Sounds like it's either a troll, a forger or just brain-damaged

"Joe Lummox = Brain Dead CUNT "

YOU have still NOT found out which Shure 58 model you have !!!!

YOU FUCKING STUPID PILE of AUTISTIC SHIT !!!

...... Phil

Anybody tried wireless stereo audio transmitters/receivers?
DO they work through the walls?
Which brand?

Thanks.

--

Serge Stodolnik.
Production Music for Film/advertisement/production
libraries/multimedia/web sites.
http://www.ssmusic.us
http://www.myspace.com/stodolnik
http://www.youtube.com/ssmusic214
E-MAIL: sergestodolnik@NO SPAM tx.rr.com

here's the name of the main newsgroup I was telling you about, pros sharing
techniques.
alt.audio.pro.live-sound
eagle.net
I can't send a live link,.
You would have to make a google on the name of the group, then subscribe,
but I doubt you'd be disappointed, there are many smart, experienced folk
generous with their knowledge there. Let me know if you want help hooking up
with it .
jim

Just offhand, whats a used beta 58 worth? It's in great condition, barely
been used.

TIA

JL

This is a little late to add to George's topic, so I'm starting a new
thread...

To summarize, the classic method seems to be to get as much gain as you can
out of the first preamp stage to get a good S/N ratio, with enough headroom,
and then set the following stages to maintian this all the way to the amp.
Not going into what is enough headroom or how you determine it, this is the
jist of the idea.

Another school of thought that I've been exposed to is to optimise the
levels for unity gain after the the first stage - i.e get as much gain as
you *need* from the first stage so you don't have to attenuate or amplify
the level at a following stage. It's based on the idea that idea that
changing the gain level always has some detrimental side effects, so get as
close as you can at the first stage and then try to keep the following
stages close to unity gain. In practice this frequently means reducing the
trims to keep the faders near zero.

The play: wizard of oz

The thrust stage extends well into the audience with the audience on all 4
sides. connected to the main stage by a runway.

The client demands double 15 mains for the "look". they also want only
"floor mics" (boundary effect) and some wireless lavs.

The Orchestra will be located to one side between thrust stage and main
stage.

My first thought was having a delay zone after the thrust stage, however it
then occurred that the delay (to the actors ears) and the difference
between originating sound and amplified sound would be excessive when the
action was occurring on the thrust stage.

Anyone run in to this kind of situation and have any special insights?

.

according to speakerplans.com, BSS 388 units can be connected to a
thermometer/humidity sensor so they can automatically adjust for
changes in the venue. Are there any other units with this capability?

In general, how does temperature and humidity affect the speed of
sound?

Many thanks in advance

Joseph Stavitsky

Your Fortune for the Day!!!
Hi,

To know what it is?

Visit the website below and be cool !!!

Hi All,

I need a recommendation on bulk CAT-5 cable with a durable jacket. I will
likely terminate to Neutrik EtherCon's.

Indoor usage on carpet. FOH to the stage. It'll be protected at aisles, but
it still needs to coil nicely and be fairly durable.

Thanks.

Eric