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Looking for a recommendation for a powered monitor. leader of the band has an unpowered board - powered speakers so I want to pick my self up a powered monitor around 200 watts no more than $600
 

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I’m pleased with my EV ZXA1, and the EV ZLX12P is a great performer and value.



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This is the best I've used lately. Yorkville NX10C.

Yorkville

10"/1" coaxial driver in a box that's a bit more than 1 cubic foot (so it has a very small footprint). 300 watts and just under $600 new from L&M. They're fairly new so I haven't found a decent used one - yet.

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Anything Yorkville. Try renting a couple of different ones at L&M. $20 well invested for hands on experience with gear you're shopping for. For PA stuff, I will never buy Behringer again after a bad experience.
 

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I've been using a pair of Alto TS110's both with the band as monitors and with my acoustic duo as mains. They originally cost me $249 each. No issues and they have certainly earned their keep. EV comes highly recommended too. Is it mostly for vocals or a whole mix? Vocals only I'd stay with 10's to save on floor space.
 

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This is the best I've used lately. Yorkville NX10C.

Yorkville

10"/1" coaxial driver in a box that's a bit more than 1 cubic foot (so it has a very small footprint). 300 watts and just under $600 new from L&M. They're fairly new so I haven't found a decent used one - yet.

View attachment 218020
I used four of these for about a month as monitors on a small stage at the Jazz Festival and Blues Festival, year before last. They worked really well, sounded fine, and all the artists liked them.

I went out and bought a pair, and use them a lot. They still sound good and work well, but I find the clamp arrangement for stand mounting a little bit annoying; you have to slide the cabinet onto the pole of the stand, and clamp it into place. I suppose you could just slide them on upside down with the clamp done up, but that would leave the logo upside down and my OCD tendencies twitching...
 

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<SNIP> I suppose you could just slide them on upside down with the clamp done up, but that would leave the logo upside down and my OCD tendencies twitching...
I used them this weekend like that (upside down). Fortunately they were behind me, so I couldn't easily see them. Worked fine, but they still had a tendency to grab onto the speaker stands. Fine when I put them up, but had to loosen the stand lock to get them off the stands. No biggie, they're light enough to manipulate with one hand while undoing the lock with the other.

Since they have coaxial drivers, the coverage doesn't change no matter which way they're oriented.
 

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I used them this weekend like that (upside down). Fortunately they were behind me, so I couldn't easily see them. Worked fine, but they still had a tendency to grab onto the speaker stands. Fine when I put them up, but had to loosen the stand lock to get them off the stands. No biggie, they're light enough to manipulate with one hand while undoing the lock with the other.

Since they have coaxial drivers, the coverage doesn't change no matter which way they're oriented.
Is that full coaxial coverage a con in smaller jam spaces where feedback might be an issue?

I've always been happy with the old nx55p and they can be had pretty cheap. Ask the long and McQuade rental guys when they are replacing some and you can buy them for about 400 and they will even look up the ones that were rented the least or in the best shape.

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I don't know what you mean by a con. Coax generally works better than separate, physically displaced drivers because of physics, not marketing.


I used four of these for about a month as monitors on a small stage at the Jazz Festival and Blues Festival, year before last. They worked really well, sounded fine, and all the artists liked them.

I went out and bought a pair, and use them a lot. They still sound good and work well, but I find the clamp arrangement for stand mounting a little bit annoying; you have to slide the cabinet onto the pole of the stand, and clamp it into place. I suppose you could just slide them on upside down with the clamp done up, but that would leave the logo upside down and my OCD tendencies twitching...
Oh, I agree. Fiddly as all f*ck to hang on a post, but the OP did say he's using it for a monitor.

Silly flaw for such an otherwise good design. Wonder if it was because of the weight or to save money or just be different or what.
 

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Is that full coaxial coverage a con in smaller jam spaces where feedback might be an issue?

I've always been happy with the old nx55p and they can be had pretty cheap. Ask the long and McQuade rental guys when they are replacing some and you can buy them for about 400 and they will even look up the ones that were rented the least or in the best shape.
I don't think the coverage is a con; because the pattern is really regular, the boxes are really easy to aim. Point the back end of your SM58 at them, and you're golden.

I use NX520p boxes for mains, usually, while my co-conspirator uses NX55Ps. I like the really broad coverage of the 520 when used upright, but that makes them seem a little odd when used on their side as monitors; the 55P wins in that case. I prefer the sound of the 520, I find it smoother and less aggressive than the 55. This may be what I'm used to, though, so take everything with a grain of salt.

He and I both agree that the Yorkville Parasource sounds terrific, but they are over the $1200 mark.
 

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I have a pair of nx10c’s they are great as monitors in a band setting, I have used one as a acoustic/mic pa for solo gigs and both of them as a full pa for my duo setup, I do put them behind us and they don’t feedback as long as the levels are not cranked! They do lack a bit of bottom end when I use them outside in large areas but that’s not what they are meant for!
 

