Friday, 11 August 2006
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| Installing a Larger Hard Drive in a Masterlink.... Guest 21:04:15 |
| | Hi all.....
I have an older Masterlink that I'd like to throw a larger hard drive
in....
Alesis has instructions how to do this here:
http://www.alesis.com/support/faqs/swappingdrives.pdf
But after reading comments here and elsewhere, it might not be a piece
of cake to install?
Anyone here do the surgery and have a comment or two?
Also, does anyone have a recommendation for a good hard drive to
install?
Kurt Albershardt suggested on these pages:
"See if you can find a Maxtor 2F040L0 drive. Low profile 40 gig, has
the
32 mbyte capacity limitation jumper, and as quiet as a laptop drive
(also only draws ~13 Watts.)"
Sounds like a winner to me, but I thought I'd run it past ya'll to see
if there are any other options or comments....
Lastly, what should I expect from the upgrade?
More storage I assume, but will it be a quicker CD burning machine??
Thanks in advance!
Bruce
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| Bass driver/Power amp matching Tds 19:18:51 |
| | I am relatively new to sound reinforcement and would like ask a little
advice from those of you with more experience.
To give a bit of background, my PA system, is used for vocals,
instruments and (fully mic'ed) drums at local live rock music gigs of
around 200 people.
I have a two full-range ported speakers on each channel with a
Celestion Truvox 1525e in one and a Celestion Truvox 1225 in the other
on each side. Both sides are driven in parallel pairs in each case by
a channel of a Behringer EP1500 power amp. This provides a max of 450
W rms into 4 ohms per channel. The power amp set internally to
roll-off at 100Hz. This arrangement gives adequate power reserve with
good clarity and headroom.
For my Bass coverage, I have two Bass speakers each fitted with a
Truvox 1530 driver in a ported reflex cab. They are driven by a second
Behringer EP1500 power amp fed from an adjustable frequency low-pass
output on my EQ, normally set at about 130 Hz (18db/octave) working in
a supplimentary mode in support of the speakers mentioned above. This
amp is set to roll-off the bottom end at 30 Hz.
To-date, I have been running the "subs" with the power amp in
mono-parallel mode with about 280 watts available to each speaker
output with each 8 ohm speaker. While the system sounds good, I would
like a bit more bottom-end and amp headroom available sometimes,
particularly for the kick drum and bass guitar.
The obvious solution is to change the second power amp into bridge mode
which will give me a maximum of 1400 Watts rms into the 4 ohm combined
load of the paralled speakers. If necessary, I have an adjustable
external power limiter available (limits the amplifier gain by
monitoring the amp output voltage).
My questions are:
1. Will the 1530's with their 400 watt (AES) rating be adequate to
handle the potential output of the amplifier alone, or will I need to
use the limiter?
2. If you advise using the limiter, at what power level should I limit
the power output?
Please advise.
Thanks and Regards,
Terry Shipman
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| A new Lab Gruppen power amp discussion forum Powerampfreak 19:16:41 |
| | Hi all,
I wish you all indeed, very welcome to my discussion group.
You'll find it if you google for: LabGruppen_poweramps.
Here I want to have discussions about anything regarding, what I think,
one of the best sounding poweramp in the world.
I wish you very welcome!
Regards
The poweramp freak
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| | 2 answer | Add comment |
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| Re: Rocky Mountain High Soundhaspriority 18:38:13 |
| |
"brownt@flash.net" wrote:
1. Not much effect on direct radiator speakers. The radiative coupling> between diaphragm and air accounts for <10% of the energy going into> the driver. So the interaction that makes the actual sound is a> secondary effect. IME a slight increase in total Q, slight decrease in> efficiency and slight drop in resonant freq. due to more compliant> cabinet/backchamber air. Horn loaded speakers might be more affected.> 2. Hard drive heads rely on an air cushion to ride slightly above the> platter. With less dense air they ride closer and are less tolerant of> the platter runout (non-flatness) and vibration.
I need a better answer than that. I had to leave town unexpectedly, and was
trying to make some recordings of Colorado buskers. Couldn't find any, so
had no chance to see if my computer recorder worked properly. But one has to
be prepared.
Robert Morein
Shop N Bag, PA
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| Audio Archiving Software Julian 18:23:44 |
| | I recently had a radio client request a system for recording their
radio broadcast continually as low bandwidth mp3 and saving it into
one hour chunks. I have a computer that I can feed the broadcast into
directly. Does anyone know of any recording and archiving software
that will record this stream and automatically save it into chunks?
