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On 'Gain Staging for the DJ' and Not Blowing Your Speakers

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On 'Gain Staging for the DJ' and Not Blowing Your Speakers
So, having just wrapped up a weekend where I was involved in a couple of parties (including being a part of setting up the soundsystems), it's come to my attention that most DJs really don't understand gain staging at all.
In short, this has led to one of the speakers used blowing itself and a bunch of us are having to foot the bill - not so much fun (I'd much rather buy a bunch of records, thank you).



So... What is this 'gain staging' all about? you ask.

Gain staging is the process of ensuring that the signal is being sent and received at an appropriate level for the next piece of gear to be happy.
Correct gainstaging can do lots of things to make the performance of your system better, including:
* Bettering the signal to noise ratio (and thus getting a little more sound out of your speakers)
* Reducing distortion at every gain stage
* Reducing the likelihood of square-wave production, thus increasing the life of your amps, speakers and ears!

More or less, any piece of gear is expecting to see a certain level of signal down the line. There are four reasonably commonly used signal levels:
-10dBV (the standard Consumer Line Level you'll see from an unbalanced RCA or 1/4" TS out)
0dBV (a far less common level, but my mixer puts that out to the unbalanced 1/4" TS outs)
0dBU (also less common, but out there - a few dB lower than 'Pro Line Level')
+4dBU (Pro Line Level, what you'll see on most XLR outs or balanced TRS 1/4" outs of mixers)

When interfacing with other gear (eg. When you put your mixer into powered speakers, or an amp, or a crossover or whatnot) it is expecting to see one of these levels (it will tell you which). If you haven't delivered this level, you'll have one of two problems:
* You've put through too much level, and you'll be distorting on the input of the next piece gear.
* You've put through too little level, and you'll need to amplify the signal at the next stage, thus increasing the noise level on the line (every amplifier in the world produces noise.

When you retain the expected level, you are running at what is known as unity gain - there is no loss or gain on the line, and thus signal to noise ratios are kept low.
All amplifiers (and there'll be some in each piece of gear you're using) has what is reffered to as headroom, a kind of safety net in which you won't reach a point of a noticeable distortion - this is space to play. Often better gear has more headroom, but most works on quite fine lines.

More often than not, when setting up soundsystems, the main speakers will be set up 'fully open' - that is, the amplifiers for them are set to maximum gain and the Master Volume on the DJ mixer is used as the attenuator. This isn't ideal - really, the DJ mixer should output at unity gain and the amps' attenuators should be used for final level changes, but this just isn't a realistic move and wouldn't allow the DJ the control that they require.



So I can hear you all saying "Get to the fucking point already, How do we avoid blowing our gear!?"

Alright, alright! I'm getting there...

So, as a DJ, what you should be worrying about is keeping out of the red.
Remember that headroom thing? Yeah, so your mixer only has a little headroom - it sounds best when signal comes in to the masters (from the channel fader) at 0dB. You want to be seeing your level peaking somwhere from -3dB to +3dB or thereabouts. More than that and you may already be distorting at the channel fader, before we've even hit the master fader!
On my mixer there are only channel meters from -6dB to +3dB, that tells me to keep the fuck away from the +3dB side of things. If you want it louder, ride the master fader/pot.

At the master fader/meter, things are just as important, so KEEP THE FUCK OUT OF THE RED... it's really pretty simple. Once again, things will sound optimal at 0dB out of the master fader - this is the level the system should be tuned for. That said, it wouldn't make sense to start your night at this volume, you can start down at -10dB or -20dB even... you mightn't have many bars on your meters, but don't worry... that's the point - you've got headroom to burn; When you want to, you can safely double your volume. Sure, there won't be the most optimal signal to noise ratio, but that little bit of noise is a SHITLOAD better than having distortion pumping from the speakers or pounding it out to an empty room (a pet hate of mine).

Back to the headroom thing, it's usually safe to run the master between negative infinity and around +4dB... most gear is built with enough headroom at their input amplifiers to withstand an extra 4dB - nothing too bad will happen. That said, 0dB as the MAXIMUM on the master meter is still the most optimal - you will be maintaining unity gain. This is CORRECT GAIN STAGING.

The more level you pump out of your mixer past 0dB - the more it distorts, once you've hit the 'Peak' light you're certainly producing square waves, but you may already be earlier.
Additionally, you could be gainstaging just fine up until the amp but just not have a powerful enough amp. It's often better to get an amp that rates higher than the maximum input of the speaker so as to not cause squarewaves at the amplification stage.



