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<rss version="2.0" xmlns:atom="http://www.w3.org/2005/Atom"><channel><title><![CDATA[Eden Audio's Blog Feed]]></title><link>http://www.edenaudio.com/</link><description><![CDATA[Useful information for sound engineers, event planners, lighting designers, stage hands, as it is learned or gleaned ON THE JOB while following the life of professionals in these fields.]]></description><atom:link href="http://www.edenaudio.com/blog/edenaudioblog.xml" rel="self" type="application/rss+xml"/><language>en-gb</language><copyright><![CDATA[Copyright 2011, Eden Audio, Inc.]]></copyright><managingEditor><![CDATA[info@edenaudio.com (Eden Audio's Managing Editor)]]></managingEditor><webMaster><![CDATA[webmaster@edenaudio.com (Eden Audio's Webmaster)]]></webMaster><category><![CDATA[Current Events]]></category><generator><![CDATA[Eden Audio's Broadcasting System]]></generator><item><title><![CDATA[New 21-Inch Monster Subs]]></title><description><![CDATA[We added FOUR (2) HUGE 21-inch subs to our inventory.  Designed and manufactured in USA by an Anaheim company, Stagegear, Inc. (http://www.stagegear.com).  These babies knock down walls!  We'll rent them for only $125.00 (pickup price) EACH, or $400.00 with delivery and setup, with a monster amplifier and electronic crossover INCLUDED.]]></description><guid isPermaLink="true">http://www.edenaudio.com/blog/blog.asp?blogid=17</guid><pubDate>Sun, 26 Jun 2011 10:57:08 GMT</pubDate></item><item><title><![CDATA[CAMLOCKS and Ground Loops]]></title><description><![CDATA[Got an annoying buzzing sound in your sound system?  Remember to always bring along those little gray A.C. ground lift adapters on events, to help "kill the buzz" from ground loops, or have an EBTECH Hum Eliminator on hand, which is supposed to be able to kill hum without defeating safety.  However, in all cases, these techniques and devices should only be used if you run out of time.  For example, at the event we just did last night in the CSUF Pavillion room, we had everything running off a 200-amp service using our own CAMLOCK distribution, EXCEPT the six self-powered Mackie SRM450s out in the audience area.  As soon as the speakers were plugged into our console's AUX output, the buzz started.  We eliminated the ground at each speaker, but could have also used an EBTECH at the AUX input.  Best solution is to run power from our power distribution to the remote speakers.  If you run out of time, you can EQ most of the noise out, but then you lose quality of sound.]]></description><guid isPermaLink="true">http://www.edenaudio.com/blog/blog.asp?blogid=19</guid><pubDate>Sun, 26 Jun 2011 10:43:03 GMT</pubDate></item><item><title><![CDATA[Live Sound System Setup]]></title><description><![CDATA[We setup a live sound system for the "Born Free Motorcycle Club", for their 5,000-person event June 24th, 2011 at the Oak Canyon Ranch in Silverado Canyon.  we quickly figured out that remote speakers were going to be necessary to get the Emcee's announcements heard all over the grounds, and behind the main stage.  When running remote speakers, it is important to realize that because analog signals travel slow down copper wiring, there will be a time delay.  These delays are corrected by using a speaker preprocessor that allows an engineer to configure the distance from each speaker to the listening position. The mathematical delay calculations are then performed by preprocessor.]]></description><guid isPermaLink="true">http://www.edenaudio.com/blog/blog.asp?blogid=20</guid><pubDate>Sun, 26 Jun 2011 21:00:54 GMT</pubDate></item><item><title><![CDATA[Live Acoustic Guitar]]></title><description><![CDATA[A lot of folks ask me what the "best" microphone is for getting the acoustic guitar(s) live, and of course my response is always "depends", or "none--the musician should have a pickup installed if playing live."  However, as a general rule of thumb, a good condenser microphone seems to always do the job best, especially a Shure SM81 or AKG C1000-S (the vintage stuff, not this new "Made in China" garbage).  The AKG comes with a PPC1000 Polar Pattern Converter, which will change the pickup pattern from cardioid to hyper cardioid.  This makes the microphone even less sensitive to sounds arriving from the sides and rear, resulting in higher gain before feedback when you use monitor speakers on stage.]]></description><guid isPermaLink="true">http://www.edenaudio.com/blog/blog.asp?blogid=21</guid><pubDate>Thu, 30 Jun 2011 05:52:03 GMT</pubDate></item><item><title><![CDATA[DANGER: Not Enough Power]]></title><description><![CDATA[The lure to do as many events as come at you, and therefore have a LOT of work, is sometimes irresistible, but try to not take on clients that don't want to pay for certain, extremely necessary items, like A.C. POWER.  If the client won't spend the right dollar amount to make an event a complete success for BOTH of you...then RUN!  Let some other company fall into the pit. Especially notorious is the client who just does not understand that you can never have enough A.C. Power to make all those lights and big sound they so desperately wanted, run well.  So when the facility fails to provide adequate power, who is the first person that get's blamed?  YOU!  Why?  Because "you are the professional that should have known better."  Of course, you advised the client of the need for power before the event, but they reassured you that "everything will be fine...the hotel told me so."  DON'T BELIEVE IT.  Check it out for yourself, before you walk into these dangerous waters.]]></description><guid isPermaLink="true">http://www.edenaudio.com/blog/blog.asp?blogid=23</guid><pubDate>Thu, 21 Jul 2011 02:10:09 GMT</pubDate></item><item><title><![CDATA[Bass Player-No AMP]]></title><description><![CDATA[So the bass player in one of the bands shows up without an amp...how do you put him/her directly into the PA?  