might have to dig out my old trumpets and poast pic of them. i have a 'slide trumpet' also called a piccolo trombone that was made in 1916-17. was my grandfathers and he gave it to me.

My interface won't turn on It uses an AC adapter is an ALESES MultiMix6 USB 2.0.

Is it likely the AC adapter or the interface? Feel like crying

I have established the adapter is ****ed and its 10v and apazrently they just do not exist on pkanet earth and cant find parts for this interface **** my life

this (and a digi002 rack) are all that remain of my old setup. probably my favorite of the mics i've owned.



it just sits there now. doubt i'll ever even use it again

Anyone tried the iPhone app ClearTune?

I got it, very pleased with it so far.



As a brag, I sang that perfect B btw

TOLD YOU PEOPLE YOU COULD GET A PERFECT E WITH A PHONE

here you go mang.

Has anyone had any experience with JBL EON315's?

I'm looking for something that will perform well for solo Acoustic Guitar and Vocals, while sometimes pushing them a little harder with a drum machine and electric guitar.

At the moment I have a Yamaha powered mixer, but will eventually match them up with an Allen and Heath non-powered mixer.

The cheapest price in Australia seems to around the $550ea mark, which is super cheap imo and compares well to the US price (which is unusual).

For a comparison the Mackie Thump TH-15a (rated at 400w) is around this price and was going to be my first choice in this price range, but I have since heard/seen quite a few negative reviews.

Cheers

Yeah, I have used the JBL EON series quite a bit, but more often in a stage monitor situation. I have not used that particular model as a main before. I think they would do quite well for what you are looking to do with them. I'm guessing these would be used for smaller bar gig type shows? Regardless, I'd vote JBL over Mackie any day.

+1 also to Allen&Heath. A lot of venues I worked in had the GL series mixer and I enjoyed working with them. Easy to use, sounded good and priced right.

Cheers bud.

Yeah usually small bar and restaurant gigs.

I'd prefer the EV Live series (ELX112p) or the QSC K10's or 12's, but they are up over the 1k each mark.

I know for a fact the EV's sound great, but I am on a super tight budget.

I guess I could get 1 EV for now and add another at a later stage, but I was thinking if the JBL's perform well I can get it all sorted now in one hit.

Yeah I am a bit of an Allen and Heath fan after hearing a couple of different models paired with both EV and Turbosound speakers.

The QSC K10's are very nice... but yes, more costly. Were you looking at a 1 or 2 speaker setup with the EON's?

Any pro audio type rental services in your area? Could rent a couple different model speakers for successive shows and see which you like better.

Yeah 2 x FOH and 1 foldback would be the setup.

I have a Yamaha powered 10" for my monitor which works pretty well.

I have 2x Yamaha passive 12e's for my FOH at the moment, but they just don't cut it.

I could get away with using one of them for my monitor, and having the powered Yamaha + say 1 of either the EV's or QSC's as FOH in the interim.

Probably not ideal, but workable.

No hire shops in close vicinity, but about an hour away. I have an acquaintance who runs an engineer/sound business, so I could try and see if he has some different speakers to try.

He usually runs pretty high end equipment though. (Mostly Turbosound)

Yeah, mismatched FOH speakers just sounds like a sin to me But surely workable. Highly unlikely ANYBODY would ever notice or think twice about it. 98% of the time I have any quip about something audio, I'm usually the only one who notices.

tangent/ Went and saw a movie last weekend and the theatre calibration was totally ****ed. The right channel was almost non existent, which I noticed mostly when music was playing. Being that dialogue is mostly mixed into the center channel, it wasn't affected too much. The LFE channel was WAY hyped. After about 5 minutes I finally had to ask if I was the only one bothered by this..... and yes, per usual, I was. Everyone else I was with hadn't noticed. /tangent

I've never used Turbosound equipment. Was checking out their site and definitely looks like nice stuff. Obviously I can only go so far without actually hearing them but looks pretty good in writing and pictures.

I guess it's the same as true audiophiles that will not listen to music unless it is through a 3 trillion dollar system that meets their exact specifications - real world most people are listening to degraded signals through 2 dollar earphones!

I wish I had your ear for the sound.

That's what I like so much about engineers, and something I wish to develop in myself.

I didn't know much about Turbosound until I met this guy, except I knew they were expensive.

This guy tours with some fairly big bands here in Australia and his primary speaker collection consists of Turbosound and ElectroVoice (as monitors).

Those EONS are only rated at 280w - 220w for low and 60w for high.

Do you think that would do the job for most small bars and restaurants? (the biggest against from the reviews I have read has been their lack of power - everything else gets a thumbs up)

I'm guessing these venues are probably in the neighborhood of 150-200 max capacity? If that's the case, with a pair for FOH, I think those should do the job just fine. Some friends of mine run a bar trivia company using a single, small 150W-200W speaker (a crap brand too), and that works fine for them. Granted, it's different program material than music performance, but either way, a combined total of around 500W in a small venue should be adequate.

If you think that's pushing it too close, for only about $150 more, you could up it to the EON515 which is considerably more powerful at 625W.

Yep that's right, usually around the 150-200 capacity.

I have been looking at the whole JBL range under $1200.

Boy that's light weight for 15" speakers - 32.5pounds (under 15kg's)!

