Cacophony Forums
Unofficial Mackie User Forums => DL1608/DL806/DL32R/ProDX Mixers => Topic started by: websterama on March 11, 2014, 09:39:31 PM
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Hi,
First time poster.
Did search for answer to this question, but no luck (perhaps because it's such an obvious/stupid one).
I'm going to be using my 1608 for my daughter's band next week.
I've done that a couple times already, with no issues, but i'm adding a new piece to the puzzle and don't want to screw things up.
We use 2 JBLPRX712s and we've just added a single sub, the JBL PRX715 xlf.
I know the default/path of least resistance is to just to run the main L/R outs into the sub, and then feed the mains (with the subs built in cross-over handling things).
The sub has two inputs and passthroughs for this purpose.
But from what I've read I might get better (if not simpler) results by feeding the sub from the aux outs, enabling me to only send the instruments I want (kick, bass, floor tom?).
My question is this:
The band has a keyboard player that uses true stereo out with panning effects.
I'll be feeding that into the 1608 by linking two of the 1/4" inputs. Simple enough.
My question is whether I should be adding the keyboard to the sub-aux mix?
And if I so, would that mean I should be feeding a stereo signal into the sub by using two of the aux outs, linked?
Or just feed the sub a single aux-out and assume the board is mixing down both channels of the keyboard into a single mono out for the sub-aux?
Sorry if this is a super naive question, I just would like this to go smoothly and sound great and i've got a new variable in the mix.
And if there's a general primer on best practices in doing aux-send to sub, could you point me to it?
thanks!
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Feed each channel of the stereo keys to the mono sub send. No need to burn up a 2nd aux. Since you'll be sending 2 channels of sub send from the same source, you might need to drop the sub send level to -3dB on each channel since they'll be summing at the aux send.
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Thanks!
That's very helpful. Makes sense.
With regard to setting levels for the sub-mix, is there a best practice for that?
I mean what to set the gain at on the sub itself vs. what to send out via master fader.
And i'm assuming, during the performance, that the one "drawback" of this kind of operation is that when I adjust the volume of the mains that has no impact on what I'm sending to the sub right? So i'll need to adjust those two things manually in tandem?
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On most mix desks these days with good noise floors, I always run the main outs at unity anyway as well as the aux masters. On bigger desks, I'll assign a VCA/DCA to the mains and sub aux so that in the event I need to drop the levels to the mains, I can track both subs and tops with one control. As far as setting the sub level, you'll just have to "ear-ball" it with a known music source and set the sub so it's balanced with the tops relative to what you're playing. You can use measurement gear if you're so inclined. Make sure you high pass your tops properly since you're not using the crossover in the sub to do it.
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Thanks, that's helpful guidance. Looking forward to putting this sub into service on Friday :)
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I have one last question, prompted by your last comment.
I know I should put a high pass filter on the tops (since I'm not feeding them via the sub, but rather directly) so that I'm not duplicating output at the same frequencies.
I'm just not entirely certain where to cut. The manual for my sub http://jblpro.com/www/products/portable-market/prx700-series/prx715xlf#.UyDirlFdWZ8 (http://jblpro.com/www/products/portable-market/prx700-series/prx715xlf#.UyDirlFdWZ8) says that the loop-out crossover has a "120 Hz analog 24 dB filter slope".
Since it was designed to be used as a companion to my tops, should I take that to mean I should replicate that in Master Fader?
And conversely, I'm assuming I can feed the full signal (without a filter) to the sub itself. Since it has an internal crossover that only attempts to reinforce low frequencies.
Again, sorry if this is super-noobville but I haven't use the 1608 this way.
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I took a quick look at the sub's specs. They indicate that the sub is internally low-passed at 100Hz with a 48dB per octave filter which is very steep. You should be able to cross your tops as low as 100Hz too, but they probably chose 120Hz to reduce the overlap a bit. Don't be afraid to shift that high pass point down to 100Hz if it sounds better. Experiment. And you're correct that you don't need to low pass the sub. It's taken care of.
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Super. Thanks so much!
I love this forum. :)
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I have a similar system, and can offer a different approach:
Run your Left Main Output cable to your sub.
Run your Right Main Output cable to your 712's (jump from one to the other).
Be sure and run your 712's on the full-range setting.
Now you can control how much of the channel goes to the sub, top or both, via the balance control on each channel strip.
The kick drum, bass guitar and keyboards would be set at 50/50.
The guitar, other drums and vocals panned hard right.