So what is a square wave and why do you keep rambling on about them?

A square wave is a wave that is... errr... squared off at the top and bottom.

Generally speaking, the purest sound that can be produced (theoretically speaking) is a sine wave - a single tone at a set frequency and amplitude. On paper, it looks like this (image one):


Alternatively, a square wave looks like this (image two):


When discussing sound reproduction, we often look at sine wave vs. square wave reproduction as a way of showing distortion.
In an analogue amplifier, as you overdrive the amplifier a perfect sinewave will start to square off at the top and bottom - the more distorted (the more you peak), the more your sinewave (image one) starts to sound like a squarewave (image two).

This is bad for a few reasons:
* Your music isn't sounding the way it's supposed to (notably, the top end starts sounding extra harsh and the low end starts to fart and get a bit whimpy).
* The amplifiers hate seeing squarewaves and heat up a lot, reducing their life or causing them to cut out as a protection mechanism kicks in.
* Your speakers are being forced into a very ugly movement and the cone may just jump off the magnet (as happened to us at the weekend).



So, what is this ugly movement that happens to the speakers when they see square waves?

As shown in image one, a sine wave is a smooth, even movement. They are easy for speakers to reproduce as the speaker just moves in and out evenly (if you can imagine, the movement of the cone out is the top peak in the graph, the movement in is the bottom peak).

As you start to clip, the sinewave becomes a square wave - the signal is being amplified and going clean, clean, a little distorted, fucking nasty sounding (image three):


Now, what had been an easy movement for the speaker is getting much harder; Instead of simply going in and out at an even rate, the speaker is now being told by the amp to go to a certain distance and stop there for a little while and then to come back in (meanwhile we aren't even reaching the peak that we'd wanted to - your music is just sounding wrong now.
Now this whole stop-start thing mightn't sound like that much of a task, but it might have to do this a couple of thousand times a second, and REAL music signals are much more complex than sine waves - you're sure to kill your speakers with this exertion.

Sadly I can't find a picture of a dead speaker, but with any luck, Ollie will upload a picture of the one we killed.



So, Why are squarewaves bad for my ears?

While not all the research is conclusive of such, my ears definetely agree with some of the research that has been done...
More or less, when a squarewaves hit your ears, they put undue strain on some parts of your ear - I feel this as a pressure over my ears and temples, I can hear squarewave distortion and overcompression (which produces a squarewave-like signal) and it aint pretty.
Anytime I feel this pressure on my ears it translates to tinnitus... my ears can handle a fair bit of volume, but it's gotta be clean signal. I can tell you that on Saturday I complained about it... it aint fun to play or listen to music with pressure behind your ears, and it aint easy to sleep with tinnitus in your head.


Anyways, that's it for the minute - any questions, I'm more than happy to answer (and I'm sure some others are more than qualified... Kieren, some of the MPT boys, etc) - but just remember
KEEP THE FUCK OUT OF THE RED!

Last edited by ferretrock: 20-Oct-09 at 08:53pm

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Quote:

Originally Posted by ferretrock

KEEP THE FUCK OUT OF THE RED![/size][/color]

every venue should have this stuck up over the booth
Playing at;


Gigs & stuff - Dave Stuart - DJ Page


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sorry it's an essay, but there's a lot of info there.
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It is good info. I already got this info from Kasper_flip when I was learning. Good stuff though
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lol using office assistant.

nice write up..
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If this was Facebook, I wouid've given a "like" to this thread!
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That's good stuff to know Ferret, and I appreciate what you've said. in the last 6 months i have purchased a set of fatty speakers and an amp to gig with, but i never really had any idea about all the technicalities of it all - I'm not very good on the tech side of things. when I bought it was told simply just to keep the amp dials at 3/4 power max, as not to blow the speakers.

Although i am slightly confused... you say here it is good to have an amp more powerful than the speakers so you have extra headroom, right? I have two 1000w RMS speakers hooked up to a behringer europower 2x1200w amp, so i'm thinking thats appropriate for headroom... but some guys at a hifi store said that my amp was too powerful for the speakers and im doing damage to them. im a bit put off by this all. I hate it, but in the tech stakes i am a major noob... I wish i could kidnap you for a gig ferret and pick your brain re all this tech mumbo-jumbo
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nice write up mate
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It's pretty simple, and even if you are colorblind it makes sense to be playing where the meter has the smallest db increments

Unfortunately not many clubs are willing to leave that much headroom on a system
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Quote:

Originally Posted by Bracko

lol using office assistant.