Thanks,
Julian
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| | 15 answers | Add comment |
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| THANKS TO THOSE WHO ASSISTED ME IN MY TIME OF MISERY Sylvan Morein 18:22:34 |
| | Dearest Readers:
I need to offer a heartfelt thank you to all of you that managed to get my
son Robert Morein to stop harassing and attacking innocent people via
computer.
The Upper Dublin Police finally intervened after his activities were exposed
to the neighbourhood via flyers left at the local Shop N Bag grocery. After
some surveillance of his activities they realized that he's a sick man. They
picked him up, and after the compulsory 72 hour evaluation he's been
remanded for a period of at least six months. Hopefully, massive doses of
anti-psychotics will stop the voices in his head and he might be able to
rejoin society in some kind of limited way.
He's clearly never going to amount to anything. I've provided in my estate
for his long-term care and appointed a guardian over his affairs.
Once again thanks to all here who managed to draw my attention to his
extreme psychosis and anti-social behaviour that had escaped my attention.
Dr. Sylvan Morein, DDS
Dresher, Pennsylvania
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| How far apart to space the omnis for an organ? Guest 18:19:14 |
| | I will be mic'ing various pipe organs. I want to use the
A/B spaced omni technique. Due to limitations,
I must minimize the "appearance" of the mics during the
recordings (e.g. no tall mic stands). I will be
from 5 feet to 40 feet back from the organs,
the distance back mostly determined by the
architecture of the church, such as having to
record in the balcony if the organ is at the
rear of the church.
What I'm looking for is some recommendations
about how far apart I should space the mics.
I tried one recording with the mics about
6 feet apart, where I was 10 feet back from the organ.
The recording sounded alright,
and it sounded better than either of the 2 mic's
by themselves. When I checked the recording for
mono compatibility the result was worse than
either of the omni mic's by themselves.
The two mic's, when played in mono, sounded
real flat and lifeless, with reduced dynamics.
Could anyone explain why this happened?
What I'm looking for is to do the A/B but have
enough mono compatibility that it sounds half
way decent in mono.
At the Shure website I've seen where they
recormmend 3-10 feet apart, generally, for
A/B, but I'm thinking this seems like a lot.
I'm looking for some ballpark advice on spacing.
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| | 46 answers | Add comment |
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| Problem with Adcom GFA-535 Damagedgoods 17:58:01 |
| | x-no-archive: yes
Hi,
My Adcom GFA-535 has developed a constant hissing/crackling in the right
channel regardless of what is playing through it. The audio in the right
channel is also much quieter than the left. It has no volume control so it's
quite difficult to rule out any possibilities, but I know it's the amp and
not the source.
Obviously I'll get it to a technician as soon as possible, but I was just
wondering if anyone had experienced similar problems and if so, could
enlighten me as to whether it's worth fixing or pretty much dead already?
Thanks
TJ
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| Oxide shed on 20+ year old tapes Carey Carlan 16:54:22 |
| | First, thanks for all recommending replacements for my Pioneer R2R. It
did in fact return intact from the shop, so no new recorder in my future.
A dbx 150 should arrive in the next day or so and I'll mix and match the
80's with the 00's as I digitize these tapes, the newest of which was
recorded in 1984. Many of the splices are failing.
I've played them sans dbx and they don't seem to be suffering from sticky
shed (i.e. don't need baking), but they are shedding a lot of oxide, to
the point that HF performance suffers after just a few minutes of playing
time.
Is there any magic formula for keeping the oxide off the heads? Or am I
just stuck with playing every tape back and forth 4 or 5 times before I
transfer it?
Off to Tape Warehouse for a 7" empty reel and editing tape or tabs.
Where's my Editall block...?
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| | 26 answers | Add comment |
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| Tascam X-48 Chris Whealy 16:53:30 |
| | We're considering replacing our Tascam MX-2424 with the new X-48. It
will be driven by two Yamaha 02R desks.
Has anyone got/used/played with the X-48?
Opinions, likes, dislikes...
Chris W
--
The voice of ignorance speaks loud and long,
But the words of the wise are quiet and few.
---
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| | 10 answers | Add comment |
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| PA challenge : Car call queuing system Hermawan DH 16:52:28 |
| | Hi everybody,
I manage a mall that have 4 door and a PA system, each have a
receptionist that service a car calling. So often those 4 have to call
in the same time.
The chalenge is, I need a device that can queuing all call in a
sequence, than playback them one by one by "first in first out "
criterium. So every recepcionist doesn't need to wait to call, they
just call as needed than the device will record, and publish them when
PA is not on calling.
Anyone can help me ?
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| | 2 answer | Add comment |
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| Slightly OT: Bottle Bank sound levels Gareth Magennis 14:45:29 |
| | Went to the bottle bank this morning and yet again had to avoid the
threshold of pain levels coming out of the thing as my bottle hit the
others.
