I have two questions; what brand and model are the floor monitors? Also, in your opinion, are the Meyer X40s worth the expense for the type of rentals that you do? I think Meyer products sound fantastic - I worked for them for about ten years (a long time ago!) - but they are so expensive. I've been putting a small rig together and I'm at the point of needing to make a decision on speakers. I am not interested in the typical QSC sort of setup but I can't spend a fortune. I'm very interested in your opinion on the Meyer. Keep up the great work.
I'll answer the easy question first: The model of floor wedges are DbTechnologies FMX 10, 12 and 15. They are compact, lightweight, and I received alot of complements on their sound. I am very happy with the X40's. As you can tell from my videos, I've used them for different types of events. Up until I got those, my main speakers have been DbTechnologies IG3Ts and IG4Ts. My main reason for looking at X40's was I wanted something that could work for larger gigs where one IG per side didn't cut it, but rigging two per side wasn't in budget or worth the extra labor to bring out lifts, etc. One option I considered was Danley SM80's, but the main disqualifier there was that my setups have been based around active speakers. So in addition to the speakers, I would have also had to layout expenses for a power amp, rack, and speaker cables. The X40 has now become my main go to speaker for all but the largest events I do.
I love these gig logs keep it up!!! If you are ever looking for inspiration for videos check out “the sound couple” Bart and Stacy are excellent. I’ve subscribed your gig logs are brilliant. 👍🏻👍🏻👍🏻
@@DustinRadtke dBTechnologies FMX 10,12, and 15. The weight and size are great! If you watch my other video about the Meyer X40's at a larger park gig, I show how I transport them in a trunk case.
Isn't that an end fire sub configuration? Or are there differences that I am missing? And those Ingenia really throw that far? I have never come across them so no personal experience and they just always looked a bit "gimmicky" to me. Also because DB Technologies has always been regarded as the cheaper RCF option with lesser real good sounding products. In Europe at least.
It is similar, except that in an End Fire array, you delay the front sub. For what I did, (inline Gradient cardiod) you delay and flip polarity on the rear sub. I have been very happy with my IGs. For price point and easy of use, they do an great job as you saw in the video with coverage and clarity
@@inthemix2805 Thanks for the explanation! I need to brush up on my sub configurations as I drew a complete blank on that inline gradient cardiod... How much difference does it make with a regular cardoid sub array? Or am I right when I assume that it's a combination of an end fire and a cardiod?
To be honest for me DB Tech making better sounding products than RCF - Vio is very impressive stuff. IG3T-s my favorite out of IG series - most powerful and well balanced. I wish they made them in 96kHz like Vio.
Sounded phenomenal! I can believe how far those ingenia speakers throw. I can’t wait to my first outside gig with my (4) ig4t’s next month. I only have (2) S30n subs right now, but have to use my (2) 8004 to make the bass somewhat keep up until I can get another set of S30n. Best JB!
Love the Mobile consul. I got a small form factor mini PC and a touchscreen+stylus external travel monitor and I kinda do the same thing when I have table space. Oh and for power lots of options, I got one of those USB-C to Lenovo Square adapters and I can power that off a USB bank or a car adapter into various 12V battery packs I have. It's been great got it up and running just in time to use it the last two years at this one thing where there's really no easy way to get power out front without tripping everybody every witch way. And if it's a hot day I can grab my 40 amp hour battery and inverter to run a fan. That is assuming I don't forget to charge it from the two weeks prior like last time. I'm also using QLC+ software for lighting and that's piggybacking on the Wi-Fi to an ArtNet converter that's up with the lights. All I have to do is roll out the mixing Consol stick the travel router with magnets glued on to the metal post and plug the ethernet cable into the POE switch. one device to control everything and I can just bounce between programs and it's all going over one network frequency so less interference.
Thanks for the heads up on QLC+. I have an Artnet node that I used with Onyx in the past. I am looking for something software based for those times where I just need simple lighting control, without having to pull out the hardware. I appreciate it!
Thank you for the video log. It's very helpful to see your stage setup with your wire management. I heard you say that you do aux mix feed for your sub output. I have seen a lot small sound company that has mix reviews on the aux mix feed to sub outputs. Some say that they do not recommend that method. Can you tell me why you use the aux mix feed sub mix method? Also, do you use it on your bigger shows Aswell? One last question. How do you feel about the DBX DriveRack Pa2?
Subs on Aux is an ongoing debate, with engineers on both sides. I'd compare it to a car transmission, manual or automatic, nothing wrong with either. My reason for using it is that it's very easy to do with the M/X32, and I like the control it gives me. I decide what goes into the subs with Aux. Way back when I was running passive gear, I used one of the original DBX Driveracks. It was great for setting up system crossovers and levels. I would not rely on it for the Auto Room EQ function though.
