Behringer T1952??
joep
Does anyone has any experience using the Behringer T1952, tube
compressor/limiter???
I've heard that there is a good 'tube-tech' working at Behringer now-a-days,
so/but I would like to hear comments of pro-audio users, specially in sound
reïnforcement.
F.i.: how is the quality when you compare it with a DBX 566??
Joep
Phildo
"joep" <j.ju...@chello.nl> wrote in message
news:TqyA8.591042$Lj7.22855372@Flipper...
>
> Does anyone has any experience using the Behringer T1952, tube
> compressor/limiter???
It's not a tube compressor as such. It's basically a Composer Pro with a
tube stage added to give extra warmth. If it's a true valve compressor
you are after take a look at the ART Levelar which, although not built
for the road does sound good and is damn cheap. LA Audio also make a
good one for a low price.
Phildo
joep
Thanks a lot,
I've never heard about the ART, might give it a try, do you know the
pricerange?
LA-audio lost some of my trust because I worked a lot with it's 'digiEQ' and
have had a lot of trouble with it....
Joep
"Phildo" <Ph...@phildo.net> schreef in bericht
news:ab013c$dtpdl$1...@ID-77649.news.dfncis.de...
Phildo
>
> Thanks a lot,
> I've never heard about the ART, might give it a try, do you know the
> pricerange?
Only two or three hundred dollars for the 2 channel rackmount one I
think. Been a long time since I bought one. Anyone have a URL for ART or
can give a price on them?
Phildo
joep
I've found the LA-audio TGX20 over here in Holland for the price of ? 587,=
(plus tax), and that's retail price, so this device might be worth
considering, it's about the same pricerange as the DBX566.
Maybe it's a better device as the 'digEQ', which BTW sounds great but has a
lot of noise problems and the PSU-connectorts (inside the device) are poorly
built.
"Phildo" <Ph...@phildo.net> schreef in bericht
news:ab0b94$csv1f$1...@ID-77649.news.dfncis.de...
Mike Borkhuis
> > the pricerange?
>
> Only two or three hundred dollars for the 2 channel rackmount one
> I think. Been a long time since I bought one. Anyone have a URL
> for ART or can give a price on them?
Here's ART's url..... http://www.artroch.com/main.html As for prices,
email me and I'll get you a quote.
Mike Borkhuis
Audio Images Sound & Lighting, Inc.
bork...@rochester.rr.com
Blind Joni
>> > the pricerange?
>>
>> Only two or three hundred dollars for the 2 channel rackmount one
>> I think.
I saw an ART PRO-VLA a few days ago for $200..very good deal...Harmony Central
I think.
John A. Chiara
SOS Recording Studio
Albany, NY
"Survivor of the Slums"
Phildo
"Blind Joni" <blin...@aol.com> wrote in message
news:20020504201303...@mb-md.aol.com...
> > I've never heard about the ART, might give it a try, do you know
> >> > the pricerange?
> >>
> >> Only two or three hundred dollars for the 2 channel rackmount one
> >> I think.
>
> I saw an ART PRO-VLA a few days ago for $200..very good deal...Harmony
Central
> I think.
>
in LA that I haven't got around to shipping back yet.
Be careful with harmony central though. Had some very bad experiences
with their customer service.
Phildo
Mike Borkhuis
Nice piece.... We've got a pair in our A-rig processing rack that get
used a lot for vocals.
Joep
Thanks all of you guys, both of the 2 ART machines look very good for a
decent price.
Now I've got to look around over here in Europe (Holland) if I can find
something over here.
Still no one seem to have worked with the Behringer T1952, and that was my
initial question.
Is it about the same quality as f.i. the DBX566, and, now that we talked
about some other machines,
how is the quality if you compare the Behringer and the DBX with f.i. the
ART (proVLA and Dual Levelar) and the LA-audio TCX20 (of which I was very
impressed by reading about it on the LA-audio-site).
If we can compare these 4 machines (all beneath the price of $450,=) and
read about people's experiences with these tube (or tube based) compressors
than I think I can make a fair choice (of course after I've heard it
myself).
I want to use this machine for the compression of 2 (male) lead vocalists
(in a Rock-revue) on an AMEK-recall (by Langley) console. My purpose is to
smoothen the vocals a bit, and not everybody can afford a focusrite RED-3, I
can't...
Again, thanks y'all (just kidding) and hope to hear from you.
"Mike Borkhuis" <nos...@nowhere.com> schreef in bericht
news:38UA8.19336$2G1.5...@typhoon.nyroc.rr.com...
Phildo
"Joep" <joep.tec...@chello.nl> wrote in message
news:NL5B8.653244$Lj7.24790151@Flipper...
> I want to use this machine for the compression of 2 (male) lead
vocalists
> (in a Rock-revue) on an AMEK-recall (by Langley) console. My purpose
is to
> smoothen the vocals a bit, and not everybody can afford a focusrite
RED-3, I
> can't...
>
quality on them isn't too hot.