All images are googleimaged. I had no part in their production.

Quote:

Originally Posted by peakin pecan

some guys at a hifi store said that my amp was too powerful for the speakers and im doing damage to them

Overpowering the speakers is also bad. You can set your amp at 3/4 and you'll likely be all good. The idea is that you get as much clean power into your speakers as possible. Better to have your amp at full blast and mixer and 0dB on the masters than your mixer clipping and your amp at 3/4.

It is a fine line, though.

What are the speakers?

Quote:

Unfortunately not many clubs are willing to leave that much headroom on a system

Yep - whether it's because they're too cheap to buy appropriately sized amps, or whether it's because they know that DJs are retards and play to the redline regardless of the size of the system (The Cave, anybody?), they seem reluctant to leave headroom on a system.
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J your point about a clipped signal sounding like shit is well taken, but you can't kill a speaker with it, you can only do that with overpowering or overexcursion.
The reason it was overpowering no doubt was because it was run in the red though.
The only way to stop overpowering is by using a limter.
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Isn't overexcursion more likely if you're clipping (and forcing a squared movement)? My understanding is that it was. Also that once you've clipped, you're creating peak power all the time, thus more likely to overpower.

Maybe I'm wrong.
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Venues, to prevent damage to speaker systems from ignorant DJs who don't know any better, USE A F*CKING LIMITER - and don't forget to set it correctly

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Originally Posted by puretrance89 View Post

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yeah. The limiters were in the rack with the EQ... at someone else's home. (*left to wonder why I hired them again*)
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Quote:

Originally Posted by horst

J your point about a clipped signal sounding like shit is well taken, but you can't kill a speaker with it, you can only do that with overpowering or overexcursion.
The reason it was overpowering no doubt was because it was run in the red though.
The only way to stop overpowering is by using a limter.

It does sound kind of scary (At first I thought it was crap).

I'm just guessing, what damages speakers would be the coiled wiring melting wouldn't it? So that would happen from to much current.

I'll make up some figures to explain why it could. Say the speaker is rated to take a 1khz sine wave at 1A peak current. So it will only get 1A instantaneously at the peak of every cycle. Then compare that to a 1kHz square wave (extreme clipped sine), the coil will now have a constant 1A current flowing though it causing the coils to act like a heater and eventually melt.

Don't know how it would affect the amp as amps can be made to work with DC, would need and expert for this.

Edit: Great Article by the way!

Last edited by camlv: 20-Oct-09 at 11:33pm

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Don't mixers have there own built in limiters? Even if not putting a limiter after a clipping signal will still leave you with a clipping signal
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Quote:

Originally Posted by ferretrock

Isn't overexcursion more likely if you're clipping (and forcing a squared movement)? My understanding is that it was. Also that once you've clipped, you're creating peak power all the time, thus more likely to overpower.

Maybe I'm wrong.

okay we can be both sort of right
rereading Rod Elliott's investigation
http://sound.westhost.com/clipping.htm
too much volume is definitely the culprit but running in clipping exasperates the problem
dramatically
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Top write up!
All of it very true.
Unfortunately most DJ's I've found always talk the talk, however when it comes to the crunch on the decks - party's rockin, place is crankin - they always get too excited and just start turning it up and up every track until they're redlining the fuck out of the mixer...
Doesn't matter how big the system is either - I've set up masses of booth monitoring on stages and in clubs before, and it doesn't matter if there's thousands and thousands of watts 2m away from the DJ, doesn't matter if the PA is 10 times too powerful for the room, its still not loud enough and the red light always seems to show itself...
I used to be a total gain nazi, but now I'm just over it - I set the limiters and hey, if you want your set to sound like shit, go right ahead. Of course I'd step in if things went too far and equipment was going to get damaged though.
The Gay scene DJ's and the older more experienced guys are fantastic, never had a problem with any of them, they totally understand the gain structure thing, and if not, they just know to keep it in the green. The younger ones (that always seem to have the attitude about it too) on the other hand... no idea.
Anyway, point of this ramble:

KEEP THE FUCK OUT OF THE RED!
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Quote:

Originally Posted by Peakin Pecan

Although i am slightly confused... you say here it is good to have an amp more powerful than the speakers so you have extra headroom, right? I have two 1000w RMS speakers hooked up to a behringer europower 2x1200w amp, so i'm thinking thats appropriate for headroom... but some guys at a hifi store said that my amp was too powerful for the speakers and im doing damage to them.

