Bgw amp plus eq for free!

[1audiohack]

HI All!

I am the lucky recipient here.

The BGW is in fine shape and is the heaviest 1RU thing I have ever handled! It seems perfect and runs cooler than any of my 1RU D series Crowns. It powers up and down nicer too.

Today I finally got around to making a pair of XLR pin two - pin three swap cables and have the BGW driving the 4435's in my office.

It sounds great and just might be used to power a pair of studio gray JBL 4502 3 ways I am building for my youngest daughter.


THANK YOU RMC!!!

We are both grateful for your kindness.

Barry.

[RMC]

Following-up, here's a summary of what happened to my equipment replacement list partially mentioned in post # 1.

Well, It took a lot of work here and there to get where I wanted to be on the new equipment purchases, but I finally got there wednesday after lots of back and forth with dealers, plus a few bumps on the road and deceptions...

Like that well known local place where at the last minute the price quoted on an additional item (equipment rack) was quite unreasonable vs others (to make up for the other gear?) and the deposit agreed upon suddenly became full payment in advance for all the equipment, now pretexting everything is special order, and no available date. Too bad for them, I walked away...

I finally closed the deal wednesday with local real Pros with whom I also had parallel discussions on this matter: this time no bullshit, no song, no go around and no low-ball/twist at the end. Just nice Pro service, good volume purchase pricing and a private guided tour of the whole facility (huge). Moreover, the deposit requested is a fraction of the total cost of 4,200. $CAD.

So 10 pieces of equipment now on order, all in one transaction, scheduled to arrive Oct. 31 or so. My waiting and grouping of purchases not only gave me better deals than CDN Web prices, but also let me do more mileage for the same money...

2 X Ashly SRA-2150 amps (to replace the BGW amps), one Ashly XR-1001 24 db crossover (addition to others I have), one Tascam CD-200 player (addition), one DBX 1215 EQ (addition), one Allen & Heath ZED-14 mixer (to replace my smaller of two Mackies), one Rolls HR-261 XLR/RCA Sonic Maximizer (toy to play with/try), one Audio-Technica AT 2035 large diaphragm Studio mic, one CAD GXL 2200SP Studio mic kit (2200 large diaphragm +1200 + PF5A), and one Galaxy Audio CM-140 Sound Level Meter (addition).

The Rolls RA 200 Studio Amp mentioned previously, or another Ashly?, as well as a new small equipment rack-addition (e.g. Middle Atlantic slim 2-6M 6 RU, now can get this at better price) will have to wait for next year's audio budget. By the same token, if space permits, MAYBE I'll get my "dream" small mixer to replace my other original Mackie with a Soundcraft GB 2R 12/2 (special order only, about 6 weeks delay here, and quite a few dollars less in the bank...).

Richard

P.S. Though this is NOT a commitment to give it away here on this site, in any case let me know if you are really interested in getting an absolutely FREE (shipping cost excluded) original, made in USA, fine shape/working (I'll re-check it, last use it worked great), Mackie 1202 mixer with owner manual (four mic/line XLR/1/4" TRS Neutrik inputs plus four stereo inputs, etc.). NOT for resale though. Based on replies I get, from here and elsewhere, then I'll decide If I let it go and to whom. "Conditional wording" used above is based on my past experience here with older gear given away and not much interest shown by members, therefore I reserve the right offering it elsewhere too and to give it or not. Sorry, but I don't want to spend too much time on gear given free, and in any case I won't be unhappy keeping/using it a little longer.

[RMC]

Hi Grumpy,

Yes, just in time... No need to wrap these as gifts though, they're all destined to the same boy who put money away, waited patiently and worked with vendors to finally make it happen with one of them.

Considering most boxes wouldn't pass through the chimney on THE day, Santa authorized that these be stored in the basement living room (not the one upstairs!), still a bit too much in the wife's way though, for now... "Trespassing" again (LOL), as I already put temporarily other audio stuff in that room, since my dedicated audio room is sort of upside down at this time with all the changes I have to do. Will get there one day! Regards,

Richard

[RMC]

I almost forgot my previous commitment to post pictures of (and comment on) the remaining audio gear I picked up on Dec. 4: Tascam CD-200 player, A & H ZED-14 mixer and the Ashly SRA-2150 power amps. The latter two Ashlys being identical the pics are valid for both units.

TASCAM CD-200 (pic # 322):

This is the unbalanced version I have. The XLR balanced outputs version, also with more gadgets I don't need (CD-200SB), is listed $180. more and has limited availability according to the local distributor's list.

So I have analog RCA outputs, good for the RCA inputs on the mixer, as well as digital outputs (coaxial and optical), the latter good for my digital MD recorder(s). The player has headphone output with volume control, a variable pitch control, and comes with a remote.

