What personal equipment do you have?

[Lance Hallmark]

I do mostly DJ events from clubs to outdoor raves as well as supply sound/lighting for other events & live music. I am working on opening my own performance venue next year. Just starting to get my head around DMX programming and how to properly run a lighting console.
Audio:
2 JTR Orbit Shifter subs
2 JTR Noesis 3TX 3 way tops
2 Yamaha DSR112 2 way tops
2 Denon Delta 10" 2 way tops
2 EV ZXa5 15" 2 way tops
2 EV sx200 12" 2 way tops
2 EV ZXa1 12" subs
4 Yorkville LS800/801 subs
1 Powersoft K10 amp
2 Crown XTI6002 amps
3 Pioneer XDJ1000mk2 Media players
2 Denon HS500 CD/Media players
2 Technics 1210 turntables
1 Pioneer Toraiz 16 Sampler/Sequencer
1 Ableton Push controller
1 Korg Zero4 mixer
1 Pioneer S3 mixer
1 Pioneer 900NXS2 mixer
1 Rane MP2015 rotary mixer
1 A&H Zed10 FX mixer
1 Soundcraft 16 ch mixer
1 Pioneer DDJ-SZ controller
1 Line 6 V-70 Wireless mic
1 Sure 2 channel wireless mic

Lighting:
4 Chauvet Intimidator 250 LED
4 Chinese R5 Sharpy clones
2 Chinese Bee Eye clones
12 Chinese generic LED wash lights
10 Battery powered, wireless DMX uplights
1 ADJ Follow Spot 1000
4 Chauvet Colorbar SMD
4 Chauvet Shadow UV panels
2 1 watt RGB lasers
2 3 watt RGB lasers
1 Touchscreen PC with Pangolin for lasers
1 Touchscreen PC with Chamsys MagicQ USB dongle
1 Chamsys MQ40 lighting console
1 wireless DMX transmitter, 7 receivers
1 10ft goalpost triangle truss
1 12 x 28 ft. F34 square truss
2 2.0m truss totems
2 2.5m truss totems

 

[Rose03]

I have an altman 3.5q, EDI Bijou PLus, and a 1974 Strong Trouperette II. All three I found on the side of the road.

 

[Jay Ashworth]

I do a lot of work at my old high school, and with a severe lack of funding, much of the gear that I bring in has been bought specifically for use at the school. That being said, I now own a Presonus RM32AI, a good amount of Chinese LED pars from Amazon, a Chauvet Intimidator 150, 5 ADJ Dimmer Packs, a Hurricane H2 Hazer, A Mister Kool for low-laying fog, a Fog Fury Jett, and a few random movers, most recently a 4 pack of the Lixadias that had been discussed here recently.

Along with Neewer, Lixada seems to be one of the fourth-tier "brand names" that's actually got a little heft behind it on the ChinaDumpShit level (as a radio engineer friend of mine would phrase it). How are they working out for you?

 

[Adam Brunetti]

Along with Neewer, Lixada seems to be one of the fourth-tier "brand names" that's actually got a little heft behind it on the ChinaDumpShit level (as a radio engineer friend of mine would phrase it). How are they working out for you?

Honestly, they've worked wonders. have yet to have one go out, and for a high school with NOTHING, when there's no budget for rentals, they're great. Even just to supplement on front light, as we have no actual front lighting, besides (now static) follow spots in a catwalk. They're great to be able to focus to different areas of the stage and pit

 

[Ancient Engineer]

I got a Fleenor Gizmo back in 2012 and I think it is a pretty cool device. I got it to test but I have run shows (in an emergency) from it.

