Re: Behringer line array
i refuse to write LOL. but i did...
That might be a burst rating. I have had a Behringer burst before.
i refuse to write LOL. but i did...
That might be a burst rating. I have had a Behringer burst before.
That might be a burst rating. I have had a Behringer burst before.
Line Arrays are so zeros...
Recently posted by one of Uli's web bots:
ELX42: $799
ELX82: $1499
ELX212 Sub: $999
ELX215 Sub: $1699
Shipping this summer they claim.
I am surprised by the pricing.
$1500/box for the "big" line array box - that's cheap, but I wonder if it is cheap enough, especially given that people are used to $300 Behringer speakers with mediocre SQ. I was expecting something more like $999. Unless these are pretty smokin', I can see people sticking with the established players, even if they have to spend slightly more. Boxes like the Versarray and the DVA T4 (when you factor in power) are there in that price range, as are the budget conscious fixed angle boxes like the Mackie HDA etc, and that's not even getting into the fringe budget stuff from off brands.
So for a 6 per side rig, probably 20K once you add the array frame. That math won't make me want that rig, but who knows, they must think that's what the market will bear. Certainly not providing the same pricing "wow" as something like the X32.
but these are bomb proof.. im sold
And that is part of the whole problem.. Are the clients needing the best quality system for a small farm show?
I'll agree that in saturated markets these systems could wipe out the better quality business but then we should look at what we are pushing on clients. Are the clients needing the best quality system for a small farm show? Or do we as providers need to look realisticly at what the clients needs are. The people that "give" those systems away won't be around long due to support issues.
Sent from my ADR6300
This is the same thing that got "NO PEAVEY" on riders. A sophisticated product that lowers the price of entry without raising the technical education of the users is certain to leave a bad taste with those who deal with the results.
So the result is bad sound and it gets blamed on the product. Not the user. MANY systems could be improved by simply setting them up and running them correctly. But people often look for the "magic gear" to solve THEIR problems. Because THEY know to use it-yeah right.
Give 3 people a hammer.
One will build a house-One will build a piece of furniture-the Third will hit his thumb and blame the hammer! It MUST be the hammers fault-right?
That is part of it. The other part (that Tim was eluding to) is the setup of the gear.IMHO the biggest factor regarding sound quality are the crew running the gear. I recently attended a show with only hi-qual gear(Meyer, Midas, Lex 960, top notch microphones etc.) and it still sounded like shit because the guy running the board didn't get a basic mix up and running. I bet a more skilled operator could archieve better sound using lesser quality gear. A mix where you could actually hear all the performers. Basic stuff really.
THAT is hitting the nail on the head! Let's assume the product itself is just fine. But the typical buyer of that level of product does not have the basic understanding of sound systems-how they work-how they INTERACT and so forth.
So the result is bad sound and it gets blamed on the product. Not the user. MANY systems could be improved by simply setting them up and running them correctly. But people often look for the "magic gear" to solve THEIR problems. Because THEY know to use it-yeah right.
Give 3 people a hammer.
One will build a house-One will build a piece of furniture-the Third will hit his thumb and blame the hammer! It MUST be the hammers fault-right?
So, for the inexperienced among us, what you're saying is that most anyone who knows how to properly deploy these boxes wouldn't be caught dead using B-ringer gear, and the primary market for entry level stuff like this will most certainly not invest the time and talent to set it up properly. Am I understanding properly?
What this means is it's time to double up efforts to make clients see that what's in their best interest is to put together a show people enjoy listening to and want to come back for again. There will always be those who don't look at anything but the check they have to write to a production company, but I truly believe they can be made to see the inverse relationship that exists (to an extent) between how much they pay for a PA system and how much people enjoy the sound being made.
THe sad thing is that most of the people who need it most would not bother because they think they know everything anyway.Maybe Phil can sell some E-books about how to set up line arrays for dummies.
JR
(...)
The sad reality is that for the most part-the sound can totally suck, but most people will still enjoy the show as long the band is half decent and there are lots of blinky lights.
And those that don't like the sound, don't ask for their money back or complain-at least much anyway. And if only a small percentage complain-then why bother.
It is kinda like the bar scene. Do the bar owners really care how good the band is? No. They care about how many people the band can bring in AND how much alcohol they sell. The band can totally suck-but if the bar sales are good, the band will be hired back.
Of course that does not excuse bad sound. (...)