Easy, use an ACTIVE Direct Interface (commonly known as a DI BOX).  The Radial J48 DI Box will do just the trick, and allow you to put the bass directly into the PA system.  Just be sure that the Phantom Power from your console is ON (the Active DI requires it).  There is a simple way to test for Phantom Power, and it is described on the J48 itself.  However, you will NOT need the Radial J48 if the bass guitar contains it's own internal preamp.  Easiest way to know this is to check whether or not there is a battery compartment on the bass somewhere, or ask the bassist (but he/she may not even know).]]></description><guid isPermaLink="true">http://www.edenaudio.com/blog/blog.asp?blogid=24</guid><pubDate>Thu, 14 Jul 2011 03:57:19 GMT</pubDate></item><item><title><![CDATA[Remote Speakers]]></title><description><![CDATA[If you setup a sound system, then need some REMOTE speakers setup further out into the audience (so you don't need your mains turned up extremely loud), it's best to run them cabled, but you can run them WIRELESS using a nifty device made by Teach Logic (http://www.teachlogic.com/products/AirLinkWirelessSystem).  It's a transmitter/receiver hardware combination.  They have a model which includes the necessary DELAY for remotes which are more than 50-feet out.  Call one of their dealers as listed on their website, for more details.]]></description><guid isPermaLink="true">http://www.edenaudio.com/blog/blog.asp?blogid=25</guid><pubDate>Mon, 25 Jul 2011 02:34:44 GMT</pubDate></item><item><title><![CDATA[Fog Machine Cleaning Tip]]></title><description><![CDATA[When your fog machines begin sputtering and the output is just not as strong as it used to be, it may need its plumbing flushed out.  You can do this yourself, by using the following instructions:<br><br>Do this by removing the fog fluid reservoir from the machine, and emptying it out.  You can save the fluid if it isn't dirty.  Mix a solution of white vinegar and distilled water, with a ratio of 1 part vinegar to 8 parts water, which would be approximately 2 tablespoons of vinegar in 1 cup of distilled water.  This should be enough cleaner for 1 fog machine.<br><br>Why distilled water?  Distilled water has its minerals removed. Minerals are bad for fog machines as they tend to coat the inside of the tube, reducing it's diameter and therefore reducing the fog machine's output.<br><br>Rinse the fog fluid reservoir out with distilled water. Pour the cleaning solution into the fluid tank.  Take the fogger outside.  When the fogger is ready, run it (long bursts, but not continuously) until it stops.  Repeat this procedure until you run out of solution.  The output should start off as thick white smoke and slowly become a very thin haze.<br><br>Unplug the fogger and rinse the fluid tank out with distilled water.  Refill the tank with distilled water. About a half cup if you're going to use the fogger for fogging soon or about a half tank if you plan on storing the unit.<br><br>Take the fogger outside again (If you're not already there).  Plug the fogger in and allow it to heat up.  When the fogger is ready, run it until it stops. Repeat until you no longer smell vinegar. Please be aware that you MUST get all the vinegar out of the fogger.<br><br>Cleaning should be done after running through about 8 uses of the fog machine, or whenever it becomes sluggish.]]></description><guid isPermaLink="true">http://www.edenaudio.com/blog/blog.asp?blogid=26</guid><pubDate>Sun, 31 Jul 2011 02:30:25 GMT</pubDate></item><item><title><![CDATA[Ashly's Chinese Made EQs]]></title><description><![CDATA[We have found that the Ashly EQs we so loved, for so many years, the GQX-3102, has somehow CHANGED the way it SOUNDS after Ashly started making it in China.  We did notice several differences right out of the box, such as the detachable power cord (a PLUS actually), and that the power switch has been located to the read (a MAJOR NEGATIVE).  The sliders and knobs feel "different" (as in CHEAP), and even the color and silkscreen are not the same.<br><br>However, cosmetics and power switch/cord issues aside, the damn things just does NOT SOUND RIGHT.  We own about 12 of the U.S.A. made variety, and each and every one of them sound EXACTLY THE SAME AS THE NEXT.  However, this one made in China has an immediate dramatic DROP in output, as compared to any of our U.S.A. units.<br><br>Thinking we had a defective unit, we sent it back to Ashly.  First time around, they replaced all the sliders, stating on the paperwork that they "didn||t like the feel of them."  You think?  <br><br>So it comes back, and the damn thing SOUNDS EXACTLY AS IT DID WHEN WE SENT IT BACK.  So we package it up and ship it to them again (another $65.00).  They bench tested it, and declared it "functional as specified."  Functional perhaps, but certainly not to OUR EARS.<br><br>After a lengthy "email argument", with a person who states that he is a manager of some sort, we finally gave up on it, and purchased a MADE IN USA unit which is at least 8 years old.  And guess what?  IT WORKS AND SOUNDS EXACTLY AS IT SHOULD.<br><br>The moral of this story, except the obvious (don||t purchase anything new from Ashly anymore, as it is all made in China now)?  You get what you pay for.  Write a letter to your favorite manufacture of commercial grade sound reinforcement gear and let them know that you will PAY MORE if they will please make their products where they should be made.  And this is right here in the good old USA!]]></description><guid isPermaLink="true">http://www.edenaudio.com/blog/blog.asp?blogid=27</guid><pubDate>Fri, 21 Oct 2011 23:32:39 GMT</pubDate></item></channel></rss>