Is the Behringer amp also claiming 1200 watts RMS?

If so, it's fine (as far as Behringer goes), and you could probably even go bigger with little concern. Alternatively, in this example, it's the amplifier that otherwise runs out of steam that clips the waveform, forms a square wave, and introduces mid and high frequency harmonics WAAAAAAAAAYYYYYY LOOOOOUUUDDDDEEEEEERRRR than the tweeter/horn drivers were ever supposed to handle, and hence they blow.

Besides, the speakers are only 'seeing' 1200 watts if a) the amplifier is turned up to max, and b) the source material is turned up to the max.

Oh, and to answer your question, the guys at the high-five store should go out sometime and do drugs.

Last edited by Spectrum: 21-Oct-09 at 08:32am

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Quote:

Don't mixers have there own built in limiters? Even if not putting a limiter after a clipping signal will still leave you with a clipping signal

No, most mixers don't... and what you've described is why I don't like limiters, they aren't ideal, even at the best of times.

Usually if I'm using a limiter, it's for production.
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Quote:

Originally Posted by kasper_flip


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Quote:

Originally Posted by Spectrum

Is the Behringer amp also claiming 1200 watts RMS?

Yeah - it is. They're supposed to be alright boxes... copies of the Crowns.

On the topic of backspins... tried doing one on Friday night and got owned by the wind. Who thought that decks (well, the platter) became so heavy in the wind?!

Quote:

Originally Posted by horst

okay we can be both sort of right
rereading Rod Elliott's investigation
http://sound.westhost.com/clipping.htm

And reading that reminded me about picking up a dodgy receiver on the street when I was 16 and blowing a pair of woofers and crossovers as the amp threw a barrage of DC through the poor things. That relentless thump was fairly chilling.

I wasn't too impressed that I'd fucked my speakers, particularly as I already had a (working) receiver to use.

Last edited by ferretrock: 21-Oct-09 at 12:06am

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Quote:

Originally Posted by ferretrock

0dBU (also less common, but out there - a few dB lower than 'Pro Line Level')


lol Mackie!


Yeah, totally top write-up, FR.
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Quote:

Originally Posted by horst

The only way to stop overpowering is by using a limter.

No it's not, turn down the fucking mixer is a way to stop over powering! Or get the DJ to (shock, horror) use their ears! There are so many times I have walked to a mixer and turned down a channel or the master and the result has sounded BETTER. What the fuck is the DJ thinking? I know how it is, you get carried away, but seriously, keep an eye on your shit (i.e. red line) and you will be fine!

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Quote:

Originally Posted by ferretrock

copies of the Crowns.


Ah, bless Behringer. Isn't Uri in jail yet for these sorts of shenanigans?
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Quote:

Originally Posted by BBC

No it's not, turn down the fucking mixer is a way to stop over powering! Or get the DJ to (shock, horror) use their ears! There are so many times I have walked to a mixer and turned down a channel or the master and the result has sounded BETTER. What the fuck is the DJ thinking? I know how it is, you get carried away, but seriously, keep an eye on your shit (i.e. red line) and you will be fine!

Yeah... I think that in the context of warehouse parties, listening stops being an issue - we were using 3 12" powereds and a 15" sub to play to over 500 people... sound quality had stopped being the main concern.

I did keep trying to turn down the channel gains (everyone kept gaining to +3dB and higher) but people seemed to want it LOUDER LOUDER LOUDER. One of the guys even said, "but you made it softer", my response was "you smelt the fucking smoke didn't you? I don't know where it came from, but that's not a good sign".

I'm kinda just hoping there isn't more blown gear (ie. my mixer) and to prevent similar from happening.

Quote:

Originally Posted by Spectrum

Ah, bless Behringer. Isn't Uri in jail yet for these sorts of shenanigans?

And I actually just bought a unit off him last week (their 2.1 band stereo crossover) - don't worry, it's a copy of a Bryston! (didn't use stepped pots though - they would've been nice/expensive)
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Quote:

Originally Posted by ferretrock

Isn't overexcursion more likely if you're clipping (and forcing a squared movement)? My understanding is that it was. Also that once you've clipped, you're creating peak power all the time, thus more likely to overpower.


Nah, not quite.

Over excursion = the driver traveling beyond its physical limitations.

Once the electrical waveform clips, the driver can not physically travel any further in / out than the clipped signal can provide. If anything, a clipped signal will save a woofer from blowing as there is simply no more power (positive/negative) being fed to it in order to drive it any harder.

