PA+ or PX, or Pay for an investment like 260

Cresco

Hello Everyone.

Well done on a fantastic forum.
Im new to this site and I am learning a wealth of information about sound reinforcment. The problem I have is that with all this detailed information I still can not decide which Driverack system is best suited for my Band's requirements.

I am currently running:
Samson 24Channel desk
2 x DBTech Opera Digital 405D Front of house(Active)
1 x DBTech Sub18DActive)(will be purchasing a 2nd Sub future)
2 x Wedge Monitors(passive)
We play at local pubs and clubs round our area here in New Zealand. I do not want to hire a frount of house sound engineer. Im sure a DBX Driverack product will help in achiving great sound. But which one?????????

Driverack PX Has limits
Driverack PA+ Has alot more features.
Driverack 260 sounds huge!!!
But can active Bi amped speakers work ok on the Driverack PA+. I like the PA+ more but dont want to risk buying a unit that i can not use all the features.

Which is the best unit for me??????


Please can anyone help
Regards Cresco

Dra

If you do or can run a mono mix for FOH, then a 260 gives excellent control for FOH AND 1 monitor mix (not sure how many you have or need). The ease of use with the GUI via computer is like taking candy from a baby. Tons of tools. My vote is for the 260. The only reason not to get one would be if you can't afford the $700.

DRA

Gadget

Um...Mr Dra...he lives down under... where money grows on trees, not really.. and things are almost double what they are here...

So, yes the 260 is the bomb... but the DRPA+ will do what you want.

Gadget

Cresco

Cheers Guys for your comments, will keep you all posted on what I buy.

rec

My 2cents is that I bought a DRPA+ and now I am getting ready to buy a 260
The ole "buy once cry once" saying is true.
I need/want the brick wall limiters. I should have done more reading before my purchase
Live and learn

Cresco

Hello all !!!!

Yes i have purchased the driverack PA+ only had a few hours to try it out so far. This thing is real cool. I really like it. Im using an active FOH setup and things seem to be setting up alright using the various wizards. My speakers are not pre loaded into the DRPA+ but using the custom setting and playing with the indiviual settings is really easy once you start to explore it. Setting the best gain structure on active systems is a little confusing because the amp has built in limiters. So loading up the Comp/limiters on the DRPA+ can reduce performance if not set correctly. Exploring the bandpass and crossover tool is cool. Not only can you hear the diffrence but visually see the display changing. Very clever thing. Next thing to try is running a mono FOH on a 2x3 set up and using the mid outputs to control my foldback system. Will need to muck around with this for a bit. Will keep you posted.

Cheers Cresco

Gadget

Cool!
For separate control you'll need to do a dual mono setup here is a thread:
viewtopic.php?f=60&t=2228
that gives a step by step procedure.

Why would you want to stack limiters?

Cheers
Gadget

Cresco

Gidday Gadget,

Stacking limiters!!! My point exactly, Why???? After playing round a bit with the DRPA+ I found this out, as my FOH speakers have built in limiters there is no need to use this function on DRPA+. But I will use the compressor to tighten up my vocals and guitars.
Whats your opinion on the setup of the AFS with regards to how many fixed filters v's how many live filters. I used three fixed and nine live filters out of the twelve available. Of course any combination can be used. My combination worked ok, but my query is the details on time limits on refresh of live filters etc. Have you from experiences worked out a rule of thumb on this??? or is it a trial and error thing??
Im thinking of using a spectrum analyser for shits and giggles for setting up an inserted EQ. Have you had any experiences on this. This audio engineering stuff is very addictive!!!!!

Cheers also for the extra thread to read!!!!

Regards Cresco

Cresco

Hey Gadget!!!

I like your quote at the end of your post, I always try to remember this :

" Great minds have always encounted violent opposition from mediocre minds "

Keep Threading!!!

Cheers Cresco

Dra

Cresco wrote:

Gidday Gadget,

But I will use the compressor to tighten up my vocals and guitars.

Regards Cresco

Remember, the compressor is whole system. So, the attempt to tame vocals, etc, will also affect everything else too. Not a great idea.

DRA

Gadget

Gidday to you too Cresco!