The more I think about it, the more I think I'd prefer either these, the QSC's or the EV's and will have to buy one at a time. So I guess it's a matter of working out which brand I go for by some comaprisons.

I get what you mean about the matching of the FOH speakers, though as you said it is highly unlikely anyone (except a very small % of the population, yourself included!) would notice.

I've played gigs where I know the sound has been absolute crap and people were raving about it afterwards (in a positive way!). I just shake my head and think wtf were they hearing!

Thanks for all of the advice, I really appreciate it.

No problem man, keep me posted with your progress. I'd be curious to hear what you end up going with.

I know it's been a thousand years since I posted etc but I ended getting the Allen and Heath Zed 12fx and the Electro Voice ELX112P (two for FOH).

I've had the EV's for a month or so now and love them. Really solid sound at all sound levels, which is really important for me, as I play a range of venues from quiet restaurants to larger loud pubs and clubs. My previous setup was quite horrid at all but high levels.

The Allen and Heath desk only arrived today and I just did a quick session to test it out. I still have a bit of tweaking to get it to the sound I want and need, but I am sure it will be good.

My foldback was peaking out a bit and I just need to resolve that, as I need it to be able to put out good volume at some of the venues I play at, without cutting out due to sound/volume limiting. That seemd to be happening a bit at first trial.

Anyway it's good to see the Studio find a home and I hope to back posting a bit more too.

Cheers.

Welcome back. Sounds like you are pretty well setup now, glad to hear it. I've always been a fan of the A&H stuff.

Proper gain staging is the key to getting a solid foldback.

Haven't posted in awhile either, but I have a "story" that I find rather funny.

Decided to pick up the Universal Audio Apollo after hearing nothing but great things about it. I wanted to use that as the basis for a full revamping of a smaller studio in my garage.

Put it in the rack, looks amazing. Went to install the software and it turns out that I needed to have 10.6.8+, and I had 10.5.8. No big deal. Did the upgrade, and was ready to go. Oh yeah, I have Pro Tools 8 on that computer.

So, now it's been 2 weeks and I haven't even had a chance to use it because I need to have Pro Tools 9+, and I might as well go all the way to 10. Won't be able to use it for another week.

BOOOOOO!!!!

Cheers!

Yeah I haven't upgraded gear in over a decade, so totally due.

I think the A&H gear you get some quality gear at affordable prices at their entry level. Obvioulsy you get some trickle down effect from their high end gear in the technology and design they put into it.

I mean everything is getting manufactured in China (Asia) now, so I guess they have their **** together.

So any tips on getting that balance with high enough gain without feedback?

I mean I have read tips on dialing it up to the point of feedback and then just pulling it back a fraction. The problem with this is I play so many different rooms it's not always that simple.

One venue has a timber stage (a permanent structure which is solid timber flooring and sides but floated above the main concrete flooring) and it just produces this rolling feedback periodically throughout the night. I assume it's a vibrational thing, so I tried getting the foldback up off the floor. It seemed to improve it, but far from perfect.

They obviously want to keep us all in the "Technology Loop"!

I have been using a 2006 version of Cubase for the last 5 years as I realised for what I want and need if it worked in 2006 it will work in 2012.

Obviously new technology is great and things are improved, but I think the basic foundation of Audio Software hasn't changed much in that time (I could be totally wrong and will stand corrected there).

As an example I got Sonar bundled with my A&H desk and I had Home Studio back in 2004 and apart from a nicer looking interface I just think it's much the same.

I think making software backwards compatible is something very doable, but maybe not attractive enough to the companies involved.

I remember the same issue with Direct X many years ago and whilst it wasn't a $ issue, as you could get it free, I had dial up and it was always a monster file that took like 20 hours to DL and they updated it constantly (whine over!).

It doesn't bother me at all that they require these upgrades, even when they cost a lot. I'm not too happy with myself for not researching that I'd need those, but that's my fault. That's the game and I get it.

There has been a huge change in the quality of the higher end stuff. And Pro Tools has only gotten better and easier to use. Especially the MIDI, but I don't do much of that. PT9 was kinda BS though when it first came out. It was supposed to be standalone and you were supposed to be able to use any interface you wanted, but without doing some weird hacky stuff, you couldn't use older PT interfaces with newer PT. I set up a friends studio and they had an 002 and an original M-box and couldn't use either for awhile.

I still have a Mix 24 PT setup at my main studio (pics in this thread) and that is from the early 2000's. Works just fine and it can run 24in/24out simultaneously. I'm hoping to upgrade that one soon, but it's running like a beast for the 6 years it's been running, and for however many years it was running before that.

I'm in the same boat with my personal computer. I just have a mobile rig on a MacBook Pro but it's still on 10.5.8 as well. Want to upgrade, just haven't really had the need to on that one yet. I'm using PT10 on a Mac Pro at work though and I really dig it. The clip gain and timeline cache features are probably my 2 favorite additions.

This kind of falls into the whole "if it ain't broke, don't fix it" territory. That's sort of the mentality I've had with my above mentioned mobile rig. It runs like a charm and I don't really want to mess with it since it's so stable. Eventually, it's all gotta upgrade though. Gotta love the rapidly moving world of technology.