Author Archives: dmaland

About dmaland

Danny Maland was introduced to the world of pro audio back in his
high-school days, almost accidentally. Danny has experience in both
the recording studio and live-sound reinforcement worlds, and has
found that he prefers the immediacy and intensity that live-sound
offers. In past years, he was a key player in establishing and
operating “New Song Underground,” an all-ages music venue offered as
an outreach by New Song Presbyterian to Salt Lake City. He is
currently the “inconveniencer of electrons and air molecules” at Fats Grill.
Danny holds a vocational diploma (MRP II) from the Conservatory of
Recording Arts and Sciences, and also a Bachelor of Science:
Information Technology from Western Governors University.

The Stars Too Distant

The big stuff is the small stuff, just more of it.

Please Remember:

The opinions expressed are mine only. These opinions do not necessarily reflect anybody else’s opinions. I do not own, operate, manage, or represent any band, venue, or company that I talk about, unless explicitly noted.

Want to use this image for something else? Great! Click it for the link to a high-res or resolution-independent version.

“Are the stars too distant, pick up the pebble that lies at thy feet, and from it learn the all.”

– Margaret Fuller


What worries people about new technology in the audio business is the thought of constantly having to retrain. What worries people about making the jump to bigger and more complex applications of audio technology is basically the same thing.

I say, stop worrying. Once you get beyond a certain level of fundamentals, you already know what you need to know to find out what you’ll need to know.

Huh, you say? Okay.

Audio production is a physical science. The laws that govern it are the same at all scales and in all situations – at least on this planet. The only things that change are specific implementations. Just as I would say on the topic of mixing consoles, the important thing is to know what you want to do. If you know what you want to do, you can start asking the questions about how to get that thing done in a particular situation.

The problems come when you get through shows by way of memorization. If you don’t know why you’re doing something, you won’t have any ability to recover from an unexpected situation. If you DO know why you just connected “Thing A” to “Thing B,” then you’ve got the foundational experience necessary to bypass “Thing B” if it fails.

I was once sitting in a meeting where I was half-seriously asked if I wanted to take another guy’s spot on a tour for Someone You’ve Heard Of™:

“Would you be able to handle an M7CL?”

“It’s a mixing console, isn’t it?”

“Yeah, but they all have their own quirks…”

I sat there, thinking, “An M7CL is a major console with significant market share, which means it can’t be some exotic, crystalline entity. Give me the hour or so necessary to figure out where Yamaha put the various major features, and I’ll be fine forever after.”

I mean, if the system’s engineer has the rig set up with any kind of reasonable I/O patching, the nuts and bolts of mixing a show come down to whether or not you can switch in the EQs and dynamics processors you want, and then get your channels connected to your desired outputs. Consoles generally make this pretty easy – it’s in the manufacturer’s best interests!

Of course, experience does matter. If you’ve only ever mixed two-channel gigs, and then you get dumped into a 20+ channel situation, you’re going to be in for a bit of a shock. The mental organization required is certainly greater…but the point is that the show really is NOT fundamentally different. All the same rules and limitations apply, but now your limitations have to be spread across many more inputs. Don’t memorize the sequence of events; Look for the patterns instead. The patterns will repeat themselves, with variations, at all scales. Once you start to recognize the patterns, the rules that govern audio production, the experience is rather like being able to “see the code in the Matrix.” You reach this point of being far more confident, because the unexpected is no longer devastatingly surprising.

The big stuff requires more effort than the small stuff, because it’s a lot of small, familiar stuff that has to be wrapped up into a larger package. But it’s still small stuff! The difficulties come in managing all the interactions. Practice counts, and experience at specific tasks is helpful – I’m not saying the opposite!

I’m also saying, though, that if you can plug in 3 channels you can learn to plug in 30.


That Fibber, Myself

I was never going to buy wireless gear again. Until…

Please Remember:

The opinions expressed are mine only. These opinions do not necessarily reflect anybody else’s opinions. I do not own, operate, manage, or represent any band, venue, or company that I talk about, unless explicitly noted.

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There is a taxonomy of falsehood. For instance, a particularly awful and hurtful falsity might be “a lie from hell.” Slightly less severe versions might be “a fib from heck,” or “a half-truth from West Jordan.” “Tall-tales from Hyrum” never really hurt anyone, as is the case for a “whopper from Utah County.”

In any case, I thought I was telling the truth when I said – to many people, repeatedly and emphatically – that I would never again put my own money into wireless audio. I was adamant. Determined. Resolute now to defend fair honor upon the glorious field of contest, I say to thee, Knights of the West, STAND!

