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Why the 260? Here's (hears) why!
Dra
Posts: 3,777
Just did an annual high school \"coronation\" gig this weekend. (Teen-age MC's and talent program for mom's and dad's to watch their youngers walk in a gym, dressed to the \"9's\" while non-projecting kids read their bio's.
Here's the set-up.
Large gym with additional upper deck on the home side.
Christmasy back drop at the edge of the court on the visitor's side (facing home side and balcony), centered.
Coupled subs (2) directly behind backdrop on floor.
Center clustered tops (4- single 12\"+1\" with 80 x 50 horn, 2 on 2 inverted cabs (all horns together) using the inherent array angles of the cabs (guessing 100 degrees) on the top bleacher (approx 15' up and an additional 20' back.
Audience lower deck back wall is about 100' from mains cluster and upper deck back wall an addition 50' and ceiling is about 50'
Talent using wireless 58 performs about 5-6' in front the subs and about the same to one side.
Paired MC's at lecturn with 2 Crown LM300A condensors (got the pair on Ebay for under $125, with shock mounts, sweet). Lecturn positioned about 10' in front of subs and about 15' to the side, still inside the cluster pattern.
To put into perspective, the mains had to project 5 times the distance beyond the talent and MC's, directy in the line of fire. In a wood floor, block wall, metal roof gym.
Caviot, inserted on each vocal channel was a DBX AFS 224.
But, the talent vocals were enhanced by long 'verb, med - long delay with tails, and BBE \"maxi-pad\" (sent out to monitor 2 to BBE and back in a empty channel for extra output (enhanced).
I'll not go into monitor set-up using DRPA (you're welcome), but I could have used the 260 to cover that too, if I wasn't running stereo for mains.
The 260 allowed me to... delay my subs back in time with my mains, copy FBX frequecies to the Notch filter, then use the FBX (narrow) again after setting the channel AFS's (wider). I never even attempted to auto-EQ (even for the usable mid frequencies), which now wish I had though for kicks. I ran the Pre-EQ flat.
The DRPA could not have come close to this set-up nightmare.
The 260 is a great tool. If you are debating getting a Driverack and can't quite decide between the DRPA and the 260. Maybe this post will help.
DRA
PS - something interesting that I discovered by accident. Silent room - feedback starts at -0- (reference only) on the mic channel. Play music in room - feed back doesn't kick in until +6. Anyone have thoughts on this phenomemon?
Here's the set-up.
Large gym with additional upper deck on the home side.
Christmasy back drop at the edge of the court on the visitor's side (facing home side and balcony), centered.
Coupled subs (2) directly behind backdrop on floor.
Center clustered tops (4- single 12\"+1\" with 80 x 50 horn, 2 on 2 inverted cabs (all horns together) using the inherent array angles of the cabs (guessing 100 degrees) on the top bleacher (approx 15' up and an additional 20' back.
Audience lower deck back wall is about 100' from mains cluster and upper deck back wall an addition 50' and ceiling is about 50'
Talent using wireless 58 performs about 5-6' in front the subs and about the same to one side.
Paired MC's at lecturn with 2 Crown LM300A condensors (got the pair on Ebay for under $125, with shock mounts, sweet). Lecturn positioned about 10' in front of subs and about 15' to the side, still inside the cluster pattern.
To put into perspective, the mains had to project 5 times the distance beyond the talent and MC's, directy in the line of fire. In a wood floor, block wall, metal roof gym.
Caviot, inserted on each vocal channel was a DBX AFS 224.
But, the talent vocals were enhanced by long 'verb, med - long delay with tails, and BBE \"maxi-pad\" (sent out to monitor 2 to BBE and back in a empty channel for extra output (enhanced).
I'll not go into monitor set-up using DRPA (you're welcome), but I could have used the 260 to cover that too, if I wasn't running stereo for mains.
The 260 allowed me to... delay my subs back in time with my mains, copy FBX frequecies to the Notch filter, then use the FBX (narrow) again after setting the channel AFS's (wider). I never even attempted to auto-EQ (even for the usable mid frequencies), which now wish I had though for kicks. I ran the Pre-EQ flat.
The DRPA could not have come close to this set-up nightmare.
The 260 is a great tool. If you are debating getting a Driverack and can't quite decide between the DRPA and the 260. Maybe this post will help.
DRA
PS - something interesting that I discovered by accident. Silent room - feedback starts at -0- (reference only) on the mic channel. Play music in room - feed back doesn't kick in until +6. Anyone have thoughts on this phenomemon?
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Comments
Happy trails,
Gadgit
:roll: DRA :roll:
I have a possible answer. I told my brother-in-law (a life long musician and current studio owner) about the increase of mic gain while music was played. His answer is simple and makes sense to me. The music excited the room in an different way, so that frequencies that were naturally hot, now may be nulling in some way. We must assume that just as sound bounces off walls, etc, sound must bounce off sound, and are sometimes absorbed, as well. This just emphasizes that everything that we do affects everything we do. And there are no absolutes, only theory and practice.
On the other hand, I could have lost mic gain as well in a diferent room. Ain't sound reinforcement great.
DRA
During song keep pushing voc mic's and all sounds good. Then at the end of the song you have to turn down the vocal mics or you get feedback.
Similar effect
Mark
G