It'd be like trying to blow an engine by not supplying enough petrol to it.

But if the underpowered amplifier was then substituted with a more powerful model, the drivers would have the potential to be pushed beyond what the previously clipped was ever capable of doing. But meh, the least of concern really.

Back on topic, so what's wrong with clipping?

Well aside from sounding like absolute shit, this now totally distorted signal features completely altered upper harmonic content, with way more energy than ever before (which is why the distortion can be heard clearly above the music) and it's this savage new waveform that fries midrange / tweeter drivers.
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Quote:

Originally Posted by camlv

It does sound kind of scary (At first I thought it was crap).

I'm just guessing, what damages speakers would be the coiled wiring melting wouldn't it? So that would happen from to much current.

I'll make up some figures to explain why it could. Say the speaker is rated to take a 1khz sine wave at 1A peak current. So it will only get 1A instantaneously at the peak of every cycle. Then compare that to a 1kHz square wave (extreme clipped sine), the coil will now have a constant 1A current flowing though it causing the coils to act like a heater and eventually melt.!


Yeah, I think that's a fair summary.

And in this example, an amp with a greater output is not a viable solution as it will also cause the speaker grief. How? Well although the waveform might no longer be clipping, the waveform will contain more of its energy in the realms over and above 1A.
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Quote:

Originally Posted by Spectrum


And in this example, an amp with a greater output is not a viable solution as it will also cause the speaker grief. How? Well although the waveform might no longer be clipping, the waveform will contain more of its energy in the realms over and above 1A.


i've always said, buy speakers with a slightly lower rating than the amp, so that when some non-audiophile comes thru and just cranks the volume right up to distortion, it doesnt heat up the voice coils as quicky.
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Quote:

Originally Posted by Spectrum

Nah, not quite.

Over excursion = the driver traveling beyond its physical limitations.

Once the electrical waveform clips, the driver can not physically travel any further in / out than the clipped signal can provide. If anything, a clipped signal will save a woofer from blowing as there is simply no more power (positive/negative) being fed to it in order to drive it any harder.

It'd be like trying to blow an engine by not supplying enough petrol to it.

But if the underpowered amplifier was then substituted with a more powerful model, the drivers would have the potential to be pushed beyond what the previously clipped was ever capable of doing. But meh, the least of concern really.

Back on topic, so what's wrong with clipping?

Well aside from sounding like absolute shit, this now totally distorted signal features completely altered upper harmonic content, with way more energy than ever before (which is why the distortion can be heard clearly above the music) and it's this savage new waveform that fries midrange / tweeter drivers.

I beg to differ.

A clipped signal is like applying constant DC to the voice coil, which it is not designed to do - even if it is a long way under full excursion. This is why it's good practice to always run your amps at full.
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hehe sorry. great post dude! should be stickied, or linked from one of the stickies or something. very resourceful and super useful info indeed
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Wait wait wait... Is this thread on topic and seriously helpful? Am I dead?


Good stuff ferret!
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Wow, thanks for the info! I already knew what I should and shouldn't be doing but I just wasn't sure on how it all works. VERY helpful thread.

KEEP THE FUCK OUT OF THE RED!

That should be the first rule of Dj'ing.
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Great thread !
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The number of times i've stepped up to the decks in shock as to far in the red teh guy before me has gone is ridiculous.

They should teach this as a mandatory part of VCE.
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Quote:

Originally Posted by Pro Tool

Wait wait wait... Is this thread on topic and seriously helpful? Am I dead?


Good stuff ferret!

I've done it before and I'll do it again.

Thanks for the thanks.
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Hey I don't really understand, is there a chance something can fuck up even if the mixer is not redlining?

I usually just use the trim/gain so that with the channel fader at max during the loudest part of the song, it will just faintly light up the light above 0DB.


Is this stupid ?
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at a club i used to dj at, their mixer had on it 'please do not peak into the red level' or something like that and the master volume had duct tape to a certain point where you could not go higher, the system was tuned nicely so there was no need to really play around with levels, unless a track was pressed quietly. but in all, the system has lasted for years with no faults.
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Great post Ferret!!!

As you said, underpowered system for the room / crowd, but as DJs, we have to look after the gear while making sure it sounds as good as possible at all times - hope I didn't cause any damage!

A couple of things to add from a DJs perspective in regards to the Saturday night - and whoa, what a night!

