Karaoke Forums

I thought that what the mic was for for, to do room sweeps. I guess it's not that easy. I used to work for a friend I went to tech school with in his AV business, and he had some very expensive room analyzers and stuff, like in the couple thousands. I thought this hunderd so dollar system would do the same thing in a lesser effect.

Right now, I'm a one man gang, so I need to set up fast. I decided on the GoRack, so I won't have the comprehesive EQ, just the presets so... I'll see how good that is until I can make some $$$ to compensate for the $$$ I had to spend... $3K this week, coming from Amazon for essentially DJ equipment... 2 additional speakers, subwoofer, truss, bags, bags, bags, lights, stands. God what have I got into. Right now, I know I'm skimping on a great processor, but it's gonna have to do for the time being.




We have a winner! Thanks. Ordered yesterday. Can't wait to put it through it's paces and some trial runs. Did the research, read the complete manual. Thanks for the suggestion... I was really leaning toward the DBX PA2, which I may get down the line, but this looks like it'll do for the meantime.

Thanks Again.

Just keep in mind that the GoRack is a greatly simplified Driverack. The feedback eliminator portion only has three very broad presets (Music, Speech-Music & Speech) and 10 dynamic only notch filters. The GoRack has no fixed notch filters so you cant "pre ring" the room for feedback. You have to wait for the feedback to occur first, so it can then be eliminated. They then "Round Robin" if more feedback occurs with no way to set a release time. Meaning if you have feedback early in the night, those frequencies stay notched all night long. With no way to release the notches after a certain period of time, it could potentially mess up your audio for the night.

The EQ portion of the GoRack is just a collection of 16 presets with no way to adjust the individual bands. "Smiley face", Bass Boost, Speech, etc. Its extremely rudimentary, and not the way to use an EQ.

I also noticed you have a Sub on order. The Driverack has an awesome 3-way digital crossover that will allow you to split out only the sub frequencies. How are you splitting out your sub audio?

Yes, I did my due research on it, like most of the things I get into, I like to read about it. I actaully went to their website at dbxpro.com and read the manual, saw the full range of audio processing units... the "Rack" stuff. So I knew what I was getting before I bought it.

If you read the other posts, I discussed the dynamic FB eliminating abilities of the Driverack PA. But right now, I'm trying to maximize a budget as I will aslo be doing music so I need lights- which is a whole different animal in itself. So I decided on the goRack. Yes, I knew you only had 3 choices which the only differences were the bandwith of the notches.

As far as the EQ goes, it's a quick way to do an overall sound adjustment or sound shaping. It's not meant to be for precise adjusment. Looking at the face with it's limited buttons, the price, and where the unit is on DBX's "rack" totem pole, then you know you are getting a simple, pre-programmed unit, not something where you can adjust specific frequencies to ring out a room, or to optimize speaker performance. This is obvious.

Funny thing, the goRack came in today, and I'm writing this 30min after testing and playing with the unit, and I'm a little disappointed with the anti-feedback. Maybe I was expecting too much. I put pointed the mic at the sub about 4ft away playing Miami Bass stuff at about mid volume. I'm a teen of the 80's/early 90's. . This was done with the sub pointed in our foyer which is only 5 ft wide and 20 ft ceiling. Rejection was pretty good with the mic pointed away from the sub and 4 ft away, which is expected I guess from a cardioid mic.

I'm still gonna keep it though, as it's a quick way to do simple and quick processing. Went through the various modes, and the Sub Synth is better than the similar "extended sub frequency" (LPF) option on the sub- which is a Yamaha DXS15. It's effect is adjustable also, so that is also a plus. Sounds and feels like the goRack extends the bass down further than the processor on the sub.

But I will pick up a driveRack PA in the future, when I will have extra to spend on more gear. . Why? Obviously manually adjustable EQ, but I just want to also see how well the Auto EQ'ing for the room works, or not work according to some people. Also gives me an excuse to buy a big rack.