Yeah, well, you can see how that turned out. Maybe what I said was “a fiction from Erda.” I’m not really sure.

Here’s what happened. I subcontract for a local production provider. A New Years Eve show had been on the books for quite a while, only for it to suddenly vanish in a cloud of miscommunication. The provider scrambled (thank you!) to find a show for me to do, so that I’d have a job that night (thank you!). Normally, we’d have time to handle some coordination for the show advance, but this was a situation where haste was demanded. The provider thought that I had a couple of wireless handhelds available. The show was specced, booked, and advanced. About a day and a half before downbeat, I got the input list.

A strict requirement was at least one wireless handheld. Eeeeep!

It was too late to cross-rent from one of our shared connections. My favorite place to buy or rent “right now” items was closed for inventory. I grabbed my credit card and drove to The Geometric Centroid of Strummed Instruments. (Think about it.) I was in and out in a jiffy, carrying with me a Beta58 Shure GLXD system. As much as the 2.4 Ghz band is becoming a minefield, I went with a digital system; If I was going to spend the money, I did NOT want a unit operating in a part of the spectrum that the FCC would end up auctioning or re-apportioning.

I could have gotten something significantly cheaper, but I wouldn’t have been as confident in it. My imperative was to bring good gear to the show. If I brought something from the bargain-bin, and it ended up messing the bed, that would be hard to excuse. If a better unit misbehaved, I could at least say that I did my due diligence.

In any case, the show had to go on. I’m still not a fan of wireless. I still don’t intend to add to my inventory of audio-over-airwaves devices. Even, so, you sometimes have to bend yourself around what a client needs in a short timeframe. It’s just a part of the life. Of course, after the show, my brand-new transmitter had lipstick embedded in the grille, but that’s a whole other topic…


The Pro-Audio Guide For People Who Know Nothing About Pro-Audio, Part 3

Onward to the microphone preamp…or trim.

Please Remember:

The opinions expressed are mine only. These opinions do not necessarily reflect anybody else’s opinions. I do not own, operate, manage, or represent any band, venue, or company that I talk about, unless explicitly noted.

Want to use this image for something else? Great! Click it for the link to a high-res or resolution-independent version.

“Signals at mic-level may require large, positive gain changes to correctly drive downstream electronics, and so a jack that can be connected to a microphone preamp is needed in that case.”

Read the whole thing, free, at Schwilly Family Musicians.


All I Want For Christmas

Yeah, some of it’s gear, but…

Please Remember:

The opinions expressed are mine only. These opinions do not necessarily reflect anybody else’s opinions. I do not own, operate, manage, or represent any band, venue, or company that I talk about, unless explicitly noted.

Want to use this image for something else? Great! Click it for the link to a high-res or resolution-independent version.

Dear Santa,

I’ve been a good boy this year. Well, sort of good. Marginally good. Good was involved at some point. Good intentions.

Actually, do you have a credit system?

Anyway.

Here’s my list for this Christmas, in no particular order:

1) FOH mid-highs and monitor wedges that peak at or above 130 dB SPL @ 1 meter. I don’t really want to be that loud, but at least I can say that they’re in the inventory.

2) Subwoofers that play flat to 20 Hz, weight 20 lbs. a box, and are no bigger than 18″ cubed. I know that’s physically impossible, but those elves at the North Pole do know some magic, right?

3) A little more room for gear in the transport. Because I’m always running out of room. Because I’m always getting that one more piece of gear.

4) Related to #3, an effective 12 Step program.

5) Please ignore #4.

6) More people that want to do shows! But in a nice, even distribution, please, because I’ve had to turn people down over scheduling conflicts. Why does everybody have to want the same weekend?

7) A gear-hauler with enough interior height that I can stand up normally while working inside. I get nervous when I can still feel a show in my back after a day or two.

8) Venues where I can maneuver and park the aforementioned gear-hauler. (Seriously. The two most important features of a venue might just be adequate electricity and an honest-to-goodness lot for vehicles.)

9) Venues that can answer their email. I’ve let go of the whole “promoter” experiment, but I still want to do the occasional show…and it’s depressing that folks won’t communicate. Especially when it’s a rental; Come on, I’m trying to give you money, and you’re making it difficult!

10) Venues that can follow-up as promised. Six months after being promised a proposal “by the end of the day,” I still haven’t seen anything from that one place I was talking to. Of course, I don’t really care anymore if those specific people get back into contact. It’s the principle of the thing!

