Purchase a dbx Driverack, that you can program from your pc, program several system configurations and never look back.
Adjusting Bi or Tri Amped Systems
- Thread starter jokerswild
- Start date
With all due respect right back at you my friend, you are still not understanding. I said, ironically enough in very the red text that you yourself are quoting, that the only way to RUIN the event would be to cut them completely if you did not have tops that could pick up enough slack to keep things going nicely.
I didn't say or suggest to cut them - I was merely downplaying the negative impact of Kirby's scenario by pointing out that anything SHORT of cutting them out should NOT be an event-killer.
So yes - you have to have good stuff and know how to use it. I'm glad we agree now. :tritongue:
There is a reason they don't sound the same.
So basically what you're saying, is that you want everything to sound the same -- same amount of bass, same amount of mids, etc...?
That sorta defeats the purpose of playing different artists, don't you think...?
So now, you've taken the original source, compressed the heck out of it to make an MP3, and now are trying to make all the MP3s sound the same by adding more processing to it. Oh, and yer adding a whole bunch of gear to load in/out at the same time, to make yer MP3 sound "pristine"... :sqconfused:
More power to ya yorofl:
Dont it just seem a bit ironic. A Software provider downtalking the source which provides pallets of beer delivered to his home?
OK Yer got me my friend. I owe you a beer. Come to the Rose garden at 4.00pm next week. Rose will be there! :tribiggrin:
There is a reason they don't sound the same.
So basically what you're saying, is that you want everything to sound the same -- same amount of bass, same amount of mids, etc...?
That sorta defeats the purpose of playing different artists, don't you think...?
So now, you've taken the original source, compressed the heck out of it to make an MP3, and now are trying to make all the MP3s sound the same by adding more processing to it. Oh, and yer adding a whole bunch of gear to load in/out at the same time, to make yer MP3 sound "pristine"... :sqconfused:
More power to ya yorofl:
Nope! I meant in level. Play a regular song on vinyl and then play a Prince Song and you will see the difference. Then again that is u:triwink:nique!
Not downplaying them -- I think they are great for DJ work, jukeboxes, and listening to on yer iPod. In fact, I would say they are ideal for DJ work, because they make our job much easier on many levels, and still provide adequate fidelity given our surroundings.
I love vinyl, but there's no way in Hell I would go back to DJ'ing with it :sqerr:
Turn the volume up or down (BTW, gain is a whole different thing then volume).
I've discovered this neat little thing on my mixer -- it's a 3 band EQ -- it has bass, mid and high knobs. If the bass is too much, you turn the knob labeled bass counter-clockwise a bit, and through some magical process, the bass becomes less annoying to the people upstairs
That also works with the volume control, BTW.
Then again, I could do it your way, spend a zillion dollars on a bunch of processing gear, carry a whole bunch more stuff in and out -- and it essentially does the same thing those little magic knobs do... And given Mr. Murphy's fine law, at some point in time (usually when least desired), one of those components will cease to function properly.
But if you like lots of buttons, sliders, pretty lights and stuff -- then put all that stuff in there, and impress chicks. In fact, get an overpriced controller so you don't need to use your mouse or keyboard, and you'll impress even more chicks and guys with the big muscles you build... :yothumbsup: :yoBiggrin:
Well.... the thing with using the three-band board EQ for adjustment in a bi- or tri-amped rig, it's very easy to shift gain structure. Ideally, you want your gains at unity across all amp feeds.
I've done this... tweaked up the bass a bit with the board EQ to compensate for an older recording and my mic shifted to the subs. Use the mic and it's boomy and flabby. Our board has separate 3-band EQs for mic feeds and a 3-band for the mains out. The main board EQ stays at unity but I've had to cut the mic lows.
An electronic or active crossover should be set and forget. It's tuned to the speaker systems and drivers it's being used with. If you had good tone last weekend at X venue and too much bass this weekend at Y venue, it's a matter of house acoustics. The crossover is still set properly.
To remedy this, the operator may tweak the lower or mid-lower levels on the processing chain EQ to compensate. This practice permits a close, more accurate management of bandwidth and is less likely to cause frequency shift via the crossover. Remember, when a frequency swing is cut, adjacent frequencies appear to become louder.
I agree with Rick in that a rack full of processing isn't always necessary for DJ shows. Prerecorded material is already processed near to death as it is. Just sayin'... if you do bi- or tri-amp your system, you'll be better served with professional grade processing.
I've done this... tweaked up the bass a bit with the board EQ to compensate for an older recording and my mic shifted to the subs. Use the mic and it's boomy and flabby. Our board has separate 3-band EQs for mic feeds and a 3-band for the mains out. The main board EQ stays at unity but I've had to cut the mic lows.
An electronic or active crossover should be set and forget. It's tuned to the speaker systems and drivers it's being used with. If you had good tone last weekend at X venue and too much bass this weekend at Y venue, it's a matter of house acoustics. The crossover is still set properly.
To remedy this, the operator may tweak the lower or mid-lower levels on the processing chain EQ to compensate. This practice permits a close, more accurate management of bandwidth and is less likely to cause frequency shift via the crossover. Remember, when a frequency swing is cut, adjacent frequencies appear to become louder.
I agree with Rick in that a rack full of processing isn't always necessary for DJ shows. Prerecorded material is already processed near to death as it is. Just sayin'... if you do bi- or tri-amp your system, you'll be better served with professional grade processing.
Not downplaying them -- I think they are great for DJ work, jukeboxes, and listening to on yer iPod. In fact, I would say they are ideal for DJ work, because they make our job much easier on many levels, and still provide adequate fidelity given our surroundings.
I love vinyl, but there's no way in Hell I would go back to DJ'ing with it :sqerr:
Turn the volume up or down (BTW, gain is a whole different thing then volume).
I've discovered this neat little thing on my mixer -- it's a 3 band EQ -- it has bass, mid and high knobs. If the bass is too much, you turn the knob labeled bass counter-clockwise a bit, and through some magical process, the bass becomes less annoying to the people upstairs
That also works with the volume control, BTW.
Then again, I could do it your way, spend a zillion dollars on a bunch of processing gear, carry a whole bunch more stuff in and out -- and it essentially does the same thing those little magic knobs do... And given Mr. Murphy's fine law, at some point in time (usually when least desired), one of those components will cease to function properly.
But if you like lots of buttons, sliders, pretty lights and stuff -- then put all that stuff in there, and impress chicks. In fact, get an overpriced controller so you don't need to use your mouse or keyboard, and you'll impress even more chicks and guys with the big muscles you build... :yothumbsup: :yoBiggrin:
My Rig is not just for DJing, remember? :triwink: I am also doing Live Sound. Now here is a unit with lots of knobs and dials.
http://www.midasconsoles.com/images/content/products/product_shots/h2000/h2000-main.jpg