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I know this isn't the question at hand, but in my never too humble opinion, the best and most comprehensive solution to monitoring is to use IEMs.

Benefits:

1. Completely eliminates the main source of feedback (wedges)
2. Reduces overall volume reaching the user's ears (hearing protection)
3. MUCH better mix for the user, perfectly tailored to his or her desires.
4. No matter WHERE you move on stage, your mix stays the same.
5. Improved stage appearance, less clutter, quicker set up, tear down, less to carry.
6. Fundamental improvement in the FOH mix due to less roar coming off the stage (wedges interfere with the mix).

To those who complain about losing the "ambient mix" or a feeling of isolation...….

It's quite simple to place a mic on stage somewhere and mix that into your IEM feed.

Let me put it another way. The first time I tried them (at a rehearsal of course) I was unable to wipe the shit eating grin off of my face for an hour afterwards. The guys were asking me to turn up my guitar.
 

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I know this isn't the question at hand, but in my never too humble opinion, the best and most comprehensive solution to monitoring is to use IEMs.

Benefits:

1. Completely eliminates the main source of feedback (wedges)
2. Reduces overall volume reaching the user's ears (hearing protection)
3. MUCH better mix for the user, perfectly tailored to his or her desires.
4. No matter WHERE you move on stage, your mix stays the same.
5. Improved stage appearance, less clutter, quicker set up, tear down, less to carry.
6. Fundamental improvement in the FOH mix due to less roar coming off the stage (wedges interfere with the mix).

To those who complain about losing the "ambient mix" or a feeling of isolation...….

It's quite simple to place a mic on stage somewhere and mix that into your IEM feed.

Let me put it another way. The first time I tried them (at a rehearsal of course) I was unable to wipe the shit eating grin off of my face for an hour afterwards. The guys were asking me to turn up my guitar.
I just got a pair of Fender FXA6's. They sound pretty damn good. Haven't tried them in a band mix yet but will soon. Looking forward to protecting my hearing AND being able to hear my own guitar.
 

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I know this isn't the question at hand, but in my never too humble opinion, the best and most comprehensive solution to monitoring is to use IEMs.

Benefits:

1. Completely eliminates the main source of feedback (wedges)
2. Reduces overall volume reaching the user's ears (hearing protection)
3. MUCH better mix for the user, perfectly tailored to his or her desires.
4. No matter WHERE you move on stage, your mix stays the same.
5. Improved stage appearance, less clutter, quicker set up, tear down, less to carry.
6. Fundamental improvement in the FOH mix due to less roar coming off the stage (wedges interfere with the mix).

To those who complain about losing the "ambient mix" or a feeling of isolation...….

It's quite simple to place a mic on stage somewhere and mix that into your IEM feed.

Let me put it another way. The first time I tried them (at a rehearsal of course) I was unable to wipe the shit eating grin off of my face for an hour afterwards. The guys were asking me to turn up my guitar.
Cons: Nowhere to rest your foot. :)


I love in-ears too. And like others here, I've had good results with Yorkville gear, though I shy away from powered boxes over 10" - they're just to heavy to slug around.
 

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Cons: Nowhere to rest your foot. :)


I love in-ears too. And like others here, I've had good results with Yorkville gear, though I shy away from powered boxes over 10" - they're just to heavy to slug around.

More heavy than an amp rack?

Yeah it takes two men to get them on the stands but it's only four lifts. It's worth it to me.
 

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If your still going with a monitor, these are light and easy to carry and sell new for around $300. They've been around for years so you may be able to find a used one. Fender 1270P Powered Monitor

Audio equipment Technology Electronic device Loudspeaker Carbon
 

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More heavy than an amp rack?

Yeah it takes two men to get them on the stands but it's only four lifts. It's worth it to me.
I do have a small two-amp rack, and yes, it is heavier than a powered speaker, but for me, I lift it to the ground once. And even then I'm looking at breaking it down into two single-amp racks - most gigs these days, I can get away with just one amp anyways. I also like being able to do everything by myself. To each their own.
 

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I do have a small two-amp rack, and yes, it is heavier than a powered speaker, but for me, I lift it to the ground once. And even then I'm looking at breaking it down into two single-amp racks - most gigs these days, I can get away with just one amp anyways. I also like being able to do everything by myself. To each their own.
Fair enough. Everybody has their own set of conditions.

An amp rack for me has always needed at least two strong men (typically four or five amps in the rack). That won't fit in a car, but a couple of lolly pop speakers and two stands will.

Also, if I'm doing a show that requires four powered mains (bigger show), one of the conditions of the gig is that the venue must provide two able bodied loaders, meaning I don't lift the stacks anyway.

I'm just past the point in life where I'm slugging subs around for the next rock star.

With the set up I use now, I've eliminated the snake, effects rack, amp racks and the entire FOH desk (six foot table out front.....gone!).

I mix with an iPad or iPhone. The mixer sits side stage.

My set up went from four hours of stress to one and a half hours of simplicity.

Awesome.
 
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