FM9 not allowed?

This is crazy. Where are you playing gigs? Everyone is using modelers these days. I've played probably a hundred gigs since 2017 and no venue/sound engineer has ever told me that I can't use my modeler. Most of them prefer it because it's less EQ tweaking for them. They better get with the program.
 
JRkelley said:
Right. So as Fractal users we always have to explain our setup, wait until the sound person is ready, and THEN turn the Fractal output up. Messing this up one time, and they will remember it! Never assume anything going into a venue.
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Yup! throwing back to sound guys that are stuck in their old ways and don't want to learn anything new or just don't want to learn. Personally I don't get it but that's just me I guess.
 
hedonfire said:
Any thoughts on the ev zlx12p?
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@hedonfire - I use these. I have three of them, light, loud, and don't break the bank. They sound so good to me that I cannot justify spending more than twice the amount on anything else. If they color the sound, I can't detect it in comparison to the headphone output, or in recording (although I will admit to some hearing impairment). I would encourage you to give one a try. Don't just dismiss it because it is less expensive than other options. To me it sounds better than several others I have tried including JBL Eon 612, and some others. Just my two cents.
 
SJB said:
@hedonfire - I use these. I have three of them, light, loud, and don't break the bank. They sound so good to me that I cannot justify spending more than twice the amount on anything else. If they color the sound, I can't detect it in comparison to the headphone output, or in recording (although I will admit to some hearing impairment). I would encourage you to give one a try. Don't just dismiss it because it is less expensive than other options. To me it sounds better than several others I have tried including JBL Eon 612, and some others. Just my two cents.
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I second these for the money! for monitors they will get you by! For PA duty you will need a sub if you plan on using them as such! they are good for about 150-200 people for their intended use.
 
2112 said:
Most rehearsal spaces here specify "vocals only" through their PA's, which is most likely an insurance policy should someone come in and immediately pump some sub bass at max volume through them.
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Exactly this.

The number of people who show up to rehearsal studios who also know how to dial in a PA without blowing it up is, and will likely remain, at zero.
 
JRkelley said:
Right. So as Fractal users we always have to explain our setup, wait until the sound person is ready, and THEN turn the Fractal output up. Messing this up one time, and they will remember it! Never assume anything going into a venue.
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This is good advice and will work as described.

That said - I don't do this. My FM3/AxeIII is sending my signal at the volume I will keep it at, as soon as I power it up.
I will keep my guitar volume low and ease it up while a sound engineer dials me in. But I always send them full volume.

Any sound engineer should have your channel (slider) all the way down and channel muted, until it's time to check your line.
When it is time, they should ask for you to play (full volume) and adjust the input trim BEFORE even touching that channel volume/slider.
After they set your input trim, then they can bring you up in the mix using the fader/slider.
If they don't set your input trim properly, then yes you can blow some speakers. If the engineer doesn't adjust the input trim before putting you through the PA, then they are not competent, and let's hope they have a limiter in place.

This is the same process for every instrument plugged into a PA. Any instrument can blow your speakers if you don't know how to operate your PA.
And I'm not perfect. I have smoked 2 sets of tweaters by having a feedback loop that I couldn't get to quick enough. Live and learn.
 
BBN said:
This is good advice and will work as described.

That said - I don't do this. My FM3/AxeIII is sending my signal at the volume I will keep it at, as soon as I power it up.
I will keep my guitar volume low and ease it up while a sound engineer dials me in. But I always send them full volume.

Any sound engineer should have your channel (slider) all the way down and channel muted, until it's time to check your line.
When it is time, they should ask for you to play (full volume) and adjust the input trim BEFORE even touching that channel volume/slider.
After they set your input trim, then they can bring you up in the mix using the fader/slider.
If they don't set your input trim properly, then yes you can blow some speakers. If the engineer doesn't adjust the input trim before putting you through the PA, then they are not competent, and let's hope they have a limiter in place.

This is the same process for every instrument plugged into a PA. Any instrument can blow your speakers if you don't know how to operate your PA.
And I'm not perfect. I have smoked 2 sets of tweaters by having a feedback loop that I couldn't get to quick enough. Live and learn.
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You set yourself up for finger-pointing when you do it that way. You just know it's going to happen once in a while, and it's gonna get scary loud! Probably worse than I could do on my own with my Super Reverb and pedalboard, mic'd or not.
 
Thanks for all the replies everyone! I'm just glad to know that I'm not crazy for thinking that this is kind of ridiculous. Either way, after sleeping on it, I've decided that I'm just going to buy myself an frfr speaker (either headrush 108 or the ev zlx12p), blast it to really dial in my tone, and then just bring that with me everywhere. If I need to use that on stage as the main amplification for everyone to hear, so be it, otherwise I can just use it as my own personal monitor (I wanted to go iem...oh well, maybe later) and just go direct to FoH if the venue allows it (and has a good pa).
 