Oh, and…

Thanks for everything so far. I get worried sometimes, but I’ve had a lot of opportunities, and I’m trying to have a better sense of gratitude.

Best regards,

Danny


The Turbosound Milan M12

A nice box, but flawed.

Please Remember:

The opinions expressed are mine only. These opinions do not necessarily reflect anybody else’s opinions. I do not own, operate, manage, or represent any band, venue, or company that I talk about, unless explicitly noted.

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When I was adding onto my system last year, I chose Turbosound Milan as the product line for FOH. Since putting those boxes into service, my feelings have been mixed. The most mixed of those feelings have been reserved for the mid-highs I chose, designated as “M12” by the manufacturer.

I do like the compact nature of the package. Other powered 12s that I carry are similar in weight, but inefficient in their use of bulk. The Milans chew up less space, and yes, they have a monitor-angle on both sides. You can properly book-match a pair of the little darlings, which is something I appreciate.

I also like the overall fit and finish. Yes, they’re plastic boxes, but it’s the kind of plastic that can take some wear gracefully. The controls and connection points seem to be reasonably well-engineered, with slide switches that clearly indicate where they’re set. (Push-toggles are fine if they unambiguously show their state, but plenty of them don’t – so, kudos to Turbosound on this front.) I often work with other boxes that really are just fine…but feel “cheap” when it comes to XLR connectors and back-panel interaction. The Milans are a definite upgrade there.

M12s do seem to be tuned pleasingly at the factory, which is a big help for throw-n-go gigs where you have to make things work out tonally without a lot of prep time. Your mileage may vary, of course, especially since just about anything can be whipped into shape these days.

Also, let’s be honest: My anti-establishment nature has a special place for brands that are less common. Everybody knows JBL, Peavey, EV, Yamaha, and so on, but Turbosound is a loudspeaker marque that’s a little less trafficked in small-format circles. (Turbo’s big-boy boxes are more well known to the folks who work at that level.)

What do I not like? Well…

Milan M12s are a (tiny) bit expensive for what you get – both in money and weight. When JBL marked their Eon 612s down, they really threw the gauntlet at Turbo. Spend $50 less, get a box that has essentially the same performance, and save about 12 lbs.

…and Turbo, geeze, can we please have a real “thru” on the back? Sometimes I just want to chain two boxes together, and I don’t want to have to volume-match them by ear. Especially if I’ve forgotten to do so before the speakers are eight feet in the air already.

But that’s not the biggest thing.

What really put me off with the M12s was how they will audibly distort before they illuminate their clip indicators. It’s not a horribly nasty sound, but its “too obvious” and a little embarrassing. When somebody addresses the crowd at concert level, using a mic that has some low-mid dialed into it, there’s no reason that a loudspeaker of this type should suddenly give the impression of being underpowered. Sure, these units travel with the crowd that peaks under 130 dB SPL @ 1 meter, but so do my Eons and they don’t seem to misbehave when still running “in the green.” I was so unsettled by this quirk of the Turbos that I retired them to moderate-volume-only use – which they are great at, I should mention.

Someone might point out that the Turbosounds could simply dislike my gain structure. I often run powered loudspeakers with the input controls at full-throttle (when it’s practicable), because full-throttle is an easily repeatable setting. Also, I know I can get maximum SPL at around -20 dBFS on my console outputs. I can’t discount the possibility that the M12s fail to handle that kind of use gracefully at the input side, which means that my dislike is user-error. At the same time, though, I have to go back to my JBL Eons; They tolerate being run wide-open without any marked complaint, which is what I expect from a loudspeaker in this price-range.

Milan M12s are good, but they don’t seem to be good enough to spend “more money” on.


The Q2Q Problem

Instead of being arrogant…communicate!

Please Remember:

The opinions expressed are mine only. These opinions do not necessarily reflect anybody else’s opinions. I do not own, operate, manage, or represent any band, venue, or company that I talk about, unless explicitly noted.

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Maybe you’ve seen this comic from Q2Q. In it, an unhelpful audio operator flatly refuses to increase a monitor send, and then condescendingly justifies himself by claiming that doing so will make the show sound bad.

To quote The West Wing: “This is why good people hate us.”

It’s been pointed out that Q2Q is a comic about theater, which has different norms for sound reinforcement than Rock And/ Or Roll. It’s been pointed out that the omnidirectional microphones commonly used in musical theater productions aren’t so great for “folding back” into monitor world, because they’re…you know…omni.