To explain the principles, a bottle bank here in the UK is a large container
with a single small hole at head level maybe 15cm (6 US inches) wide through
which you "post " the used bottles for recycling. As they fall in, they hit
the pile of bottles already in there, and the sound is ejected like a
compression driver from this smal hole right into the posters ears.
I find that the noise of bottle hitting bottles (they dont often smash, just
collide) feels like a very short, high frequency and very high energy burst
that I can feel as pain and something to be avoided at all costs, being as
my ears' performance is very important to me.
My question is, can this actually be damaging hearing? I only go every 2 or
3 weeks, but feeling pain just doesn't seem right to me at all. I'm
wondering if there are legions of environmentally friendly alcoholics out
there destined for premature deafness as well, and whether anyone can
enlighten me as to the nature of the sound content.
Thanks,
Gareth.
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| wireless Midi? Rv! Rv! 13:34:09 |
| | Hi All,
I've got someone who want's to go wireless with an accordion.
Excluding all the jokes abaout where the accordion should go,
does anyone havae an idea where to get a decent wireless
Midi tranmitting device?
I've not searched heavily yet, so all advice appreciated.
Must be suitable for use in the UK.
Rv!
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| | 4 answer | Add comment |
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| Batteries and discs Tdk-R 12:29:11 |
| | Ok this noob has two questions. First is it "ok" to use a Sony
NH-14WM, NH-9WM, or NC-6WM in my NH900 rather than a NH-10WM battery?
I've looked all over and haven't found anyone talking about something
like that. (lemme guess I'll trash my recorder if I try?)
Second I saw some TDK Minidiscs in the store for a good price, but
they don't have the "Shock Absorbing Coating" or "SA Coating Advance"
symbol on them (which I'm sure is copyrighted by Sony anyway). Is
there any conceivable reason that the TDKs would not stand up to any
bumps as well as the Sony discs? After all these machines can take a
hit like me punching Mike Tyson.
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| | 2 answer | Add comment |
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| Re: Gefell power supply Audio for sale 11:52:44 |
| |
Gefell N691 power supply ebay item number: 260019124829
Gefell cable and connectors ebay item number: 260019124618
Audio for sale <thisisfake@nowhere.com> wrote in message
ebg25b$3oe$1@balena.cs.interbusiness.it...> Gefell N691 power supply for MV691, MV692, PM750, PM860 condenser> microphones:>
http://cgi.ebay.co.uk/NEUMANN-GEFELL-N691-condenser-microphones-power-supply> _W0QQitemZ260019124829QQihZ016QQcategoryZ29950QQrdZ1QQcmdZViewItem>
Gefell cable and connectors:> http://cgi.ebay.co.uk/NEUMANN-GEFELL-microphone-cable-7pin-connectors_W0QQit> emZ260019124618QQihZ016QQcategoryZ29950QQrdZ1QQcmdZViewItem>
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| Boom box question. Guest 11:23:21 |
| | Looking for a sub $60 boom box with RCA inputs for an ipod, as all
those ipod boxes are over priced.
Has anyone seen anything like that.
tor
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| Good Basic Vocal Setup for Live and Practice VocalMan 10:36:09 |
| | HI All,
I have been reading and trying to find the information I need but can't
seem to find a good "primer" to go by so thought I would just ask.
I am looking to set up my vocal rig for practice and to eventually gig
live with a band. My style of music is basically country with the
complimentary Southern Rock and Classic Rock. The current gear I
already have is a KMS 105 mic, Mackie DFX-6, JBL Eon P1 speakers that
are powered. I have put this togehter on a budget. I already owned
the KMS 105 from my musical stint before. My questions are:
What else do I need to get a good quality vocal out of this rig?
Do I need compression?
The onboard reverb is really all I need as far as effect go as I
learned to sing in Acapella choirs so I don't believe in cloaking my
voice but should I consider a better effects processor?
This Mackie board only has a 2 band parametric eq on the channel and 5
band for the total mix. Should I get a 15 or 30+ band EQ to insert
into my vocal channel? I can't get the mids out of it that I want
without sacraficing the highs. My vocal range is from Mid to low Bass
to Mid Tenor.
Where can I find a decent primer or explanation of EQing without it
being to complicated?
Thanks for any help in advance.
Rick
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| Midi Backing track Equipment Question Saxology 05:28:11 |
| | I have a band that uses midi backing tracks. The equipment they use is no
longer available and they want to upgrade/change equipment. The basic
setup:
A Roland JV1080 feeds 4 (I think) channels of analog from midi to the sound
board (Direct outs -> DI). Midid is run from old Apple laptops.
When running with different personnel the mixer must handle which tracks
must be added to the mains to replace instruments/personnel not present.