Whats your opinion on the setup of the AFS with regards to how many fixed filters v's how many live filters.

I pretty much run with 6...That way I catch most of the active stuff and get way over the normal volume you will run. I sometimes also go with music medium, and 5 second lift.

Im thinking of using a spectrum analyser for shits and giggles for setting up an inserted EQ. Have you had any experiences on this. This audio engineering stuff is very addictive!!!!!

The problem with this is that mic placement can cause problems. I did just that though with this technique:


I think it might have worked even better if the mic had been on the acoustical tiles instead of the hard surface...You could put the mic on the floor on a towel.. but it wouldn't last long in the heat of the mix

Remember that it's only sampling 1/3 octave of frequencies though... and that the higher the frequency, the farther apart the ISO centers are.

Yes.. it is addicting, the only problem is "The more you learn, the less you know..."

Gadget

Cresco

hey Dra,

How you doing??????? Hmmm...... I do realize the DRPA+ compression is a complete blanket over the entire mix, but my band is only a pub covers band. Our two female singers dont have very good microphone skills. Regarding to using the position of mic to control there personnal vocal volume. So im thinking the onboard comp would do the job. I need to also concider drawing a line in the sand with how much $$$$$$ I spend on sound reinforcement toys. I could go really nuts on buying everything. Like I said to Gadet this stuff is real addictive.
But..... thanks for your feedback.
I see DBX have a comp/gate/limiter rack in production. How many channels would you use to control a complete mic drum kit.

Yo Gadget,
nice photo....... will keep this in mind for RTA Mic placement.

Gadget

I don't do a whole lot of compression... I do have gates for unruly drums (Furman) usually 4 is plenty..As for unruly vocals I doubt a whole mix compression will catch all the subtleties and not squash all the snare hits (for one example).

The correct way to do it would be to use a comp on each channel that needs taming.

Gadget

Dennis

I would get a reasonably good quality comp for the two vocals (DBX 166XL) but I would want to think long and hard about how much money I wanted to spend on drum processing. If the drums are well behaved, they will sound better with no processing. Maybe get a quad gate as a bailout option but if the sound system is properly tuned, it shouldnt be necessary. On the other hand, if you are short on time and the toms are a mess, it could be faster to gate them than to have the drummer tune them.

Dennis

Cresco

Cheers all for your feedback, learning heaps of stuff!!!! I will keep in touch..

fiddler

Gadget wrote:

Gidday to you too Cresco!

Whats your opinion on the setup of the AFS with regards to how many fixed filters v's how many live filters.

I pretty much run with 6...That way I catch most of the active stuff and get way over the normal volume you will run. I sometimes also go with music medium, and 5 second lift.

SO 6 fixed and six live?

Gadget

I like to use 6 fixed and 6 live.. I find I usually don't need them... but then...

I also find myself changing my position here... a bit:

I don't do a whole lot of compression... I do have gates for unruly drums (Furman) usually 4 is plenty..As for unruly vocals I doubt a whole mix compression will catch all the subtleties and not squash all the snare hits (for one example).

Once upon a time Dr.J was looking for a FOH console... Presonus had just come out with the Studio/Live 16:4:2..I suggested that he check them out.. he bought one...that was a year ago .. or more??? :roll:

Fast forward to September... I found myself with only an occasional road gig after the demise of 2 club installs...and I was Jone-sing pretty bad... well I got a call form a company that has the area's casino's sound contract and were looking for someone to run the local casino. I took the job, and they have a Studio/live !6:4:2...

I have been working with the mixer for a few weeks now and I have a pretty good grasp of it's operation...One of the surprises was that with a FAT channel, with dynamics (compression/gate/expander/limiter) a variable HPF and 4 band semi parametric EQ.. for each of the 16 inputs, and 5 outputs, as well as the aux sends...

I found myself using compression on any number of the inputs... the caveat here is that each one of the inputs is completely different, and that each has it's own set of parameters and compression characteristics... In short, though I have begun using compression on MOST inputs...I believe that overall compression is a generally bad practice... I have however... experimented with compression of the outputs for "special needs"...

I'll keep you informed on my progress... and further musings...
G