This way you can stay on your main mix page and just utilize the pan control on each channel to get the needed lows. I use this process with my PRX615's and xlf18's. I run the 615's at about 11 o'clock, and the sub's at around 3 o'clock (volume on back of speakers).
The above configuration gives me a noticeable improvement over running everything through the speakers and relying on the built-in filters.
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That's a really interesting idea. I'll test it out during rehearsal and see if it makes sense.
I thought the conventional wisdom was not to send the same content to both sub and top?
Or is that one of those hotly debated religious issues I've just accidentally stumbled into?
Thanks for the suggestion.
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That's a really interesting idea. I'll test it out during rehearsal and see if it makes sense.
I thought the conventional wisdom was not to send the same content to both sub and top?
That would be correct. Sending full range signal to the tops does 2 things: 1) is that it causes excessive overlap of frequencies being produced by both sub & top which leads to uneven frequency response as well as possible comb filtering of those overlap frequencies; 2) it causes the headroom of the woofers in the tops to get eaten up and increases intermodulation distortion of those woofers.
When the subs are already reproducing the lower frequencies and the tops are properly high passed, the tops usually gain clarity and have more headroom in their optimal band pass instead of wasting amp and woofer resources at frequencies where they're not as efficient. And the more low frequencies you throw at a driver reproducing vocals, the more IM distortion you get. Sometimes it's ok to have some overlap and it can increase the "punch" of certain instruments depending on the rig. This is where experimentation on the crossover point vs sub/top gain comes in. But to let the tops operate as low as they can go is probably not the way to go IMHO.
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That's a really interesting idea. I'll test it out during rehearsal and see if it makes sense.
I thought the conventional wisdom was not to send the same content to both sub and top?
Or is that one of those hotly debated religious issues I've just accidentally stumbled into?
Thanks for the suggestion.
No - not debated at all. You must send a signal to both sub and top for instruments that require the full range, i.e. kick drum, bass guitar, keys.
For things like vocals and guitar, you can simply use your tops full range or blend in you sub's to taste. I prefer to keep vocals, guitar & snare out of the sub's entirely.
My method is essentially the same as running aux fed subs, except you only have 1 fader to control each channel instead of 2 (good).
Running from an aux mix, if you have your kick drum going to the tops on LR out, and going to the subs on let's say Aux 6, then you need to use (2) faders to adjust the volume. With my method, only (1) fader on the LR main page needs to be moved.
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That method seems fine on the face of it but, as GregC says, it involves sending a full range signal to the tops, this would be fine for certain speakers (QSC K12 for one) which have a crossover built in, it is not suitable for the OP's PRX712s which don't (and you mention setting your tops to full range which would be wrong for all the reasons Greg stated). Used with an external active crossover it would work but that defeats the biggest advantage of the DL1608.
The object of aux fed subs is not so much to send certain things (kick, bass and keys usually) full range but to keep the mics on things which don't have low frequencies out of the subs, the theory is that it works better to not send them to the sub at all rather than the normal method of using a HPF on the channel. The advantage is reduced 'stage rumble' and the consequential improvement in clarity.
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Ok, I think I get the general philosophy on this now. All of your feedback has been very helpful.
On a more tactical level, I've been playing around with the Master Fader app in order to better understand where to implement this.
If I'm understanding it right, seems like the procedure is to select the LR output channel, tap the EQ button, and then swipe to the panel with the parametric EQ.
On that panel, I selected the HPF slider at the bottom, and moved it up to the desired level. In this case, for my tops, seems like I'll be experimenting between 100-120hz.
The default HPF setting appears to be an 18db/octave curve. Other options include 6/12/24 db. Any reason not to leave at default?
And I don't need to bother putting a LPF on the aux that is feeding the sub. Just only raise the levels on the few instruments I'm sending there.
As for my 3 stage monitors, I'm assuming it might be worth setting a HPF on those as well?
I typically only send vocals, guitar and some keys to those monitors, so not sure it matters.
Thanks again for helping a fellow 1608 brother out!
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I'd use the 24dB per octave filters for all high pass needs. Not a fan of odd order filters. By all means use HPFs on the monitors. I do it all the time - especially since I have old Mackie SRM450s for wedges that tend to overheat easily with a lot of low frequency content.
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it is not suitable for the OP's PRX712s which don't (and you mention setting your tops to full range which would be wrong for all the reasons Greg stated). Used with an external active crossover it would work but that defeats the biggest advantage of the DL1608.