This is an interesting question I feel like I should chime in on. all the systems I have used have always been left right looping through subs for the crossover. And I vaguely knew about Oxford subs (yeah I know it's the wrong word I don't feel like changing it seems funny). About three years ago I offered my services to a acoustic bluegrass band, 3 vocals, acoustic guitar, mandolin, banjo, upright bass (the only instrument that's plugged in). They use aux fed subs, unfortunately it's eating up one of their 4 aux sends and there's a little bit of a push to go in-ear. A couple gigs ago I decided to try switching their mix around and come out left right and through the subs ( actually the other way around since the powered speakers incorporate a crossover ). It was an interesting experience this was outdoors, I ended up switching everything around and going back to the normal way left right plus sub as I was having trouble with the wind noise coming through the microphones rattling the subs. Unfortunately without drastically messing with each channel EQ there was just way too much low end that wasn't meaningful. The only thing that they are sending into the sub is the base and break music. And it finally clicked in my head the bigger shows in bigger guys are probably used to using that technique with outdoor venues to have way more control over low end. I get it now. But for timing, consistency, balance and ease of cabling. I do like it the other way around as it's so annoying to have basically two sliders for bass that then unbalances the volume. but I finally see why it's used. I went from having low rumble from the wind to switching it back around and having no wind rumble. I tryed this again at the next event that was indoors and it went a lot better but there was still a ton of low end from all of the channels which I couldn't get rid of without seriously EQing each channel outside of the system owners preferred sound in the Monitor. So I've been trying to figure out how to shift the system around to either duplicate the channels to have separate EQ processing or someway to drive low frequency signals from the main output without getting all the low in from the microphones. Unfortunately they do a lot of outdoor gigs, and I can't always make it so it has to be simple-ish
A perfect example of why I like to do Aux subs. For cable management, if you are doing L/R stacks and active speakers, I've found that having 2 channel snakes streamlines it rather than having to run 2 separate signal cables. Using the M/X32 series, I have my outputs mapped so channels 13 and 14 are mono output for subs, and then 15-16 is LR.
Regarding the sE V7 MC1 capsule I saw on at least one of the Audix wireless...is that the Shure version? Do Shure capsules work on Audix transmitters? I was hoping so but haven't tried. No adapters needed?
@@brenthandycts131 I knew this comment would come, lol. You are absolutely correct. The Audix receivers have been working flawlessly in this configuration for years now. If I were to add to it, I would invest in a distro.
Although i admit that these Meyer speakers do a very good job I have also to tell my story about my experience with these high class speakers. I come from 20 years of using a German brand "KS Audio" PA. This PA was best of class 20 years ago in the time of anaolgue PA's and the quality of sound is very close to Meyer.. After those 20 years I had to decide to buy a new one (cause I also started touring now with a band that is more professional, they have several albums and so on). I had to decide either to go for the latest KS Audio or the Electrovoice ETX series. I did a side by side test with measurment and at the end I decided to purchase the EV ETX. They are about 1/3 cheaper than the KS and there is not much difference in sound also if you measure the distance they throw their sound. For me it is meanwhile clear that those top quality brands still have their pros but you really really have to think about if the audience can really hear the difference. There are so many factors that determine the sound (starting with the environment, over the microphones, the band quality, the quality of mixer desk and not to forget the quality of the soundtech itself 🙂 ) that I do not see that a speakers that cost me about 33% more can give me this benefit of so much better sound. Meanwhile those well known brands like JBL, RCF and EV build very good sounding and reliable PA's and with everything being digital the differences in sound quality are more a question of taste.
Unfortunately there's still something called "rider friendly" and what is expected of you at your level of the "audio game". For me that's big bucks spending on brands like d&b because it is what I am expected to bring to the table and what I am paid for.
@@Richard1977 I agree with you. If you're a rental company, you have to meet the expectations of the riders. And most of them call for the big brands. It is the same ridiculous thing like not wanting Behringer on the rider. I have the advantage that I only work for myself and with my own equipment.
@Thomas.Hoermann71 I am also a lone dog with my own equipment. It's just my clientele that requires me to use the meet rider specifications. Funny thing about Behringer is that the X32 is somewhat approved as it is widely known that it is the cheaper version of the pretty widely excepted Midas M32. So when in need...
@@Thomas.Hoermann71 I tend to agree to a point. As mentioned in other replies, riders are one part of it. However, in the case of the X40s, the way the drivers are aligned in the cabinet are different than the typical 2 way horn/woofer design. I notice a big difference in coverage pattern and levels. So I would say that in your typical point source design, there is a lot of competition and similarities, I agree. But pattern control and speaker design at the higher levels is certainly a factor.
@@inthemix2805 I agree. This is where you need to add additional speakers for a delay or an outfill with the traditional speaker systems. That is true.
I love the way your videos have been evolving. I’d like to see them a little longer and a little more detailed. Other than that, thank you for your videos!!
@@harlanchaput thank you. It's a juggle between getting content and getting the job done some days! I'm still getting used to it. I appreciate the comments!