Personally I love the recall. Used one for ages at the Whisky and it
made doing 5 bands a night a whole lot easier. You could always use the
onboard dynamics you know?
Phildo
Joep
No, it's not an install but a touring rig (see got it right now!!).
And 'bout the VD's on board the recall... One of the vocalistst has a very
very loud voice and he just overloads the digital compressor (even the
biggest one on board, the 'dual compressor'. So I use a DBX 166 on the 2
lead vocals as well as the on board compressor, but I find the vocals not
always smooth enough.
And yeah, it's a great console to work on, I work on this one rather as on a
XL200 or a Heritage 1000.
Joep
"Phildo" <Ph...@phildo.net> schreef in bericht
news:ab2tu2$ehaqh$1...@ID-77649.news.dfncis.de...
Kees Jan Koster
>
> > I saw an ART PRO-VLA a few days ago
>
> Nice piece.... We've got a pair in our A-rig processing rack that get
> used a lot for vocals.
>
I've been looking into mindprints and focusrites, but I'm not sure they
are worth the money. Do proper actually use the tube overdrive for live
applications?
Yours,
Kees Jan
-----------------------------------------------------------------
Kees Jan Koster e-mail: kjkoster "at" kjkoster.org
www: http://www.kjkoster.org/
-----------------------------------------------------------------
you're only young once, but you can stay immature all your life
Joep
Wat bedoel je hier Kees-Jan?
"Kees Jan Koster" <kjko...@kjkoster.org> schreef in bericht
news:3CD5271F...@kjkoster.org...
Mike Borkhuis
> quality on them isn't too hot.
As I mentioned before, we have a pair of PRO-VLAs in our A rig rack.....
They're holding up fine. Also, now that Yorkville bought ART, they
(Yorkville) are circulating ART's products thru their rental chains.
They've been forcing the ART engineers to redesign a lot of the products to
increase ruggedness.
Shaun
>> I saw an ART PRO-VLA a few days ago
>
> Nice piece.... We've got a pair in our A-rig processing rack that get
> used a lot for vocals.
So when you put "C" level gear into an "A" rig's rack, doesn't that now make
it a "B" rig? ;)
I thought that the "A/B/C" designations aren't mean to refer to someone's
first/second/third best systems that THEY have, but are meant to be an
indicator as to the quality levels expected of the gear in a system, and the
BE/artists requirements. For instance, a nationally touring act (ie Top
40), selling out to sheds, arenas & stadiums, would require an "A" level
rig. The same act might require the same "A" level gear, but in a smaller
scaled system to play a private function for 200 people; same quality/brands
but the appropriate sized stacks/racks: FOH still might be on a Midas H3000
and "A" outboard, but the system used two EAW KF850 tops and subs per side.
On the other hand, a small company using 24 PV stacks per side could likely
provide enough output to fill a stadium, but it would never qualify as an
"A" level rig (or "B"). Sometimes I feel we use the A/B/C terms too lightly
in our discussions, myself included, further smearing the no-so-fine line
between MDST and MI. And to the contrary, even "A" level rigs may sometimes
have a piece of Behringer gear in the rack, like a Composer or Intelligate.
So what is the proper way to designate gear's A/B/C level?
--
Shaun Wexler,
Hellsgate Sound
http://www.hellsgate-sound.com
mailto:sh...@hellsgate-sound.com
Kees Jan Koster
>
> Wat bedoel je hier Kees-Jan?
>
Man, you're gonna be slammed now, both for top posting and for posting
Dutch in what is a violently English newsgroup. Besides, you spelled my
name wrong. :-)
Anyway, what I meant to ask is if there are a lot of people that use
tube overdrives on vocals for live applications? I've seen them in the
store and in studios, but I have yet to see a live rig that has one. I'm
thinking that perhaps the influence of the room and of other components
in the system perhaps make a tube overdrive too subtle for live use, and
I was curious who uses such a device on a regular basis outside the
studio.
Mike Borkhuis
> > used a lot for vocals.
>
> So when you put "C" level gear into an "A" rig's rack, doesn't that now
> make it a "B" rig? ;)
Perhaps... =)
> I thought that the "A/B/C" designations aren't mean to refer to someone's
> first/second/third best systems that THEY have, but are meant to be an
> indicator as to the quality levels expected of the gear in a system, and
the
> BE/artists requirements.
I've heard it used both ways... That's why I said 'our A rig'.........
Course, I'll be the first to admit it's not up to true A rig standards.
Yet.
> For instance, a nationally touring act (ie Top 40), selling out to sheds,
> arenas & stadiums, would require an "A" level rig.
Yup...
> The same act might require the same "A" level gear, but in a smaller
> scaled system to play a private function for 200 people; same
> quality/brands but the appropriate sized stacks/racks: FOH still might be
> on a Midas H3000 and "A" outboard, but the system used two EAW
> KF850 tops and subs per side.
Sounds about right... OR, if the sound company's guy is a good
salesman, you could use a "B" level rig to cover the smaller events. As you
really don't need "A" level gear and the budget typically doesn't allow for
it.