I know all that. It’s irrelevant.

What’s on display in the comic is crap behavior and poor attitude that should be unacceptable on any professional crew. Folks, if you are an audio human, your job is TO HELP PEOPLE PERFORM. It is not to get your own definition of the perfect mix at the expense of everyone else, whilst simultaneously acting like you’re the grand ruler of the universe.

If your defense for flatly refusing a change on deck because it will make your precious, FOH mix sound “bad,” I have some words for you: Cowboy the heck up. Work those channel EQs to find a decent compromise. Roll those high-passes up and create an acoustical crossover between the stage wash and the FOH PA. Bus your vocals together and insert an EQ there. Audio craftspersons are paid to deal with the difficulties involved in making as many people – sometimes with conflicting needs – as happy as possible. (Within limits, of course, but the more-monitor issue is 100% within those limits.)

Further, if you are physically unable to make a request happen, I can assure you that treating your performers with contempt for making the request is the wrong idea. Get your butt out from behind the console, and go talk to someone. Take 10 seconds to explain why there’s no more gain-before-feedback available to the system, or that you’re out of sends, or…whatever it is. It’s not their job to know all that stuff by heart – it’s yours.

…and yes, it is your job to be able to interface with the players and kindly educate them when necessary. In other words, you have to recognize them as human beings who are actually capable of understanding what’s going on. If, after doing so, you’re still getting ridiculous demands, you still have to be a professional about it.

After 22-ish years of doing this, I’ve learned many things. One of the most important things is that top-shelf production support is really not about having all the biggest toys, newest whiz-bangs, and being able to say that you’re a crack operator of [insert large-frame console here]. Those things help. They are sometimes necessary. But they matter very little without the basic elements that so many people alarmingly miss: Showing up on time. Doing what you said you would do. Caring about the show. Taking the performers seriously. Being pleasant. Treating people like actual people.

I’ve walked away from shows that I didn’t think went very well with people still being all smiles, not on the force of “mad mixing skillz,” but just being willing to give a thumbs-up and take a crack at whatever was asked for. So, be nice. And if someone asks you for more [something] in the monitors, at least try, please.


But WHY Can’t You Fix Acoustics With EQ?

EQ is meant for fixing a different set problems.

Please Remember:

The opinions expressed are mine only. These opinions do not necessarily reflect anybody else’s opinions. I do not own, operate, manage, or represent any band, venue, or company that I talk about, unless explicitly noted.

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A distinct inevitability is that someone will be in a “tough room.” They will look at the vast array of equalization functionalities offered by modern, digital, sound-reinforcement tools, and they will say, “Why can’t I fix the space?”

Here’s the deal. A difficult room – that is, one with environmental attributes that make our job harder – is a time problem in the acoustical domain. EQ, on the other hand, is a tool for changing frequency magnitude in the electronic domain.

When it comes right down to it, bad acoustics is just shorthand for “A sound arrived at a listener multiple times, and it was unpleasant.” A noise was made, and part of its energy traveled directly to somebody’s ears. Some other part of its energy splattered off a wall, ceiling, or floor…or a combination of all of those, at least once, and then also arrived at somebody’s ears. Maybe a lot of the high-frequency information was absorbed, causing the combined result to be a muddy garble. Of course, all the transients getting smeared around didn’t help much, either. It gets even more fun when a sound is created, and bounces around, and some of it goes into a monitor system, and gets made again, and bounces around, and some of it goes to the FOH PA, and gets made AGAIN, and bounces around, and all of that gets back into the microphone, and so that sound gets generated again, except at a different level and frequency response, and…

How’s an EQ going to fix that? I mean, really fix it?

You might be able to dig out a hole in the system’s response that compensates for annoying frequency buildup. If the room causes a big, wide bump at 250 Hz, dialing that out of the PA in correct proportion will certainly help a bit. It’s a very reasonable thing to do, and we engage in such an exercise on a regular basis.

But all the EQ did was change the magnitude response of the PA. Sure, equalization uses time to precipitate frequency-dependent gain changes, but it doesn’t do a thing in relation to environmental time issues. The noise from the PA is still bouncing madly off of a myriad of surfaces. It’s still arriving at the listener multiple times. The transients are still smeared. The information in the electronic domain got turned into acoustical information (by necessity), and at that point, the EQ stopped having any direct influence at all.

You can’t use EQ to fix the problem. You can alleviate frequency-related effects of the acoustical nightmare you have on your hands, but an actual solution involves changing the behavior of the room. Your EQ is not inserted across the environment, nor can it be, so recognize what it can and can’t do.


