From jukefox@jukejoynt.com Tue Oct 16 08:20:05 2012
Subject:Re: Which are the best / cheap active monitores to use with Crumar Mojo?

Hi Manuel,

I get the impression that you are looking for a stereo monitoring solution for live performance, but not at all certain about that conclusion.

For home use, my friend Tony Monaco posted a video on his Facebook page a while back showing his hotel room practice rig, with Mojo and a small device called a "WoWee." I copied the video and posted it in my Dropbox account ... you can see it here: It's pretty amazing stuff! I WANT A WOWEE!!!

Mojo has three different output modes, one of which crosses-over the signal and outputs the upper rotor (frequencies above 800 Hz) from one side of the stereo outputs and the lower rotor (frequencies below 800 Hz) from the other. This allows you to stack amplifiers (presumably with a bass amp on the bottom and a full-range on the top) to achieve the "most realistic Leslie experience ever." I have not tried this and have my own doubts that the sim can be fully-realized without true stereo output, especially of the upper rotor. But Guido says this works well.

Sooo, your operative term seems to be "cheap," assuming I'm reading you disclaimer "I don't have much money..." correctly. It seems to me that, if you're just looking to amplify MOJO (no other keyboard), and since MOJO's output characteristics are nearly identical to a classic Hammond Console through a 122/145 Leslie speaker, you really don't need extreme high-frequency reproduction ... just a fairly good flat-frequency-response system up to about 8kHz of sorts ... which means to me that you could likely get away with using a good used bass amp (of virtually any old brand name) as well as a decent used guitar amp. Stack the guitar amp atop the bass amp and, using MOJO's split output mode, plug the lower output into the bass amp and the upper output into the guitar amp and, VOILA!!! Instant "Leslie." You can probably do this for a couple hundred Euros or less.

Otherwise, you dodn't mention whether you were looking for active (powered) or passive (no built-in amp) monitors. Either way, you can probably find suitable full-range PA cabinets used on your local equivalent of Craigslist or a hard-copy publication such as "Thrifty Nickel" or your local paper's classified ads. Many manufacturers have been building REALLY GOOD full-range PA cabinets for many years, so these should be plentiful and inexpensive as a result. Of course, for passive cabinets, you'll need a power amplifier as well ... more stuff to schlep around, longer setup time, more cabling to keep track of, short out, spares to carry, etc. Still, you're likely under a couple hundred Euros.

I saw a couple of contributors to this thred mention subwoofers and offering varying opinions. YMMV, as they say, but my experience is that subwoofers are generally desirable, particularly if you're using "full-range" top boxes with relatively poor low-frequency performance. Subwoofers do not have to be "overbearing" or excessively loud. They only need to be properly balanced with their "other-frequency-specialized peers" to properly support an instrument's full-range capabilities. They are particularly useful when playing left-hand bass or kicking pedals, in which case you may want them responding a bit "heavier" (some of the more desirable Leslies are pretty low-end intensive), but they are also great when blended conservatively in bringing out the low-end nuances (and hence, realism) of synth/VSTi-based acoustic pianos, brass, strings and, particularly, classic synth sounds. Subwoofers need not be overwhelming nor, through their mere existence, interfering with the bass player. They may simply allow an instrument-emulation's natural sub-harmonics to resonate, giving a greater sense of "naturalism" to your sounds, acoustic instrument emulations in particular.

My own stage-monitor/small-medium room rig uses an 18" active sub (400 Watts) under a stereo 200 W/channel top cab. Since low frequencies are essentially non-directional, I run the subwoofer in mono, crossing over at about 110 Hz, where the frequency response of the 10" Eminence speakers in my top box begins rolling off.

Unlike a club DJ's "thump-in-the-trunk" philosophy of subwoof use, mine is used as described above, to naturally round out the lower end. While marginally-effective in very small rooms (subwoof frequencies require, on average, about 16', or around 5 meters, to properly develop) the difference is still noticeable, allowing for a much-fuller and natural sound at substantially lower sound pressure levels (volume). I haven't worked without a subwoofer in my live keyboard sound-reinforcement rig in nearly two decades ... it makes that much difference.

Meanwhile, my personal favorite monitoring system has fast-become one involving no speaker cabinets whatsoever, particularly since getting MOJO. Since I no longer schlep a B-3/Leslies rig, I am now much more comfortable using a wireless in-ear monitor system and sending a stereo keyboard mix directly to the house. This way I can control my own listening levels, turn up what I need to, turn down what I don't want in my ear and seal out any excessive stage volume, helping preserve what little hearing I have left.

One act I work with weekly has gotten completely on-board with this method (guitar amps are miced in chambers off-stage all adjustments done on their pedal boards, bass goes direct through a preamp, drums miced in an on-stage iso-chamber), with everyone using PEMs and Aviom personal monitor mixers. Those groups that aren't all on-board just have to ask the sound guy to turn me up in their wedges and I take my mix off my keyboard mixer. I still don't have to listen cymbals crashing in my ear or guitar feedbackers at 140dB! I monitor at a comfortable 70 - 72 dB! Gotta love it! Wish I'd been doing it this way for the past 45-years! Maybe I wouldn't be having to deal with this obnoxious tinnitus constantly.

Best,
Fox