In addition to music CDs, it also plays WAV and MP3 format files, I do use the WAV format possibly more often than MP3, even if it takes a lot more space on a CD, since I'm not a strong believer of MP3 compression being Hi-Fi, though very practical.

So that Tascam player basically has what I need and want, and comes with an owner manual worthy of that name (compared to the DBX 1215 EQ purchased).

Richard

[RMC]

Learned afterwards their return policy. Box content must be checked when carrier still there in case refused(wife received it...).They deduct the initial shipping cost to consumer from a reimbursement, and sending the stuff back to them is at consumer's expense. Meaning more loss, so not worth it. Not a large amount of money involved so I stopped the bleeding there. They're quite clever!

One day I may find some other use for that lower value "Our most affordable" China Monster Cable with plastic connectors and single shield they sent, or give it away. Retailer's web site doesn't even list that entry-level 100 series Monster Cables sent. Must keep those in their back pockets to fill orders when one takes the lure...

Possibly a little better than $2.95-3.95 RCA cables, but still far from the Legend Supreme cables ordered. Switching of the Legend speaker cable pisses me off too, but I can live with this one, speaker wire isn't as critical device in general nor in my setup. Bait & switch game. Won't see me again...

[RMC]

I did try to compress the Canare Cable file. File size (.pdf) before compression: 14.892 Mb, file size (.Zip) after compression: 14.665 Mb. Pretty low gain, still much too large to fit LH Forum. Windows file compression looks like a joke here...

Richard

[RMC]

Hi SEAWOLF,

Thanks for your BGW input here. The 750 is indeed a beast, too large and heavy for my needs though.

On the other hand people here rarely talk about the original Crest Audio P-3500 with similar assets but in a two rack space unit. That also made some waves back then (late 70s-early 80s, long before it was purchased by Peavey) specially in the Touring market regarding rack space use on the road: packing more power in less space...

I'm already a convinced soul with regards to older BGW gear, 38 years of enjoyment on my part is a pretty long time... Same for the Spectro Acoustics preamp and EQ I had.

As for the newer Ashlys coming, well my post # 12 here did mention "Not sure though the newer amps will last as long as the BGW." Ashly usually makes good gear but my impression is i don't think they'll match the built like a tank of older BGW equipment in terms of longevity and reliability... The good old days seem gone. We'll see down the road how Ashly does.

Regards,

Richard

[RMC]

The Allen & Heath Z-14 mixer was chosen. Simply because of its better quality construction than similar ones and that size fits my requirements. Only a little more expensive than a somewhat comparable Soundcraft EPM 12 for example. I went for manufacturing quality first instead of ideal functions. I also considered the purchase of the larger Z-18 but its simply more of the exact same thing, no real need for this, plus I still have Mackie to use as sub-mixer if need be. If the Z-18 had different useful or better features I would have purchased it. The Soundcraft MPMi 12-2 is a serious contender, thought I had found one but the retailer's Web page was not truthful, the mixer was discontinued, while retailer said it could be ordered...

With regards to on-board effects, no real need for that at this time, since I still have a fine working Alesis reverb/delay/etc. unit, and I like the fact it has the settings written right on the front panel with the knobs : easy access, simple and fast to make any modification. 256 programs sound more than enough for me now.

Newer effects devices often require to enter and navigate menus, scroll down, select a setting, and exit, etc. which I tend to see as a hassle, taking more time when trying different settings on the go or even to make a small change to the sound. For these same reasons I stayed away from digital mixers, more so when they're usually much more expensive (e.g. QSC Touchmix-8, 8 channels, about double what I paid for Z-14).

Analog mixers are getting more out of fashion with the Pros, as I was told by a quite surprised Senior audio sales/integration rep seeing me requesting an analog one. Well, I'm not in the fashion business, and don't choose audio equipment on the basis of it being a hit with the crowd, it has to meet my own criteria. If others prefer the more trendy digital units, great I respect their choice. Mine is analog for the time being even if they take more space than comparable digital ones, probably caused by repeated hardware for every channel and more vs virtual stuff on screen. For me, everything is right where I need/like it: at my finger tip, no menus navigation, scroll, etc. Btw another fellow working there, younger guy, surprisingly agreed with me! So, that makes us at least two from different generations...

The Z-14 mixer has genuine Neutrik connectors and 100 mm Alps faders instead of cheap imitations, individual circuit board on each channel like more expensive units have, easier to pull-out and service than one large circuit board in case of problem, nicer potentiometer knobs and the pots are nutted to the top panel for sturdiness. Nice fader and pot feel too.