I will suggest the OP tries it both ways. I have the PRX615's, and after comparing, they sounded much better in the full range mode.
I do you HPF's aggressively on the vocal, guitar and some drum channels.
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It's always going to be a subjective decision, I feel I get more headroom on my tops if HPF'd but if you HPF the vox and guitar mics at 160Hz ish you won't be getting too much LF mush in the subs anyway.
I did an outdoor gig last year and didn't have a windshield for the drum overhead so had loads of rumble from it, HPF at around 160 sorted it nicely with minimal impact on the sound.
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Thanks for sticking with me. As I configure this I keep coming up with other questions. Sorry.
Should the aux send for the sub be pre or post fader?
I use pre-dsp for vocal monitors up front, pre-fader for the monitor the drummer uses, but not sure what the sub should get.
Also, what's your POV on the input presets? Any good?
Since I'm a rank amateur at this, anything that gets me 80% of the way in one click is good news.
Looking at the presets they each seem to include the adjustments I would expect logically, even if the specific levels and tweaks are up for debate.
Lastly, the room they are playing tonight has a lot of awful echo. Hard surfaces and super high vaulted ceilings.
I'm planning on aiming my tops down a bit angling them in to help a bit. But wondering if there's anything else you'd suggest doing to the main out eq to combat it. Assume I shouldn't use any reverb since the room provides its own. But wasn't sure if the new output delay feature in 2.1 would be of any use here.
Thanks again for all your counsel.
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All open monitors, ie floor monitors, should be pre-fader. All FOH should be post fader. That way if you change the fader, the Front of House speakers respond. Monitors being pre-fader and possibly post eq are that way because if you increase the fader level for a singer to get their voice louder in the audience, you don't want the monitor level of that mic increasing because it might feedback. Subs are FOH speakers and need to vary with the fader. (Am I over explaining this?) All of this pretty much goes out the door with a low volume band. (The kind that places its FOH speakers in the backline.) But why would you even bother with monitors with the speakers in the backline? (Rhetorical question. We never did.)
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Natural echo? Reduce the bass output. Ask your bassist to back off on the low end. (Might sound a bit tinny, but that might be better than having those frequencies bouncing around.) There are some RTA apps for smart phones. Using them you should be able to identify the frequencies that are problems. These are frequencies to drop using the 31 band EQ on any output. (Pretty sharp cuts available there. Don't be afraid to drop them the whole way down. You might need that level of cut.) If you can find about 5 of those not adjacent to each other, that might be as good as you can get. I would make sure that those cuts were applied to any FOH speakers including the subs. This doesn't sound like the best time to use subs for a first time. You are right about not adding any reverb. It would just muddy the sound. Might want to cluster the subs to help keep those sounds on the dance floor. (Tilted tripod mounted speakers are a good idea.) Also, keep the volume down. These are the situations where restraint is a very good idea. Go for what sounds good in the audience and not what sounds good onstage. Good luck. You've been asking the right questions, so you're thinking in the right direction.
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I think Wynnd answered everything the same as I would have.
Regarding the channel presets, I've used them a couple of times, mostly on drum channels, and they're not a bad starting point. Just be careful because some of those presets add a lot of high frequencies, which could cause feedback.
The loud, ambient room is the most challenging. Are you sure you want to make this your first time running an aux sub mix? You will need to flip to that page at just about every (low-frequency instrument) adjustment.
Typical low frequency cuts on my PRX system are at 160, sometimes 80, and when there's a lot of stage volume coming at me I often put a "smily face" in the low-mid frequencies, 125 to 400.
I agree that when using the 31 band you can filter all the way down, if needed. I have not yet used the parametric on the outputs.
Start by tuning your system with some known recorded music. Set the levels first by using the volume knobs on the back of the speakers (with a flat EQ on the main outs). See if you can get several recorded songs to sound good, not too much bass, and as little EQ filtering as possible (but use them as needed).
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+1 to all above but especially to playing quietly, volume is your biggest enemy in a very echoey room.
The presets mostly work ok for me as a good starting point, a few, mostly minor, tweaks and they can sound very good.
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Thanks for all your help!
Show went well, and they sounded great, despite the challenging environment and the fact that this was a live test of some of the gear for the first time.
The key piece of advice that served me really well was keeping volume on stage as low as possible.
That way the primary source for the crowd was up front, aimed away from the ceiling and and overcame the reflected junk.