Gizmo-front-small

• Ancient Engineer
• Jan 9, 2019

 

[NickVon]

I have my racks of
(10) Sennheiser E100's with Ant.Distro
(1) Focusrite Scarlett 18i8
Shure Beta 58/57's
a little older Crown Amp for,
(2) JBL MP410 (I usuallly use as front fills or delays in places i do sound work at.
(2) QSC k12
(I have some much (4) older Gen1/2 Sennheriser EW100 systems that I only break out if I'm desperate for channels, or the venue I'm at has unreliable wirelesss and and need to supplement)

These are probably my oldest and most go to pieces of gear i use. I also have my MightBright music stand lights, and a toolbox of adapters and cabletester, Qbox etc.

Next up or me maybe my own console (been looking at a A&H GLD112) but so many places I go have at least basic digital consoles, money to rent, or quality analogue consoles that work for small shows, i'm not really desperate to have my own. (i know they could rent from me with my own console! But those are only a couple a gigs a year and it would take a long time to pay of the investment of the gear that I would want to own)

[EDIT]
I picked up an A&H SQ6 with a road case!
A Seahorse SE90 rolling travel case (Great Pelican Clone)
And also did a test investment in the JTS R-4 wireless mic system which I saw on a job and was impressed with (the all Metal body packs/HH transmitter version). I like them so far.

 

[TNasty]

Been a while, hasn't it?



Not quite a "stage" or "studio", but one thing for sure is I'm not playing with the cheap toys (as far as stuff in college goes) when it comes to the important equipment. One thing you don't see here is a second XLS1000 I've got coming in as a dedicated amp so I can at least pump 1100 watts into the ButtKicker out of its rated 1500 watts. One of my "low key goals" is to find the resonant frequency of the apartment building by the end of the semester.

A few interesting things worth noting is that the speaker on the left has a new sub driver (replaced with an Eminence Kappa 15-A, hence the missing Yamaha logo), the Epson PowerLite 425w fills the wall *perfectly* without any keystone, and even though in its current configuration the Buttkicker shakes the whole living room to some degree while operating way below its "minimum" 400 watts input power. Also, the lights are out of my bedroom because Super Bowl.

 

[RonHebbard]

Been a while, hasn't it?

View attachment 17454 View attachment 17455 View attachment 17456 View attachment 17457 View attachment 17458

Not quite a "stage" or "studio", but one thing for sure is I'm not playing with the cheap toys (as far as stuff in college goes) when it comes to the important equipment. One thing you don't see here is a second XLS1000 I've got coming in as a dedicated amp so I can at least pump 1100 watts into the ButtKicker out of its rated 1500 watts. One of my "low key goals" is to find the resonant frequency of the apartment building by the end of the semester.

A few interesting things worth noting is that the speaker on the left has a new sub driver (replaced with an Eminence Kappa 15-A, hence the missing Yamaha logo), the Epson PowerLite 425w fills the wall *perfectly* without any keystone, and even though in its current configuration the Buttkicker shakes the whole living room to some degree while operating way below its "minimum" 400 watts input power. Also, the lights are out of my bedroom because Super Bowl.

@TNasty Your Buttkicker shaking your room reminds of an amateur production I created and operated sound and sound effects for about a decade ago; the group literally performed in the basement of a church erected in the late 1800's on a foundation of boulders and stones excavated from the property on the bank of an adjacent swamp. I managed to borrow one of the 'Sensurround' sub-woofers (resplendent with the logo's) and spent several late nights / mornings after rehearsals driving the lone sub with my BGW500 in bridge mode. I used a Loftech TS1 sine / sweep generator to select which frequency shook the church the most and created the most rattling in the basement air ducts which fed the floor vents heating the church above. Once I'd determined the frequency I laid down several minutes as a continuous track on one of my Sony MDS630 mini disc recorders. In the production actors were supposed to have been making their own home made fireworks in the basement and had an inadvertent explosion. Next I used a pair of Otari 5050 stereo open reel decks to do a little mid1900's analogue pitch-shifting and created a stereo mini-disc track with one track of the steady tone and the other track a rapid series of brief pulses one octave down from the base track, not to be confused with the bass track. On a second mini-disc player I created a stereo cut of typical fireworks sound at frequencies a couple of octaves higher. When it came time to add sound to rehearsals with the cast they were blown away. Best of all was one evening when our basement rehearsal coincided with the church choir's rehearsal directly above us. Normally on these evenings we have to deal with their organ and singing above us. On the night we rehearsed with our fireworks and explosion recordings below them it was definitely us who disturbed them; disturbed is an understatement: We startled the phuque out of them. I think I recall posting of this once before here on the CB forum.
Take care T, always great chatting with you. How's your engineering degree coming along?
Toodleoo!
Ron Hebbard