What’s Next?

I don’t know, but we’re probably not going to blow the lid off of audio in general.

Please Remember:

The opinions expressed are mine only. These opinions do not necessarily reflect anybody else’s opinions. I do not own, operate, manage, or represent any band, venue, or company that I talk about, unless explicitly noted.

Want to use this image for something else? Great! Click it for the link to a high-res or resolution-independent version.

I get extremely suspicious when somebody claims to have solved a fundamental problem in audio. Mostly, this is because all the basic gremlins have been thoroughly killed and dried. It’s also because sonic physics is a system of laws that tolerate zero BS. (When somebody claims that they have a breakthrough technology that sounds great by way of spraying sound like a leaky hose, I know they are full of something brown and stinky.)

Modern audio is what I would definitely call a mature technology. In mature technologies, the bedrock science of the technology’s behavior is very well understood. The apparent breakthroughs, then, come when another technology allows a top-shelf behavior to be made available to the masses, or when it creates an opportunity to make a theoretical idea a reality.

A great example is the two-way, fullrange loudspeaker. They’re better than they have ever been. Anyone who remembers wrestling Peavey SP2 TI boxes is almost tearfully grateful to have small, light, loud enclosures available for a rock-bottom price. Obviously, there have been advances. We’ve figured out how to make loudspeaker drivers more efficient and more reliable. Commercially viable neodymium magnets give us the same field strength for less mass. The constant-directivity horn (and its refined derivatives) have delivered improved pattern control.

These are important developments!

Yet, the unit, as an overall object, would be entirely recognizable to someone magically transported to us from three decades in the past. The rules are the same. You’ve got a cone driver in a box, and a compression driver mated to a horn. The cone driver has certain characteristics which the main box has to be built around. It’s not as though we’ve evolved to exotic, crystalline sound-emitters that work by magic.

The palpable improvements aren’t really to do with audio, in a direct sense. They have to do with miniaturization, computerization, and commoditization. An active loudspeaker in the 21st century is likely to sound better than a 1980s or 1990s unit, not because it’s a completely different technology, but because the manufacturer can design, test, tune, and package the product as a bundle of known (and very carefully controlled) quantities. When a manufacturer ships a passive loudspeaker, there’s a lot that they just can’t know – and can’t even do. Stuff everything into the enclosure, and the situation changes dramatically. You know exactly what the amplifier and the driver are going to do to each other. You know just exactly how much excursion that LF driver will endure, and you can limit the amplifier at exactly the point to get maximum performance without damage. You can use steeper crossover slopes to (maybe) cross that HF driver a little lower, improving linearity in the intelligibility zone. You can precisely line up the drivers in time. You can EQ the whole business within an inch of its life.

Again, that’s not because the basic idea got better. It’s because we can put high-speed computation and high-powered amplification in a small space, for (relatively) cheap. Everything I’ve described above has been possible to do for a long time. It’s just that it wasn’t feasible to package it for the masses. You either had to do it externally and expensively, shipping a large, complicated product package to an educated end user…or just let the customer do whatever, and hope for the best.

I can’t say that I have an angle on what the next big jump will be for audio. I’m even skeptical on whether there will be another major leap. I’m excited for more features to become more affordable, though, so I’ll keep looking for those gear catalogs to arrive in the mail.


The Lessons Of El Ridiculoso

Loudspeaker experiments are very educational.

Please Remember:

The opinions expressed are mine only. These opinions do not necessarily reflect anybody else’s opinions. I do not own, operate, manage, or represent any band, venue, or company that I talk about, unless explicitly noted.

Want to use this image for something else? Great! Click it for the link to a high-res or resolution-independent version.

El Ridiculoso is an idea that’s been bumping around in my head – conceptualized in various morphologies – for years. With the help of the extravagantly cool Mario Caliguiri, who does custom woodworking out here in the high desert, the idea is now incarnated.

Inwoodnated.

Inwoodnated is a real word, because I made it up. All words are made up.

Anyway…

El Ridiculoso is a quad-amped monstrosity meant to go “pretty loud” (but not insanely loud) with 2300 watts of peak input creating about 131 dB of peak, 1 meter SPL. It is very definitely NOT meant to play down low. The conveniently-sized, sealed box for the 15″ driver starts rolling off somewhere around 75 Hz, and really, El Ridiculoso is supposed to be used with subwoofers carrying everything up to 100 Hz anyway. (Sealed boxes are easier to build, and generally pretty forgiving. You can “fudge” the internal volume a bit and still have the whole driver-and-box system work pretty well.)