You could actually hear all the elements in the mix, whereas other shows I've seen at this place were all guitar and drums with no vocals, keys etc..
If anything, I kept the guitars a little too low, but I got no complaints from the crowd.
Main thing was the singer sounded great, strong and clear in the mix, and she's somewhat on the quiet side normally so that was a primary concern.
And no feedback issues.
The two things that surprised me that I need to dig into are:
The kick drum didn't have a lot of presence in the subwoofer.
Maybe my mic position was bad (AKGD112 just in front of port), or it's a quirk of the Yamaha kit my daughter uses.
But it didn't seem to move a lot of air in the sub. The line in from the bass-amp sounded great on it though, so I know the sub was working.
Perhaps her kick just doesn't generate frequencies quite low enough for this sub?
And there was a ton of bleed from the snare into the kick mic. Frankly there was a lot of bleed between the drum mics in general.
I was using the drum presets from Master Fader, and had hopes the gates would help more than they did.
Live and learn.
Thanks again for all your help!
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There's a joke on another forum about a guy that left a D112 in plain sight on his back seat and some mean SOB broke a window and left a second one next to it x( .
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Lol. I know there are wildly differing opinions on them, some people love them and obviously others, not so much.
But i've used it before in other PA situations with different results. And I've gotten great recordings from it.
So not sure if that's the issue or there is some complicating factor.
Open to replacing it with something else if consensus is that it's just a bad design for live stuff, but given how many owners there are out there and it's decent review scores, I can't imagine it's totally without redeeming qualities.
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I don't mind the D112 myself, for live use many favor the Audix D6 for it's built-in EQ for kick. What did you have the D112 HPF'd at?
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I didn't actually, now that I look at it.
I used the "kick" preset within Master Fader which looks like it boosts 50hz a little and cuts between 100-400hz and then slightly boosts 2.9khz along with applying 2:1 compression and setting up a gate at -32.5db
Maybe I shouldn't rely on the preset in this case.
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You most certainly need to learn how to use the gate. The preset will get you started, but the final setting will keep the other drums out of that mic.
I don't use a compressor on the kick. I use the D112 with excellent results, but I also really like the Audix D6.
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Ok, when I've recorded at home in our basement studio I've messed around with the gate until I can keep the other drums out but I didn't do that in this case at the live show.
I'lll definitely experiment with that. What I found that worked when recording was to set the gate at the level where only the single drum gets through, but then back it off a bit, because in every instance where I was completely rejecting other drums I was also losing part of the desired signal. So a few notches below complete rejection of unwanted drums seemed to be the best compromise I could achieve.
I'll see what I can do with the settings on the 1608 to achieve the same outcome.
And on the two condenser mics I'm using overhead, do I want a good general sound of the whole kit, or try to isolate out just the cymbals?
I'm using tom mics, so don't need the overheads for those.
But from what I've read, it's better to get the whole kit vs. just the high end on those mics. But maybe that's for recording, not live performances.
Thanks again for the advice.
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Thanks for all your help!
Show went well, and they sounded great, despite the challenging environment and the fact that this was a live test of some of the gear for the first time.
The key piece of advice that served me really well was keeping volume on stage as low as possible.
That way the primary source for the crowd was up front, aimed away from the ceiling and and overcame the reflected junk.
You could actually hear all the elements in the mix, whereas other shows I've seen at this place were all guitar and drums with no vocals, keys etc..
If anything, I kept the guitars a little too low, but I got no complaints from the crowd.
Main thing was the singer sounded great, strong and clear in the mix, and she's somewhat on the quiet side normally so that was a primary concern.
And no feedback issues.
The two things that surprised me that I need to dig into are:
The kick drum didn't have a lot of presence in the subwoofer.
Maybe my mic position was bad (AKGD112 just in front of port), or it's a quirk of the Yamaha kit my daughter uses.
But it didn't seem to move a lot of air in the sub. The line in from the bass-amp sounded great on it though, so I know the sub was working.
Perhaps her kick just doesn't generate frequencies quite low enough for this sub?
And there was a ton of bleed from the snare into the kick mic. Frankly there was a lot of bleed between the drum mics in general.
I was using the drum presets from Master Fader, and had hopes the gates would help more than they did.
Live and learn.
Thanks again for all your help!
shove that mic all the way into the kick drum..
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The kick drum didn't have a lot of presence in the subwoofer.
Did you have it in phase? Dave Rat has a good explanation on YouTube on drum setup. Google and you shall find.