I love it! I’m a small one man AV company, almost all corporate conferences (but music keeps creeping in more and more). I have 4 JBL SRX906 (thinking I was going in a small array direction… I’m not), as well as SRX812P and some QSC K8s (for fills and breakout rooms). I found you researching the Meyer Ultra X40s, which seem to be my direction. Thanks! This gig logs are the style of video most helpful for me. All the best!
@@inthemix2805 I've used the VRX for a dozen years, I sold my VRX for what I bought them for and moved into the SRX906. I was helping a friend with an event and we set them up side by side (for the 3 day event, nobody seemed to notice a pair of PA on stands?) When we had down time we compared them. Each one sounded fine on it's own, to me the VRX can get pretty 'bright' and I always assume I'll have to cut some 2k. The 906 sounded very dull compared to the VRX. But then while listening to the 906 for a while, they sounded just fine and then the VRX sounded crazy-bright-harsh in comparison. I think the 906 sound really nice but I don't fly them and it's a little bit of work to set them up. I like having really nice stuff when I can. My 8ch of wireless are Axient. This year I moved from the M32R to the Yamaha DM7 Compact. It's pretty expensive but I want to move from my 4x SRX906 (and my pair of SRX812P) and get the Meyer ULTRA-X40. I hate playing that game but I do it all the time. I think the SRX906 sound just fine. I want better than fine though?
Nice Vlog again. During summertime I also have to do sound in environments where people sit underneath sunshades and pavilions just like here in your vid. It is always hard to get the sound underneath and „through“ the pavilion/tent while not blasting away the front row. But this here looks and sounds really good.
Very nice and impressive. This is also my experience with modern point sources. It is not always necessary to go for a line array. Modern and good point sources are capable of doing a great job. And they are way more easy to handle. So it is always a good idea to chose carefully what is really needed.
Tough one with a band that loud in that kind of enclosure. How much headroom did you have left with the X40s? Also, what are those stands you have the X40s on. Are they the Gravity ones?
Still had alot left with the X40s. I cross them over at 100hz (probably could go lower) when using with subs, which helps. Those are the Chauvet FLEX Stand bases, but using Ultimate Support Subwoofer stands
Very impressive. I have X42s but haven't had the chance to open them up like this for a gig. I'm also very curious what kind of coverage I can get with them.
@@inthemix2805 @stereoanthony, My company has the x40 and x42 in inventory. You will notice slightly more output from the x42 due to its pattern. The ultra is a great box and packs a lot of punch for its size. We recently added some Danley sm80 into inventory and use them over the ultras for events like this where we need the extra output. We found the 80 to get a solid bit louder and hold together a bit better over distance. It also seems to handle being bombarded by a number of sources at once a little better. The x40/42 are the choice for stand alone use because they do well without subs for lighter music. I am glad we have some really great choices in the market.
Great vlog! I just bought 4 QSC LA112 line array speakers and couldn’t find any good videos of those global truss stands in action so that I could consider buying them to support two line arrays per side, but this video did the job. Thanks!
@@tomworrell4059 I'm very happy with them. I used to run with K12.2 speakers for mains but I needed a bit more power. I feel good about the choice I made.
Awsome.. i subcribed.. make more video like this.. make more video of preparing section, like loading equipment, connecting the equipment, soundcheck, wiring n etc..
Let me preface, I love my IGs. For their price point, they do just about everything I ask of them. There are a few reasons I went with Meyer. I needed a box that could get me more output than a single set of IGs per side could give me. There are many events where it I need the extra output, but the pay or labor doesn't warrant bringing out the lifts and flying. And stacking the IGs, while not too hard, doesn't get them up high enough in my opinion to offer the coverage I find myself wanting. The Meyers I feel are a good in between, not as loud as IGs double stacked, but have an amazing pattern control that, while may not have the same SPL, you can hear everything clear at a distance. Also, the Meyers are very transparent boxes. I had to redo all my default EQs for vocal mics, etc when I first got them. They sound amazing, but they should for the price point they come in at.
Great gig log. I just purchased (4) ig4t’s. For flying. I know that I need to get (2) sets of box couplers and (2) top brackets. What is the best way to fly them from a crank stand (ST132)? Best JB!
The lifts I use are from VMB. They have forks with a crossbar, and the IG flybar is shackled to that cross bar. From my recall the manuals are very specific about NOT using the pole cups when you couple the speakers. So, in order to fly your IG4Ts using ST132 stands, you would need to run truss and hang the IG's from the truss. Check your weight ratings, especially if you are also going to add lights to the truss. One of the nice features of the IG4Ts are their light weight.
@@inthemix2805Thank you for your quick response and info. Yes, I was not planning on using the cup mount and will not be adding any lights to this stand. I will look into getting some fork with crossbar now. The weight of the box does make it a lot easier. Enjoy your day! Best JB