A few days ago, I got to hook amplifiers up to the boxes and hear them make noise. I found the experience to be rather educational in a few areas.

If You Tune It By Ear You Will Probably Get It Wrong

I set up an X32 mixing console to act as a four-way crossover: You downmix two channels to the main bus, and then send the main bus to matrices 1-4. (The matrices have crossover filters available to them if you have the right firmware upgrade in place.) Because I wouldn’t be working with subwoofers for the test run, I started off by putting the 15’s high-pass at 75 Hz, with the low-pass at 400 Hz. The 12 handled 400 – 1600, the big horn did 1600 – 6400, and the smaller horn took everything above that.

And, of course, I started out by playing music and pushing the different bandpass levels around.

I ended up with an overall sound that was reasonably pleasing, but somewhat tubby (or resonant) at certain bass frequencies. I wondered if the 15’s box was booming for some reason – maybe it was acting like a drum?

In any case, I decided it was time to do some measuring for a real, honest-to-goodness magnitude line-up of the boxes. As I started running sweeps and making adjustments, one thing became VERY clear: Tuning the system by ear had sent me way off course. In some cases, 10+ dB off course. (!)

A Basic Bandpass Magnitude Alignment Fixes A Lot

When you’ve missed the mark as far as I had, information that should blend nicely with other information…doesn’t. You get things like overpowering bass notes, because the crucial midrange just isn’t there to balance it all out. I was actually pretty stunned at just how much better the stack sounded with all the boxes in basically the right place, volume-wise. The music I was playing suddenly started to have the tonal characteristics I’d grown used to from listening at home.

This was without any corrective EQ, which is what I worked on next.

Going through and getting a fine-detail equalization solution certainly changed things, but the difference was not nearly as pronounced as what had happened before. This surprised me as well. I had expected that applying the “make-em-really-flat” solution would result in a massive change in clarity, but really, we were most of the way there already.

Large Horns Make Large Noise

I discovered rather quickly that sitting with my head right up against the 2″ driver-exit horn was unpleasant. The amount of noise that thing can make is impressive. The matrix feed to that bandpass ended up being 12 dB down from everything else, and I still preferred being across the room. I’ve known for years – at an academic level – that 2″ exit compression drivers are used when you need to tear faces off, but this was the first time that I even got a whiff of what they’re really capable of.

Awesome But Impractical

Playing with El Ridiculoso is a great treat, but I can’t imagine getting three more built for regular gigs. For a start, they’re relatively complicated to set up, because all the bandpasses are in separate enclosures…and there are four bandpasses per speaker system. Big-boy loudspeakers might have three bandpasses, but they package them all into a single cabinet. Plus, you usually get one Speakon connector which you can use to mate all your power channels to all your drivers in one click. El Ridiculoso needs four separate connections to work.

Add to that the need for subwoofers in many cases, and now you’ve got a five-way system. Then you have to add all the amplifiers necessary, and all the crossovers/ system management, which results in a pretty hefty drive rack or two. Then you have to add all the speaker cable. You end up spending a lot of money, and a lot of weight, just to make the things work.

And, the only way to get them up in the air is scaffolding, or stacking them on a big pile of subs.

In the end, a compact, ultra-engineered box from a major manufacturer really has the advantage. El Ridiculoso sure does have a lot of “cool factor” as an exotic idea, but a good, solid, self-powered biamp unit will go just about as loud and require far less care and feeding to be day-to-day useful.

This doesn’t mean I’m sad about the experiment. I knew from the beginning that I wasn’t going to design a better mousetrap than every speaker manufacturer on the planet. What I wanted is what I got: A different implementation that I could use to get more hands-on understanding of how these things work.


The Pro-Audio Guide For People Who Know Nothing About Pro-Audio, Part 2

The series continues with a discussion on cable.

Please Remember:

The opinions expressed are mine only. These opinions do not necessarily reflect anybody else’s opinions. I do not own, operate, manage, or represent any band, venue, or company that I talk about, unless explicitly noted.

Want to use this image for something else? Great! Click it for the link to a high-res or resolution-independent version.

From the article:

“The simplest and most robust connection possible is a single cable carrying analog electrical signals. Analog cabling is subject to many problems, of course, including noise induced by electromagnetic interference. However, its simplicity reduces the number of ways that an outright failure can occur, and the connection tends to degrade “gracefully.””


Read the whole thing for free by visiting Schwilly Family Musicians.