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I agree that the kick mic needs to go inside the drum. The further in the better. I'm a fan of large port holes in the front head. Small holes suck and no hole is the worst. Depending on the genre of music, you may want some kick beater "click" to help define the kick. For anything modern, at least a small amount. For metal or punk, more to ridiculous amounts can be the order of the day. Putting the kick mic in closer to the beater helps get that attack along with isolating the kick mic from drum bleed. More old school jazz or blue grass type genres usually require a more woofy kick with no click. But modern versions of those genres may call for it. Keep in mind with micing anything that the closer it is to the source the, the less bleed you get. The main reasons is that less gain is required to get the level you need which means less gain for picking up other sources.
As for overheads, unless you're doing large venues, I'd recommend using them just to get the "sparkle" and ping of the metal. I generally run mine high passed all the way up with an additional shelf added so they're mostly reinforcing above 5kHz. In the rooms I'm working in, the cymbals have more than enough of their own "body" going out into the room and putting too much mids in the overheads only makes the mix worse. You don't really want them reinforcing the rest of the kit like a studio. Drums give off a lot of their own sound into the room plus the close micing through the PA. No need to add more overall "wash" to the kit sound in the PA.
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Also of note for the Audix D6 if you use one - don't place it half way in the port hole. The diaphragm of the capsule can be damaged by port air turbulence apparently. So all the way in (or out if need be).
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One other thing on kicks, you can't just feed them to the subs. Subs are important to their sound, but they also include higher overtones that need to get to the audience too. So if you happened to only feed the kick to the subs, that was your mistake. They also need some EQing unique to kick drums. Try the kick drum settings as a starting point. As to mic position? I don't have a clue, but once you set the mic up, don't change it until you're sure the channel adjustments don't meet your needs. (The drummer has always setup his own kick mic, so I only needed to deal with the EQ, trim and fader.)
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I did another show at the same venue last night so got a 2nd run at this.
Made a whole bunch of adjustments based on the feedback here and got better results.
Changed the position of the mic, gave it a bit more gain than last time, and fed it to both sub and mains (with HPF set on the mains to keep from overlapping too much).
Outcome was better sounds and more presence, both for kick and floor tom.
The toms actually had a bit too much sustain (in general) for my liking. I had modified the threshold on the gates in order to minimize spillover, but I guess perhaps I need to look at release as well.
The line-out from the bass amp really sounded great through the sub, along with the low end from the keys.
There was also a conga used in part of this show (some Santana of course), so I moved one of my overheads for that, and repositioned the remaining overhead in the center of the main kit.
Only modification I needed to make on the fly was reducing the frequency of the HPF on that mic because I had set it for just capturing cymbals on the main kit.
When I switched it to the congas of course it was missing a lot of low/mid stuff, which I quickly realized and easily adjusted to bring back.
The main discovery I made this show is that the internal recording off the main signal is useful for mixing into a live room recording, but not much good on its own.
If I'd thought about it much I would have anticipated why pretty easily. Keyboards and vocals were too heavy, while guitar and bass were too low.
Guitar, because I'd set the levels in the mains lower than other instruments because they had big tube amps on stage creating additional volume vs. keys that didn't.
And bass because I had high passed the mains to keep a bunch of the bass in the sub (which obviously doesn't get recorded by the app).
Next time I'll use aux 5&6 to feed a custom, more balanced mix to the XLR inputs on my Zoom H4N and see how that goes.
Frankly I was too busy making adjustments on the fly during the show to have really paid much attention to it last night but expect with practice I could do both.
Overall, the DL1608 has been perfect for me as a novice. I didn't have any analog stuff to unlearn, and it's easy enough to experiment without feeling like I'm going to break anything.
And wandering to the middle of the house to mix from the audience is the only way I can imagine ever doing this.
Thanks again for all your help!
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The kick drum didn't have a lot of presence in the subwoofer.
Did you have it in phase? Dave Rat has a good explanation on YouTube on drum setup. Google and you shall find.