> On the other hand, a small company using 24 PV stacks per side could
> likely provide enough output to fill a stadium, but it would never qualify
> as an "A" level rig (or "B").
heheheee....
> Sometimes I feel we use the A/B/C terms too lightly in our discussions,
> myself included, further smearing the no-so-fine line between MDST
> and MI.
Agreed...
> And to the contrary, even "A" level rigs may sometimes have a piece of
> Behringer gear in the rack, like a Composer or Intelligate.
Oddly enough our A rig has Composers and Intelligates (along with the TC
Tripple C and Symetrix 501 comps).... At least until the boss orders the
rest of the Drawer gear so I can switch it out. =)
> So what is the proper way to designate gear's A/B/C level?
I'm used to it in the context of what we do (as a sound company)....
Our 'big rig' (Vertec, Macrotech and ML5K) gets referred to as the A rig....
The smaller ones fall in line after that. That said, I'm getting more used
to the A/B level national gigs and am starting to think along those lines
now too... Which leads to more confusion. :P
Joep
Sorry about the Dutch line and sorry Kees Jan for the dash in between your
name.
To your point, A tube compressor and/or pre-amp is more commonly used in
live gigs as you might think.
To look at gigs near our home (Holland as you might know by now), the techs
of 'KANE' use focusrite RED3 on both FOH (alongside a heritage 1000) and
monitors (alongside a heritage 3000), and the FOH-tech of 'BLOF' uses a
Avalon 373 pre-amp/compressor on lead vocal and a avalon 747 stereo
compressor on the L&R-mix.
I know personally a tech who mixes the whole band on a Yamaha 01V (digital)
and lets the L&R-signal run through a DBX566.
I did FOH on several festivals on which techs of acts came with a various
range of pre-amps and compressors, mostly tube-types, which they wanted
connected and there was nothing wrong with my set-up, f.i. the compressors
were all BSS422, so nothing really wrong with that.
And a few years ago I saw Al Jarreau and his tech used a big impressive tube
device as well.
If you look at the equipment-set-up of several acts (mostly bigger acts) you
will see that tube-based machines are used a lot
Just for the sake of argument
regards
JOEP
"Kees Jan Koster" <kjko...@kjkoster.org> schreef in bericht
news:3CD56045...@kjkoster.org...
Dave Andrews
<< Dear Joep,
>
> Wat bedoel je hier Kees-Jan?
>
Man, you're gonna be slammed now, both for top posting and for posting
Dutch in what is a violently English newsgroup. Besides, you spelled my
name wrong. :-) >>
=========================================
I don't object in the least if you guys want to converse in Dutch. I don't
understand it, though. It's all Greek to me.
--
With All Due Respect,
Dave Andrews
D. W. Andrews Associates
Church Music System Specialists
"Two Hacks Working Out Of A Garage"
Disclaimer: If there are two ways to take my words,
always assume I was after the cheap laugh.
Kees Jan Koster
>
> To look at gigs near our home (Holland as you might know by now), the techs
> of 'KANE' use focusrite RED3 on both FOH (alongside a heritage 1000) and
> monitors (alongside a heritage 3000), and the FOH-tech of 'BLOF' uses a
> Avalon 373 pre-amp/compressor on lead vocal and a avalon 747 stereo
> compressor on the L&R-mix.
>
Who does Kane and Blof nowadays?
>
> I did FOH on several festivals on which techs of acts came with a various
> range of pre-amps and compressors, mostly tube-types, which they wanted
> connected and there was nothing wrong with my set-up, f.i. the compressors
> were all BSS422, so nothing really wrong with that.
> And a few years ago I saw Al Jarreau and his tech used a big impressive tube
> device as well.
> If you look at the equipment-set-up of several acts (mostly bigger acts) you
> will see that tube-based machines are used a lot
>
Interesting. From the sound of it you're doing rather larger setups than
I am, so perhaps I should work my way up the ladder a bit.
I'm a little worried that the tube thing is just the wind blowing, and
that they will all be out of the racks by next year.
Reese Thomas
>Dear Joep,
>
>>
>> Wat bedoel je hier Kees-Jan?
>>
>Man, you're gonna be slammed now, both for top posting and for posting
>Dutch in what is a violently English newsgroup.
Maybe for top posting, however I have noted many posts in languages other than
in English, and off the top of my head can only recall a couple of times
someone objected. I personally don't mind, however, if you post in a language
that only one or two posters speak, you will not get much interaction.
Besides, you spelled my
Carl Updegraff
wrote:
>> > Nice piece.... We've got a pair in our A-rig processing rack that get
>> > used a lot for vocals.
>>
>> So when you put "C" level gear into an "A" rig's rack, doesn't that now
>> make it a "B" rig? ;)
>
Perception is reality.
What makes ART Pro VLA a 'C' rig piece?
Behringer Composers and Intelligates show up in a bunch of 'A' Level
rigs. Does that make those pieces 'A' rig pieces?
It would be nice to have some absolutes, but ....
Not today.....Unless it's Vodka.
Carl