SM-58 Cardioid Dynamic Microphone
Industry workhorse, this is the mic against which all others are measured. They produce a smooth, transparent sound, even at higher volume levels.


Shure 55

Yes! We actually provide Shure 55's for our singers.

We call it "the sexy mic" because, well... because it simply is.

Audix OM2
Preferred by Alanis, Springsteen, Crosby, Stills & Nash, Blink 182...excellant performance mic, does not easily succumb to feedback. Warm low end and a slight boot to the mids make this the perfect choice for Tenors, Altos & Sopranos.

Sampson R11 - General purpose spoken-word mic used by out hosts to introduce the singers. We save our BEST mics for our singers.

Cables - the weakest link?
Not at a DOG & PONY sound Show! We use Hosa and Digiflex "Broadcast Quality" interconnects, as well as "Road Hawg" microphone cables. All cables are balanced & shielded to keep out unwanted noise. They feature heavy-duty di-electrics & sheaths and are terminated with neutrick connectors to withstand the added abuse of a mobile show.

....BUT WAIT, THERE'S MORE!

We have included two additional pieces of hardware in our audio streams, 4 channel Compressor/Limiters between the floor mics & mixers and Feedback Destroyers between each mixer & Amp.

The incredible demands we place on audio quality require that all signals be presented at optimal levels, with enormous power and presence. This, in turn, requires a professional tool.

We demand precise, musical dynamic processors that work "inaudibly". We found it in Behringer's MultiCom Pro. Interactive Knee Adaptation circuitry combines the advantages of hard knee and soft knee compression in a single dynamic processing function and works program-adaptive. Even with extreme compression ratios or difficult program material, the compressor delivers absolutely natural, transparent results. The IKA technology enables us to achieve "inaudible", musical compression and perfect dynamic control.

To protect our gear and your ears from dangerous signal peaks, we really really really wanted an absolutely reliable limiter that keeps a watchful eye on levels and prevents them from exceeding the set maximum. Our MULTICOM PRO limiter works in two phases. First, a peak limiter acts as an iron-fist yet distortion-free limiter. If overloading continues, however, the IGC program limiting circuitry takes action, reducing the entire input level to below the limiting threshold and raising it again gently. This effectively prevents distortion. With a professional high-quality Compressor/Limiter we can fully utilize our amplifier's headroom: using an IGC peak limiter we can raise our average output level by 3 dB, which means twice the power. A 340 Watt PAsuddenly sounds like a perfectly operating 680-Watt system! At the same time, our equipment is protected, so we can fully concentrate on the mix; making you sound better.

Say Goodbye to Feedback!

Common to all systems:

Behringer FEEDBACK DESTROYER PRO DSP1124P
DIGITAL 24-BIT FEEDBACK SUPPRESSOR/PARAMETRIC EQUALIZER

You know the situation...you accidentally point the mic at a speaker and produce ear-splitting feedback! Singers end up restricted to a very small "safe" zone.

So> we went the extra mile to allow you to strut your stuff and "work the room". Within fractions of a second, our FEEDBACK DESTROYER PRO's ingenious search algorithm locates feedback frequencies and sets extremely narrow filters, (1/60 octave cut) leaving the desired signal virtually untouched. The result: a rich, full sound without feedback; and without headaches. Feedback frequencies are automatically assigned to one of 24 filters, which are in turn automatically re-assigned as necessary.

This is the best way to handle mic’s in motion. Our DSP1124P continuously monitorsthe mix, varying the filter bandwidth and/or attenuation as necessary.

O.K. so we can create great sound, but without great sound reinforcement nobody will hear it.

High quality amplifiers and speakers are a must!
In many of our established venues we'veworked with them to tailor the house system to our specific needs. When we bring our own we bring the best. Our PA Systems are identified as Systems B, P, M and H (for house).

For System B we have chosen The B-52 Matrix 1000 700 Watt 3-Piece Powered Speaker System which features a 700 watt subwoofer/amp and two compact full-range satellite speakers- two 10´´ 2-way speakers and an active 15´´ subwoofer. The subwoofer enclosure is equipped with a 3-channel amplifier and all theelectronics required running the system.

System P: Peavey TLS-2 (pair)

CS 800X Professional Stereo Power Amplifier

For System P we have chosen a pair of Peavey TLS-2 Speakers with 12" heavy-duty woofer; 14XT Titanium compression driver Frequency response: 65 Hz to 17 kHz SPL: 98 dB at 1W/1m and a Power handling of 300 watts program at 8 ohms.

We have also chosen the Peavey CS-400X Power Amp for P.A.-c because it upholds awesome standards. Techies take Note; 4 ohms: 340 Watts x 2; 8 ohms: 200 Watts x 2; Distortion < 0.03% THD; Slew Rate 40 V/uSec; S/N Below Rated Power 100 dB; Damping Factor >200 @ 4.

What this means in the real world is that we have plenty of volume, clean undistorted sound with no clipping and lots of additional headroom.

System M: Mackie powered SRM450 (pair)

For System M we have chosen a sexy pair of beautiful, rugged yet powerful Mackie SRM450s. with an UltraWide Dispersion horn designed to deliver high frequency sounds across a spacious horizon, the SRM450 can be heard clearly by every person in the room. Left, right, or behind that big post toward the back of the room, thecrowd can hear it all..All 900 Watts of it!