 into the PA, that didn't work. Plus I also tried running the signal of the mic through the 8 mic pres and then out of the back of that into the desk, also tried using the lines from ProTools as inserts but I think the issue is that you can't have the signal just going to the stereo out. I tried changing the signal out to ADAT one out and into the desk, that too didn't work. I didn't get fader control after bit on the analog desk but the sigle stile came thew the PA. Gonna have to think about this more... MOJOE Keep you all posted........ (EDIT by RB) - Joe I took the liberty of converting to picture so we can see what you're talking about
  14. Thank rhythmboy, So you're saying that you can run Protools and have no trouble with the set-up in a live show, but on the other hand you could say the same thing about running a normal PA without the Protools, what if the power was to go out or you kick the power lead and desk or outboard gear comes up-plug? There will always be a up side to any set-up you run, but there will always be a down side. it all comes down to making the right choice on the night.. Might sit down with Protools and PA and have a bit of a play get back to yous ASAP.. MOJOE
  15. Hey Spectrum, There is 8 channel inserts and 16 line in with the normal 16 3 pin mic inputs as well, do have to set protools to a different setting because I know when you record arm the plug-in setting go into defalt mode and the settings are bypass.. What do you think might be possable?? MOJOE