ProAudio Review - March 2009 - (Page 44)

need to set up a PA system except for speaker stands. Two mics, two 20-foot mic cables, two 20-foot NL2 speaker cables and an IEC power connector are all stored neatly inside a rear compartment. Two speakers conveniently clip on to each side of the mixer; they not only help comprise a nice briefcase-style PA but also protect the faces of all enclosed gear during transport. The speakers feature a Neutrik NL2 connector on the grille of the unit and a replaceable pole mount on the bottom. In each cabinet are two 8-inch drivers and a 1-inch compression driver all using Celestion Neodymium magnets. In Use Upon setting up the system, I noticed that the whole thing is hard to carry. I found myself constantly switching hands or using my other hand to support the other when carrying the system, and it was always smacking my shins. I also noticed that there are no handles on the speakers themselves. It was a bit awkward putting them up on the speaker stands, and if the drivers were not of a lighter weight material (neodymium), they would be very hard to pole mount. I don’t think a lot of R & D went into this aspect of this system. I also didn’t like the speakers’ frontmounted NL2 connectors; I can understand why this was done — to protect them during transit — but when set up, it is a bit unsightly and much harder to make the cable “disappear.” At first, I was weary about the outcome of this system. “It’s Fender,” I thought. “They’re known for guitars and amps. What do they know about PA?” Admittedly, the review was already going in a negative direction. Yet, upon hearing it, the PD-500 quickly changed my mood. I began using it by playing some of my favorite soundcheck music via a CD player. I was impressed by the PD-500’s bass response; I must say the system has a nearly natural sound to them, smooth and pleasing in the vocal and acoustic instrument ranges. In turning up the system, the sound didn’t become harsh and “bite-y” like many other small speakers tend to do. The two included Fender P-51 microphones PAR Contributor of the Month: Karl Bader Live Sound Engineer Washington, DC/ Baltimore Karl Bader’s career training started in high school, where his passion for the stage really flourished. “I remember sitting in the back of the theater during a drama club performance and thinking to myself, this is pretty amazing,” Bader explains. “I am doing a lot for this performance, and no one really notices.” Right out of high school, Bader was offered a job by Events Staging in Pottsville, PA (www.eventsstaging.com), a company that did work with his alma mater. Bader started in lighting, but soon discovered his passion for audio. Throughout his college career at DeSales University in Center Valley, PA, he picked up audio work for any company that would hire him and also worked for local bands for experience. At DeSales, explains Bader, his Tech/Design Theater major taught him that he needed to learn as many aspects of the industry as he could, and he has taken this lesson with him throughout his career in audio. “My first job out of college was a sales broker for a used audio gear company called HTICS (www.hticsproaudio.com). I didn’t know a thing about sales, but learned a lot about the industry as well as a lot of industry names.” Soon thereafter, he moved on to a job with a small live audio company in Philadelphia, and later to a gig with SPL Integrated Solutions (www.splis.com), a nationwide systems installer. “I knew how it all went together but I had terrible soldering skills. I wanted to know more about why and how it all worked,” Karl tells of his valuable time at SPL. After two years of soldering and pulling wire, Bader was hired by Washington, DC-based live-sound firm, Entertainment Sound Production (www.espsound.com). He has now been with the company for three years. “I like the atmosphere,” Bader offers. “I’m always learning something and having fun, too. I truly think I found a home.” About a year ago, Bader wrote an e-mail to Pro Audio Review. “I had a problem with one of the articles,” he recalls. “I wasn’t happy with the limited information I read about the gear,” he explains. “I wanted to know more.” This letter led to an opportunity for him to write his own review for PAR. “It was a simple one for a Heil PR-22 mic,” explains Bader. “I took what I felt was a different look at reviewing; I wanted to know the limits of the gear, not just the capabilities. Because the mic is marketed for live use, I conducted a ‘drop test.’ After all, when I buy a piece of gear, I’m buying for the long term. It’s important to know how it will hold up.” Bader would love to hear from PAR readers at karlbader@espsound.com. 44 ProAudioReview | March 2009 www.proaudioreview.com http://www.eventsstaging.com http://www.hticsproaudio.com http://www.splis.com http://www.espsound.com http://www.proaudioreview.com

Table of Contents Feed for the Digital Edition of ProAudio Review - March 2009

ProAudio Review - March 2009 Contents Technically Speaking New Studio Products Opinion: Studio Sense Gear Trends In Nashville Focusrite Liquid Mix HD TDM Plug-in Daking Mic-Pre One sE Electronics RNR1 Active Ribbon Microphone WAVES Tony Maserati Plug-in Collection KRK Systems Rokit 8 G2 Monitors and 10s Subwoofer JBL Control 2P Powered Desktop Monitors Neumann TLM 103D Digital Microphone System Violet Design “The Wedge” Condenser Microphone New Live Products Opinion: Worship Audio Fender Passport Deluxe PD-500 Portable PA PAR Contributor Of The Month Behringer 2442FX 10x4x2 Analog Mixer Single Slice

ProAudio Review - March 2009

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