It is really important, as you have said, that as much headroom as possible is allowed at the start of the night - there are those times over the course of the night when playing, or running a party, that the volume just needs to go up a little as the floor fills or to add that extra intensity - this can only happen safely if there is a load of headroom afforded at the start of the night.

Different mixers have different meter layouts and in a pitch black warehouse it can sometimes be hard to see (or you forget) where the 0db +3d/b mark is - especially if the whole meter uses the same coloured LEDs - I suggest sticking tape on there with a big red arrow, saying "do not go over this!".

I know I didn't touch the master on the mixer, as it was already running hot when I started, but even (trying) to keep the line levels at 0 to 3, was pushing the master well over 0 - I could have backed off the master a little, but it's really hard to do at that time of the night without dropping a bit of intensity on the floor (which leads me back to your headroom point) - but in listening, as everything was running so hot, the only time there was a noticable deteriation of sound quality was when it clipped, and alarm bells should ring for every DJ to back it off at that point!

Was a fine line on Saturday night, needed more volume for the floor which wasn't there for obvious reasons, no headroom on the mixer from the get go which was due to there being so many people in there straight away and the size of the rig and needing as much as you could get out of every stage...

I know for one, I was just hovering around the "just under clipping" mark and using my ears as best I could (in that environment) to ride that fine line - didn't help when my fingers got caught on those tiny eq pots and I gave the system a "kick" twice, but had it fixed by the next beat

So after all that rambling by me, your original post sums it up perfectly!

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Last edited by Methodixxx: 21-Oct-09 at 12:59pm

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Quote:

Originally Posted by dazthedominant

at a club i used to dj at, their mixer had on it 'please do not peak into the red level' or something like that and the master volume had duct tape to a certain point where you could not go higher, the system was tuned nicely so there was no need to really play around with levels, unless a track was pressed quietly. but in all, the system has lasted for years with no faults.



Played on many systems where this is the case... tuned so, the mixer, with each line on 0, and the master at the tape, is giving it's maximum, undistorted output. Then all you have to make sure is that the master is well away from the tape at the start of the night for maximum headroom.

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Quote:

Originally Posted by ferretrock

What are the speakers?

These ones...



Got them second hand from someone on ITM for $1000 (amp included), he said that one of the 4 subs was blown so i thought yeh no dramas good deal. turns out that the horns in both speakers were shot to bits, and had to play a few gigs using only the speaker's subs and tweeters - did not sound good

On a slightly unrelated note, does anyone know of any cool little hi-fi repair shops in Sydney that have plenty of imported parts on hand? I ask because the places i've tried in the sutho shire reckon they cant import the horn required. luckily i found this cool little asian place in penshurst called Etone (like a mechanics, but full of speakers rather than engine parts). anyway i took my speaker there and they had a look and replaced the speaker while i waited, no mucking around. unfortunately they are closed for the next month... anyone have any suggestions?
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Etone have a shop in Sydney?
They are a CLASSIC speaker brand.

Sorry... can't help you on that one.
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Quote:

Originally Posted by ChemicalJames

The number of times i've stepped up to the decks in shock as to far in the red teh guy before me has gone is ridiculous.

They should teach this as a mandatory part of VCE.

Ya me too... then I have the "do I turn it back down or just let it ride" argument with myself.
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Quote:

Originally Posted by angelbel

Ya me too... then I have the "do I turn it back down or just let it ride" argument with myself.

haha so true. sometimes you have to let it ride because everybody is loving the tinitus-ridden choons
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Quote:

Originally Posted by ferretrock

Etone have a shop in Sydney?
They are a CLASSIC speaker brand.

O rly? http://www.etonesound.com/ It's just 2 asian blokes running it, will definately go there next time i need speakers and whatnot
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Quote:

Originally Posted by pEAkeR_hAT

Hey I don't really understand, is there a chance something can fuck up even if the mixer is not redlining?

I usually just use the trim/gain so that with the channel fader at max during the loudest part of the song, it will just faintly light up the light above 0DB.


Is this stupid ?

Nah that's on point mate.
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Quote:

Originally Posted by dazthedominant

haha so true. sometimes you have to let it ride because everybody is loving the tinitus-ridden choons

Yeah I take it on a case-by-case. If killing volume = killing "atmosphere" then it stays where it is (with maybe some gradual inching down over the course of a few tracks).
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You can trim the channels and give the master a bit more, if there is headroom, without losing to much overall output.
Most of the time it'll be redlining due to djs pumping the channel gain too high, at least in my experience.
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