Here is the YouTube presentation. Miking and mix setup isn't all that straight forward. With or without the drum fill it's still valid. Worth understanding and easy to test.
http://www.youtube.com/watch?v=tPxxzswyoVg
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I'd be leery of presets in any case. Especially when it comes to gate and compressor settings. By all means, mess with the threshold/range (attenuation)/attack/hold/release on gates. Every drum is different. No one gate setting will worth with all drums. Only use as much range as needed to kill the excessive ring when the gate is closed. Too much with a fast attack will cause audible clicks when the gate opens. The needed range can be as little as 6dB or as much as 20dB. Minimal range also allows more of the attack during the hits to get through. Use as fast as attack as possible without audible clicks once again to ensure you get as much attack as possible. Work the hold and release controls to create as natural of an envelope as possible so the ring cutoff doesn't sound artificial (unless that's what you want). Hold is how long the gate stays full open after the threshold is surpassed and Release is how long the gate takes to ramp down to close once the hold period has ended. It's too bad the DL's gates don't have frequency based side chain triggering. This would allow you to set the frequency range that triggers the gate to open which can be very helpful for preventing other drums from trigging the gate by allowing you to zero in on the frequency for a particular drum that's prominent.
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Off course you could bypass most of this and go electronic with a Roland V series, Yamaha DTX or Alesis DM series usually over your drummers dead body >:D. It's a lot lighter and quicker to setup and tear down and it gives the drummer CONTROL an important tradeoff for going electronic. It still looks big and impressive. :)
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Funny, the drummer in this case is actually my daughter.
And we do own a Yamaha DTX500 which she sometimes uses for practice when other folks in the house are sleeping or if we are traveling.
You are right, much easier to transport and set up. And now that you mention it, must be a piece of cake to get sounding great through the PA.
But for a 13 year old, you'd be amazed at how much of an acoustic kit bigot she already is.
One of her teachers must have poisoned her mind a couple years back :)
But as I'm the one who hauls her gear around, it's certainly something I'll re-suggest she looks at for certain gigs.
thanks for the reminder.
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As a former touring/recording drummer, I can say factually that there's no substitute for real drums when it comes to feel, power, and nuanced dynamics. If your daughter wants real drums, you'll never talk her out of it ;)
Greg
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The main advantage to eDrums is that an OK drummer can play the smaller quieter places. A great drummer can do the same with a smaller kit and a light touch - but that is less "fun" than bashing the heck out of a full acoustic kit too LOL.
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Ah.. yes the open minded highly opinionated musicians are at it again. Sorry I couldn't resist that >:D. Were have I heard this before ah my wife would rather use a out of tune "real piano" instead of a Yamaha P90 with studio monitors. ::) never mind that you couldn't get a C note out of it on a good day. Tuning would last about a week after that you had to extract paperclips, pencils and other objects out of the hammers (middle school). Oh there was an advantage it held piles of sheet music. So now we need the endorsement of Ringo Starr or Mat Flynn and that will happen as soon as Sir Elton stops pounding on million dollar toys. But for the rest of you playing in small gigs and tight places it should be a boon and make room for bigger speakers in the van. :) Careful though these rigs can be pretty pricey $7K+ for a Roland V.
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...fed it to both sub and mains (with HPF set on the mains to keep from overlapping too much).
Outcome was better sounds and more presence, both for kick and floor tom.
that's how you're supposed to do it!
keep the tops high-passed at wherever the sub starts at (so it doesn't overlap at all), and anything that goes into the sub still goes into the tops, too.
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Glad things went so well. New equipment is always a bit of a learning curve.
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Also of note for the Audix D6 if you use one - don't place it half way in the port hole. The diaphragm of the capsule can be damaged by port air turbulence apparently. So all the way in (or out if need be).
Yes and your car may crash so better leave it at home , i have done 1000 + gigs with a D6 half way in the port on an ez-clip
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And that is proof that what is "conventional wisdom", doesn't work for everyone. And I have always been amazed at what can be made to work. I still own and use 1965 Kustom PA speakers with the round horns. Even they can be made to sound good. (Having OEM Altec 15" drivers helps.) They are a bit beamy, but there are times when that is a good thing. (I bi-amp them and EQ'd them with a DriveRack PA. Total wattage is around 500 watts.)
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Yes and your car may crash so better leave it at home , i have done 1000 + gigs with a D6 half way in the port on an ez-clip
This isn't some arbitrary warning. It's happened to a lot of folks and there's now a warning from Audix about it. From the spec sheet:
"IMPORTANT: When miking a kick drum with a sound hole in the head, be sure that the D6 is placed INSIDE the sound hole. When the head of the grill cap is lined up right AT the sound hole, there is extreme air turbulence pushing and pulling on the capsule and this can cause failure. For more complete miking instructions, go to our web site and watch “How to Mic Kick Drum.”
http://www.audixusa.com/docs_12/specs_pdf/D6.pdf