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SJB said:
@hedonfire - I use these. I have three of them, light, loud, and don't break the bank. They sound so good to me that I cannot justify spending more than twice the amount on anything else. If they color the sound, I can't detect it in comparison to the headphone output, or in recording (although I will admit to some hearing impairment). I would encourage you to give one a try. Don't just dismiss it because it is less expensive than other options. To me it sounds better than several others I have tried including JBL Eon 612, and some others. Just my two cents.
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Sixstring said:
I second these for the money! for monitors they will get you by! For PA duty you will need a sub if you plan on using them as such! they are good for about 150-200 people for their intended use.
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How loud do these monitors get? I know from reviews I've seen of the headrush 108, most people are quite happy with them, but one of my band plays quite loud because of the drummer. Is the zlx12p comparable to headrush 108 in terms of how well it covers a small to mid sized room? I think my plan is to use this as the main source of amplification for the venue in smaller shows where only vocals are going through to the pa.
 
I’ve never tried the Headrush… but for me, and as far as the EV’s go, I don’t think I have ever gotten close to getting them to full volume. On a big stage or outside I will use two. They get loud enough to make me wince…. So work great for me… as a guitar stage monitor, side wash or back line. I agree with the comment that if you also want to use them as a full PA, you will need subs… however they are not necessary for guitar because you dial out all that low end anyway. I haven’t had the chance to compare them to the PMX 12MP, Atomic CLR, xitone or any of the other more expensive monitors… but I’m really happy with the sound that I get out of them. Suggest you look at the thread “Flattening the Headrush curve” in the “Amps and Cabs” sub-forum. The ZLX 12P has a DSP EQ setting that is pretty darn flat (I think it is “monitor and “pole”, although I would have to check) - and EV actually publishes the frequency response curves unlike just about everyone else (including the high end guys). There are some threads on these speakers (also in Amps and Cabs) - it is worth looking at them too.
Hope this helps.
SJB
 
Sorry - I mis-informed… on the zlx 12p. The flattest response is setting to “Live” and “Bracket” according to the documentation.
 
hedonfire said:
How loud do these monitors get? I know from reviews I've seen of the headrush 108, most people are quite happy with them, but one of my band plays quite loud because of the drummer. Is the zlx12p comparable to headrush 108 in terms of how well it covers a small to mid sized room? I think my plan is to use this as the main source of amplification for the venue in smaller shows where only vocals are going through to the pa.
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They get loud enough to damage your ears! The problem with the 108 is you will probably run out of low end at higher volumes so keeping up with your drummer will be marginal at best. As to covering a room it will depend on the room size!

Personally I would be looking at the PMX 12PM it would be a far better solution than either the ZLX or HR 108. Yes it is expensive but if you are gigging out in small to mid sized rooms the PMX is the ticket! On the floor in front or behind you or pole mounted behind you it will be a lot better at doing the job you are looking to ask the 108 or the ZLX to do.

Why? The ZLX is a PA top first. PA tops are generally better with listening distances from 10' or better. If you monitor at that distance then thats not an issue. The 108 is going to be lacking in low end when cranked to keep up with your drummer and risk damaging it trying to do so.

There's my take!
 
The chief advantage of the PMX 12MP is the coaxial speaker, which renders the full frequency spectrum to a single point source. I’ve wanted to try one…. And compare, but no one in my area has them in stock - current list price at $950 through Sweetwater.
 
SJB said:
The chief advantage of the PMX 12MP is the coaxial speaker, which renders the full frequency spectrum to a single point source. I’ve wanted to try one…. And compare, but no one in my area has them in stock - current list price at $950 through Sweetwater.
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Talk to Manchester Music Mill in NH.
They did me two for $825 each.
No sales tax because NH.
I picked mine up in person, so no shipping, but see what they can do.

They're pretty much alright up there :)
 
AminorZmajor said:
If that happened that is just plain ineptitude on the PA engineer side. I have never had an issue.
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Few if any PA’s come with an engineer, and many bars et al., hardly have a “sound man”. It’s more like the bar back when he’s not filling ice was trained to bring down the house music and raise the levels for the band….

Probably even less likely in a jam space. No one is going to want to sit around and engineer just out of the goodness of their heart. Those things are usually more “clean up after yourself when your done and don’t forget to shut off the lights” type deals, ie; your on your own as far as support goes lol
 
elvis said:
I've had venues tell me they wanted to mic when I had a lovely XLR for them. The reasoning given was the they knew how to handle what came through an SM57. The world moves slowly.
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I too have dealt with this. Some people "do what they know" until they can't. Sound engineering has seen massive improvements in pro tours, look at the flotilla of laptops and specialized apps you see these days, but at local clubs it's still the 1980s more often than not.
 
I still gig with real guitar cabs in part for this reason. Some people will short out on anything other than "what do I put this 57 in front of?"
It's not hard to keep a 1x12 in the car for emergencies either. The Mesa Recto 1x12 is a great little thumper if you need a good sounding cab in a pinch. I never leave home without one, even if I don't think I'm going to need it.
 
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