On the other hand, that mixer remains a compromise on some features. Not as flexible mixing board as I would have liked. e.g. No dedicated 1/4" connectors for stereo aux return(s), one must use the stereo channel(s) for this purpose, like too many other mixers these days... It does have four aux sends on 1/4" outputs, but only a single stereo return input on RCAs!! That logic is beyond me on Pro gear. Alt Out (alternate output) is also on RCA connectors!, another one where they dropped the ball. So two pairs of RCA that should have been 1/4" connectors for flexibility... Like good old Greg Mackie taught us. If one requires more RCAs then the adapter RCA to 1/4" is so simple, low cost and more robust than the other way around...

As for Record Out and Two-Track return on RCA connectors its pretty standard in this mixer category and does make sense for project studios. The mixer's USB features can also be useful to record music to a hard disk.

With regards to the latter two RCA out/in, I still have in the rack a relatively expensive cassette deck with 3-head, Dolby S noise reduction (S/N ratio 84 db), HX Pro, extended response, tape calibration, etc. that could use these connectors (or as a CD player input). Better yet, I also have two MD digital recorders (Sony's Mini Disk format), one in the rack, the other a pricey portable unit Made in Japan!

Richard

[RMC]

ASHLY SRA- 2150 (pics # 327, 328, 331)

The amp is rated the following way: 8/4 ohms/bridged is 80 W/ 150 W/ 300 W respectively, and Ashly mentions that regardless of impedance used the amp is current limited at a certain point, the design limit I suppose. The amp weight is about half that of the BGW 100Bs they are replacing.

They are convection cooled class D amps, no heat sinks seen inside looking thru a couple of vents with light. But it has 5 vents on top, 5 on the bottom and one on the front panel for air inflow. So many vents is surprising for the amp size and class.

Moreover, there isn't a whole lot of stuff inside the unit, about half the space doesn't seem to be used, so not jam packed like the BGW 100B. I also noted Ashly's internal main circuit board is COPYRIGHTED!, this is clearly indicated right on the board as seen thru vents. I assume Ashly has developed a particular proprietary technology or circuitry they want to protect from copying...

These amps have my first owned Euroblock connectors on power amps, though I've seen them previously on Cloud power amps I also looked at, plus I was given a bag with various Euroblock connectors by my dealer. Can't say that I'm a big fan of Euroblocks but I admit its a clever and practical device with no soldering to do. For sturdiness and reliability it remains to be seen. I'm mostly familiar with Neutrik and Switchcraft XLR & 1/4" type, I do use some RCAs too, so we'll see how I get along with the new connectors.

I've seen on the Euroblocks alreay installed on the amp that the screws to tighten the wires are on the bottom side of the connectors, not on the top side usually seen by the user, so this is less practical for a quick check on wire tightness for example, even though the connectors are removable. I can imagine a couple of reasons for having it done this way.

The Ashly amps also come with a small note in the box regarding the Final Quality Check and Performance Test done on each unit before leaving the factory, and its initialed by those involved in the QC process. I tend to like such steps being an indication that quality control people have indeed verified not only a small random sample, but rather each unit with its serial number indicated. People caring for quality made stuff is great news these days.

Finally, Ashly's owner manual is also nicer at 12 pages than the one which came with the DBX 1215, presented as a premium EQ.

Richard

[RMC]

I didn't order premium RCA cables for the new Bellari preamp and AT LP-5 turntable, as well as Legend speaker cable, for their purported better sound. Rather for their much better quality manufacturing, and improved shielding for RCA cables. Important to me because of number of gear in a limited space and RCAs are not balanced. I already have a pair of Monster Cables Interlink 400 MK II, better made, metal connectors, proper shielding. Legend RCA/Monster 400 are about the same, but sent me Monster 100, three steps down. Pics of Monster 400 MK II # 523 & 524

[RMC]

I had previously identified (not in this thread) the Digiflex H2R2R-3 RCA cable (called H2 here) as a cable I could live with, however it was replaced by model HE2R2R-3 (called HE here) shown on Digiflex Web site. Therefore had to order HE units, shown in post # 65 here, in absence of H2... Well, what I received from the manufacturer are all H2 models, I'm not disapointed at all this time, in fact I'm glad I received these instead of the HE! I guess they had some H2 units left in stock and sent them.

One of the pics below shows the back side of the cable's packaging, with two white stickers, top one being the dealer's showing what was ordered, and the bottom one is the manufacturer's model number sticker.

The previous model (H2) has a different Neutrik Rean connector and a nice rubber boot where the cable enters the connector. The newer HE version has that molded plastic thing on the cable just before connector entry, possibly to reduce cable flexing. Compare cable pic here with pic in post # 65. The Link Audio cable, also shown in post # 65, has that plastic thing too.

Looks more professional to me, and more like a real Neutrik connector, with rubber boot. Plastic may be cheaper though.

Anyway, If the rubber boots or cables ever fail then the Digiflex carry a lifetime warranty, so they'd get these back...

Richard

P.S. Next time the new E-V PL80C mic.