PX or AFS224 and a 231s?

Lachlan

Hi,

I run sound for my Bluegrass band- banjo, mandolin, guitar and doghouse bass. We run QSC K8s, K12s and a K-Sub for FOH. We have all kinds of mics for each instrument and musician (4 part harmonies on most songs) and we can run monitors this way. Feedback is not much of an issue with this setup. We want to run a single large diaphragm condenser (without monitors, of course!) when we play quieter venues, but I need to get rid of some ringing and feedback with the condensers.

Would the DriveRack PX suit my needs better than the AFS224 with a 231s eq? The AFS seems to be the obvious choice, but I have never used a feedback eliminator. I like the idea of the PX but it seems like it does way more signal processing than we need. What do you guys suggest?

Gadget

There is NO comparison between the 2 setups. The PX would be FAR better in every respect. Period.

Lachlan

I have only done a little reading on the PX so far. What is an approximate setup time once I'm a little familiar with it? Probably a lot faster than trying to eq a room and system manually. Heh!

Gadget

Well, the first time it can take up to and hour or so. If you can get the PX with the newest software the room EQ takes only a few seconds...Perhaps you might want to consider the DRPA+ and then you would have the ability to do mono 2 way FOH and a monitor?
mix as well

Lachlan

I'm concerned about the x-over settings. I've read about a lot of people who set everything up and then had no bottom end. If you have to manually set the subs then what's the point of spending all that cash on a PX when all I want is zero feedback? We mostly play in places like noisy bars where "quiet time" for setup and sound check never ever happens, so RTA Auto EQ probably will rarely function.

Gadget

That's why you set the system up BEFORE hand with flat response....The issue becomes when you attempt the LF auto EQ indoors. There LF standing waves build up and create super nodes that set up at intervals.

Most of your feedback frequencies are NOT in the LF region anyway, unless the large diaphragm mic is on a mic stand and there is a lot of LF vibration transmitting up the stand.

Not a big deal if you set the system up outdoors ahead of time with flat response and store the preset. It really can make a big difference in gain before feedback, and in the amount of channel EQ necessary. The thing is to have all frequencies represented equally, with no hotspots in the frequency range.

So those that have complained about the auto EQ indoors clearly didn't come here and learn why it's happening and how to prevent it.. It can be cured by simply turning the subs down about 4-6dB during the indoor auto Eq as well.

Lachlan

Mics have a low cut switch to elimate rumble from the stage floor. Works pretty well. Ok, so I should set up the system outdoors and save a preset once I get it Auto EQd flat? That ain't hard. Then it's just a matter of small changes between venues? That's not so bad. I'll get one and try it out.

Gadget

Remember to get the mic far enough away from the one speaker stack to all;ow the sound to develop, and get loud enough to get to typical concert volume, you ,ight even try a couple different levels for different venues and volumes. The reason is, if you get to close you will be asked to "turn down" the level because the input stage is clipping, by moving the mic away the you will be increasing the volume the PX can take without over driving the input stage.

Lachlan

Ok, I now own a PX!