BillFitzmaurice.info

HugoMack wrote:Does anyone have preferences over the Behringer and Driverack PA2 - and are there any other reasonably-priced options?

I like the idea of the mike measuring room response, and being able to adjust using an iPhone. (The Behringer X32 rack is similarly attractive.). Is the reality as good?

In the US the Driverack PX is being clearance priced for $149 including the calibration mic. Not sure if they are available in the UK for similar pricing.

Sadly nothing like as cheap!

But isn't the PX for powered speakers? OR doesn't that matter?

Ah - I think I see. The PX has filters but no limiters - which for us are vital.

HugoMack wrote:Sadly nothing like as cheap!

But isn't the PX for powered speakers? OR doesn't that matter?

Ah - I think I see. The PX has filters but no limiters - which for us are vital.

Nope. The PX has limiters. The difference is that it's only a two way versus three way crossover. Doesn't matter as most of us only run two way anyway.

So I could save myself some money.... WHich is a Good Thing.

Has anyone done the comparison between the PA2 and the old PX?

Looks like the PX is some two years old... Price difference is £127... Probably therefore better to get the PA2....?

HugoMack wrote:So I could save myself some money.... WHich is a Good Thing.

Has anyone done the comparison between the PA2 and the old PX?

Looks like the PX is some two years old... Price difference is £127... Probably therefore better to get the PA2....?

I just bought a PX off the forum and put it in my rack for my 3rd and 4th monitors sends.

I installed one in a rack for a kid band and we set limits on it to protect their stuff.

So, it works fine for EQ, limiting, crossover, and feedback suppression.

Bruce Weldy wrote:

HugoMack wrote:Sadly nothing like as cheap!

But isn't the PX for powered speakers? OR doesn't that matter?

Ah - I think I see. The PX has filters but no limiters - which for us are vital.

Nope. The PX has limiters. The difference is that it's only a two way versus three way crossover. Doesn't matter as most of us only run two way anyway.

But, there's also a bunch of us that run monitors as well, which makes the DRPA/DRPA+ the go to processor because it has 3 inputs instead of 2 like the PX (I'm sure the DRPA2 can do the same) IF you're running a mono signal, which I think most of us do as well. Subs and tops on one channel, and monitors on the other channel. Of course, you'll need more for multiple monitor sends.

kekani wrote: But, there's also a bunch of us that run monitors as well, which makes the DRPA/DRPA+ the go to processor .

Just to make sure everyone understands....the PA+ can do this, but the PA can't - I tried when I first got mine way back. It doesn't let you run two mono channels. That must have been one of the upgrades to the +.

So, eventually the PA moved to monitors and the PA+ is on the mains.
But, at $149 you could buy two PX for the price of one PA2 and get more bang for the buck.

Nice Job!

I found the Jacks to be harder work than I thought they would be, but they are worth every ounce of effort. Mine are already getting positive comments along the lines of 'best sound quality we've heard in here' and 'what speakers are those, where did you get them'...

Nice to see you've finished the build. I haven't been around here much because I've been up to my ears in a big build of my own...involving diggers, dumper trucks, bricks, concrete, electrics, plumbing etc....money is going out of my bank account like a Tsunami.

I got a Driverack PA2 for a good price with an RTA M2 thrown in (as supplied for the PX) - as a ref mike can't be all that different.

Fitting it all into a 6u SKB - with modem, power conditioner, pus my Axe FX2 rack, so that everything is in the one box for smaller gigs.

When I get the subs made, I'll have another box for one of my old-iron Harman power amps.

The desk for small gigs is a Allen Heath ZED14 FX - another one box unit for convenience. The FX seem OK. sits on velcro on top of the 6u SKB, requiring only power from the conditioner below, and the main outs to the Driverack PA2. WIll post pics; then results of first serious test.

HugoMack wrote:Fitting it all into a 6u SKB - with modem

You got internet in there?? Is that to enable remote control from anywhere in the world (just in case the rig sounds a bit boomy down in Oz!! )

Yep! We need to know how it sounds from down there. The Aussie perspective is always vital.

I shoudda added - plus my iPhone... to control the Driverack

Using T39's, do you need to apply a slight delay to the tops - when using them in the normal band configuration - together, in the centre, or in a corner of the room? I've been studying all the wisdom in Bill's "use of Subs" section.

There's loads of sensible things to organise. And it's so easy with the DriveRack PA2 to do these things, that you want to do them... I suspect that this is in the realms of 'Try it and see", but I thought it worth asking.

HugoMack wrote:Using T39's, do you need to apply a slight delay to the tops - when using them in the normal band configuration - together, in the centre, or in a corner of the room? I've been studying all the wisdom in Bill's "use of Subs" section.

There's loads of sensible things to organise. And it's so easy with the DriveRack PA2 to do these things, that you want to do them... I suspect that this is in the realms of 'Try it and see", but I thought it worth asking.

Mate,
Some people use delay, some don't. That applies when the cabs are roughly in a line.
The thinking there is that mids/HF slightly leading LF is fine.
Those that do delay call it alignment, and do so because they consider it to result in more accurate reproduction.
It leads one to a quandry though. There is a difference in path length between mids and HF in Jacks, Otops, DR's. Should you then tri amp and adjust via delay in your mains boxes too?
Again, some people do that a well.

The path length of the T39 is roughly 7 feet. Delay about 1ms/foot, as you say, in the mains. Try it!
You can always experiment.

One thing often not considered: Delaying the whole FOH to back line.
Say you're playing on a 20 foot deep stage, with FOH at the front of stage.
You could delay the whole FOH by say 20ms so that there is no backline/FOH missmatch.

Put the subs 20 feet in front of the mains (because that's where you get the best bass response in a room) and that's a different story...

Grant Bunter wrote:One thing often not considered: Delaying the whole FOH to back line.
Say you're playing on a 20 foot deep stage, with FOH at the front of stage.
You could delay the whole FOH by say 20ms so that there is no backline/FOH missmatch.

I thought that it's "you should (no, MUST) delay the whole FOH my 20ms"?? I'm only regurgitating what others have said though... no practical experience