From what I understand of the setup thus far, they have a click track, drum
track, keys, horns. The sound guy simply adds/subtracts for the mains mix.
How would you do this today? There are getting to be fewer and fewer synths
out there (Roland XV5050 replaced the JV1080 but no one seems to sell that
anymore either). There are a couple approaches that I am thing of and maybe
you guys have done one or more of these and can comment:
1. Do it like they do it noe with new gear. Buy a new synth, new PC, and
screw with interface software until the same performance is achieved. Pros:
midi files are small, eficient to work with. Cons: synth technology is
expensive and seems to be losing ground.
2. Use a PC to do all the work. It might be possible to find a sound card
or generate a driver for one that would allow for the use of 5 channels of
output like direct outs. Not sure if this is true. It might be that
everything starts stereo and then a multichannel decoder is used to generate
the outputs. The connectors say it might be possible. Midis could still be
used.
3. Use Cool edit/pro tools/etc. and use the midis like separate tracks.
Then use a digital interface over firewire (maybe like a motu interface) to
generate the direct outs. My problem with this is that I am not sure if the
software will do this. I have used this software for wave files but not
midi.
4. Have the backing tracks recorded with real instruments and then use multi
track software to play through a digital interface. Not sure if the digital
interface will take separate track information from the PC. (always
recorded with one...) Plus, wav files may take too long to load for each
song when back-to-back music is required.
What do you think? What do you see being used?
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| | 12 answers | Add comment |
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| TEAC 80-8 Vari speed option question...... Dl 03:31:46 |
| | Hello,
If a TEAC 80-8 comes with an external "vari-speed" box, does it mean
the capstan is not controlled by the wall outlet's frequency ? Does
anyone know ?
Thanks,
Daniel
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| | 10 answers | Add comment |
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| Oberton speakers. Liquidator 03:21:31 |
| | I have a chance to buy out an inventory of Oberton product from a bankrupt
distributor.
I found their website. They don't want to give me pricing info.
Any ideas where I could find pricing? And any experiences with these? Specs
don't look bad.
The half dozen comments I could find from users seem positive.
Thanks for any help.
I'm in the central US, I gather these are used more in Europe than here?
--
Posted via a free Usenet account from http://www.teranews.com
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| | 3 answer | Add comment |
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| Re: Tube amp kits Sander DeWaal 03:17:20 |
| | mike <cabinetmaker@earthlink.net> said:
Hi And Thank you Sander.>I went through the portal already. Many broken links. 95% of the kits >available are flea powered SE. Some one out there must be designing and >selling el34 or kt88 based amps that do not cost more than already made >amps.>I can buy PrimaLuna Prolouge six's or seven mono amps for less than most >kits I have seen.>I do not have the time to start from scratch.>Thank you again>Mike Mueller
I'm sorry, I didn't check the links on the portal myself.
Apparently, many small companies didn't survive selling tube kits.
Here are some more Google hits, but the prices are not that much lower
than for ready made components.
You'll have to add shipping as well.
http://www.fsaudioweb.com/listen/stoetkit.html
http://www.electronics123.com/s.nl/it.A/id.2098/.f?sc=8&category=33
http://www.triode-systems.com/modules/tinycontent/index.php?id=2
http://www.escience.ca/hobby/RENDER/0001/13/3036/11325.html
There's a guy here named Keith, who imported amplifiers from China
himself (or so it seemed to me), maybe he can help you out?
He posts from UKRA, so I took the liberty to cross-post this message
to that newsgroup as well.
Sorry guys, but this *is* audio-related...... 
--
"Due knot trussed yore spell chequer two fined awl miss steaks."
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| | 10 answers | Add comment |
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| SMAART v TrueAudio Dirk Bruere at NeoPax 02:28:29 |
| | How do they compare?
Obviously a big price difference, but is it worth it?
Dirk
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| Star Grounding David Grant 00:22:10 |
| | I think I understand the basic principle of star grounding, being that you
want all ground conductors to meet at a single point. However, what about a
piece of equipment that has several different PCB's connected within a
single chassis (eg. power supply pcb + various audio pcbs)? In this case do
you design the traces of each pcb to have a star ground point (or
alternatively a ground plane) and then take that star ground point from each
PCB, the chassis, the safety ground, cable shields (from input/output
cables), and connect them to yet another star point (often a bolt on the
chassis)? That would give a tree topology correct?
If I've got the right idea, what is the best point on a PCB to make the star
point (in the case where there's no ground plane)? I've read that between
the filter caps on a power supply board is ideal, but what about on a preamp
pcb or other?
Thanks,
Dave
--
Posted via a free Usenet account from http://www.teranews.com
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