This is all too familiar. My JDM car... bought and spent way too much when I look back at it. My photography gear, bough and spent way too much. Now this. But I have a mantra... you learn from trying and experimenting... and that means $$$.

Forgot to answer this also... yep, the Driverack does indeed have a 3-way active x-over for dedicated high/mids/lows which I saw, but you still can use a powered full range PA like I have with the DBR10s and 12s. Saw that in my initial research. I didn't know there were dedicated tweeters and mids for Live Audio. I used to run separates in my car during my youth with 4 subs in the trunk. Running MB Quartz and Audio Control active cross overs. Pioneer 12 band EQ with sub crossover at 120hz. Those were the days.

Anywayz... before the Driverack, the DBR10 and 12 has an 80/100/120hz selectble high pass filter, and fullrange passthrough XLR. The DXS15 has a 80/100/120hz low pass filter and L/R fullrange passthrough XLRs. The LPF and HPF's on the units are effectively like crossovers where for crossovers you select your 2 crossover points for your bass/mid/higs; you do the same thing with a HPF and LPF except you're just eliminating those unwanted frequencies.

Sorry, just stating my competencey.

Obviously, one would just connect the L/R main output from the mixer to the sub. The passthrough L/R outputs on the sub is the unaltered signal from mixer and is available whether the sub is on or not. Then I go from the left and right output on the sub to the respective L and R main speakers- in my case the DBR10 or 12s which has the HPF so I can cut out the sub frequencies.

It would shock me if the HPF and LPF filters on the Yamahas were passive. So that makes the crossovers on the Driverack PA or other Driverack with 3 way crossover redundant.

I have only one sub, so running it this way would be the obvious way. But if I got a pair of subs... I'm hoping I can scrounge for another $800 so I can really give the party some Miami bass jams of the late 80's/early 90's... I would just feed the L/R outputs from the first sub to the second, so both have the L/R signal; essentially making the both subs mono, and then run the L from the second sub to the L main; and R from the second sub to the R main- keeping the mains stereo.

I am debating to just make the whole thing mono though, through the output on my computer for clarity's sake, but that would negate some of the multiplexed tracks that I do have.

Obviously, the goRack goes in-between the mixer and sub. But I guess you could also use it strictly for dual mics if you want to just process the mic outputs if your mixer doesn't have comression or you want to do "rudementary" shaping.

I must say that the preamps for the goRack is pretty sweet. Quiet and allows for a lot of headroom.

Yup, that's why I was asking! And I totally understand about equipment addiction.

On a side note...

I get a good chunk of extra gain out of my singer mics running the FMR RNC on my singer mics in the really nice mode.

The net effect is I can turn down the mic Trim levels and even relatively soft singers with poor technique can usually still be heard without creating feedback.

I love this thing despite the wall wart.

https://www.amazon.com/FMR-RNC-1773-Com ... B0006I935Y

This is my preferred compressor as well. ‘used to own dbx xs compressor – no comparison to RNC 1773.

Accurate & transparent, just smooth & clean compression especially in Super Nice Mode. Truly lives up to its chosen name RNC – (true definition) ‘Really Nice Compressor’.

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To be fortunate enough to derive an income from a source as fulfilling as karaoke music has got to be as close to heaven as we can get here on earth!

How easy is the RNC to operate. I've read that manual setup of compression is tough if you're not a sound pro. Does it have a set it and forget it type deal like these 1 knob compressors seen on mixers and sound processors?

I rarely touch the settings except on the worst screamers. I'll bump the compression up as high as 6:1 and it still sounds pretty clean.

If I get the insane type, I just toggle the super nice button off and then the compressor really cuts their volume down.


Only one time I've ever had to do it was with two brothers screaming at the same time. My master slider lights started having that last red led blink and I hit the button pronto.

Pissed them off, but when they started threatening my gear and the audience's hearing with their screams, too damn bad.