 

[TNasty]

@TNasty Your Buttkicker shaking your room reminds of an amateur production I created and operated sound and sound effects for about a decade ago; the group literally performed in the basement of a church erected in the late 1800's on a foundation of boulders and stones excavated from the property on the bank of an adjacent swamp. I managed to borrow one of the 'Sensurround' sub-woofers (resplendent with the logo's) and spent several late nights / mornings after rehearsals driving the lone sub with my BGW500 in bridge mode. I used a Loftech TS1 sine / sweep generator to select which frequency shook the church the most and created the most rattling in the basement air ducts which fed the floor vents heating the church above. Once I'd determined the frequency I laid down several minutes as a continuous track on one of my Sony MDS630 mini disc recorders. In the production actors were supposed to have been making their own home made fireworks in the basement and had an inadvertent explosion. Next I used a pair of Otari 5050 stereo open reel decks to do a little mid1900's analogue pitch-shifting and created a stereo mini-disc track with one track of the steady tone and the other track a rapid series of brief pulses one octave down from the base track, not to be confused with the bass track. On a second mini-disc player I created a stereo cut of typical fireworks sound at frequencies a couple of octaves higher. When it came time to add sound to rehearsals with the cast they were blown away. Best of all was one evening when our basement rehearsal coincided with the church choir's rehearsal directly above us. Normally on these evenings we have to deal with their organ and singing above us. On the night we rehearsed with our fireworks and explosion recordings below them it was definitely us who disturbed them; disturbed is an understatement: We startled the phuque out of them. I think I recall posting of this once before here on the CB forum.
Take care T, always great chatting with you. How's your engineering degree coming along?
Toodleoo!
Ron Hebbard

Howdy there @RonHebbard! I knew it was only a matter of time before I heard from you again!
In a sudden change of events, I've switched from engineering to art (I spend a year and a half joking about art majors, but here I am now- lol), specifically the Interdisciplinary Digital Studio (IDS) program, and I'm probably going to see about taking a technical theatre minor now that I have the time. The program consists of designing interactive and new media such as video games, animation, web design, sound production, and a bunch of other cool little niche forms of digital media. On top of that I may get a certificate in engineering design/tech at some point after graduating. Gotta say, it feels strange to enjoy doing my homework!

Nothing beats your calculus classes turning into gen-ed credits!

 

[Steve Yates]

I own:

1 Strand Palette 100 console (very good diagnostic console for fixing things, just heavy)
1 ETC Nomad and Programming Wing (ancillary touch screens and accessories too)
1 Leprecon 12x2.4k dimmer
some par cans
2 color source spots
6 some crappy LED RGB pars

 

[John Scrip]

Geez, I wouldn't even know where to start. I was a studio rat for some time before I got into this gig and I still have a mastering room so I have a decent amount of hardware that I can't let go of. But I hate seeing some of it collect dust, so I bring it to (or leave it at) the venue.

FrankeNeumann (a customized mic designed around a U87 capsule), a handful of other mics from Shure to Beyerdynamic to two hand-made lollipop mics (in a word, incredible), a plethora of recording gear that I keep at the venue or occasionally bring from my "other" place (https://www.massivemastering.com - which is also where I handle a good amount of the VO work we need), a couple laptops, digital recording gear, the list goes on. Oh - and flashlights. But yeah, if I ever left the place, I might have to make a few trips.