EBS_freak

Completely agree.

Apart from anything to do with Morrissey and The Smiths.

There we go

11 minutes ago, Supernaut said:

I don't want to target you or other individuals...

So don't then.

19 hours ago, dave_bass5 said:

Can i ask what the protocol is when you turn up to a venue that has something like

an XR32 and i want to control my own IEM mix. Do sound guys normally allow us to connect to their system and use Mixing station etc? 

Unlikely unless agreed in advance. Even if turning up with a split, depending upon your sound guy, they may not like that either. As always, communication is key... and the sound engineer. Alot of sound engineers are paid up to just turn up and do their thing on the day in a manner they know... things tend to go south when you tipple that norm.

musicians for you.

Just now, andytoad said:

I know latency. Would it be that bad for the average pub player tho, or truly shocking?

Yup. Stay away.

Bluetooth for IEM? I hope not!

https://amzn.eu/d/apS98Y0
 

- don’t guess. Get the actual figure. Ive found that the figures on the labels don’t necessarily represent real world figures!

11 hours ago, mrtcat said:

Venues are well aware they sound bad. They just have to comply with the local authorities regarding noise pollution. The problem is that they sell it to the clients as a positive thing. Conversely we advise them of the limitations of the system at the point where they book us. There is a whole section of our contract dedicated to absolving us of blame for the quality of the final sound when these systems are involved. It also covers them not informing us at the time of booking. 

In the world of wedding bands you just need to accept limiters and in house systems. If you refuse to play the game you just get far less work. Its part of why function bands charge more than pub bands. We are essentially just a pub band that are prepared to put up with more grief.

The problem - well, it's morally bankrupt. I always smirk when I see "that pdf" which shows all this top end equipment listed. There's always the narrative "top end system", "sounds amazing", "no complaints ever"... lies lies lies.

Anyway, these "great" setups dont mean anything... pricey setups don't defy physics.

I think the golden era of making a living via being in a function band is well and truly over. Or maybe it's just cos I got sick of it all... Dunno. But it was definitely getting less enjoyable every gig I did.

11 hours ago, Phil Starr said:

No come on, say what you really think

 

I guess this gives @mrtcat a professional problem. If people commented on the band sounded at the sound at the event then the band's reputation is at risk. If the band start to highlight the problems with the sound then the venue could lose bookings and revenue. I can imagine that having invested £10,000's of pounds on this system the venue are going to be reluctant to re-visit the sound system. Equally the clients might eventually twig that the sound at this venue is never good. There are some delicate conversations to be had here. If the system is new the venue might have some redress with the people who sold them the system and the earlier they realise thay have an issue the easier that would be to deal with.

 

 

In reality, most punters wouldn't know what a good or bad sounding band at a wedding sounds like. And if it sounds rubbish and the punters notice, they won't say anything - they are guests at a wedding and unlikely to have picked up the bill. Nobody will tell the bride or groom, cos nobody is going to be that person that potentially ruins their day... hence the problem goes unchallenged, the venue is paid, the band gets paid... and everybody is happy... kinda. Lets face it, for most couples and guests, it's a one off event.

They are all pants. Hate them.

For an insight into how some of these systems “work”, look up the Maxxbass plugin… the thing is, that still requires **some** bass to work. Not so hot when you’ve high passed all the bass out of your speakers already.

Some venues just arent cut out for live music.

What these venues should be doing is, is running a band through a silent disco setup and selling that as quirky feature.

Neighbours not complaining about noise, the oldies can talk and everybody else can hear how your band doesn’t sound as good as the band thinks it does! 😛

20 hours ago, la bam said:

Does anyone use thing like Y splitters to separate the bands connections and the connections to front of house? 

 

Splitters seem sold out everywhere? 

You can use y splits - but folk prefer not to because it can lead to impedance mismatch, increased signal noise but most notably, they don’t limit phantom power - which can have a habit of breaking things which shouldn’t be in the receiving end of it…

15 hours ago, Acebassmusic said:

I couldn't find this in the thread but for me this is a cracker of a cover. The Stones version I can take or leave but Beverley Knights take on it makes me smile. What a voice and the way it builds and keeps on building!

 

 

That needed a dedicated Jeff cam!

Jodi-Vac, FIR vac...

You can get mini vacuums.

1 minute ago, Rich said:

OK, please bear with me as I am only just now dipping my toe into IEM waters, and only really for my backing vox. The idea being that the in-ears themselves just give me a vocal feed and are loosely inserted so that they do NOT provide a tight seal in my ears, so that I get the ambient sound of my bass coming through (the bass being quite loud on stage as it's backline only and not going through the PA). It's all very simple stuff, just a monitor output from the desk fired through a 5.8GHz wireless gadget into a set of in-ears. In the very first post in this huge thread, there's mention of KZ ZS10 buds as a good place to start... would these do as a toe-dip? I'd like something with a decent bass response so I could also use them with an mp3 player etc for long journeys or the like.

I realise this has probably been covered somewhere within the thread, but I don't really have the time to trawl through 74 pages.  

 

Linsoul KZ ZS10 Pro, 4BA+1DD 5 Driver in Ear Monitor, HiFi Wired Earbuds, Gaming Earbuds, Hybrid IEM Earphones with Stainless Steel Faceplate, Recessed 2 Pin Detachable Cable(With Mic, Blue) : Amazon.co.uk: Electronics & Photo

You only really need to read the first few posts. Loosely inserted IEMs in your ears is not the way to go.

11 hours ago, woodyratm said:

Has anyone used the ultimate ears UE5 pro? Or 6?

 

my Acs ones have a weird issue and they haven’t managed to fix.

Plenty of people on here use UE6 - it’s the entry point I recommend for the pro experience in a custom.

im not usually one for green basses... but this looks very lovely!

Nope. Won’t work. You need a stereo system for stereo.

16 hours ago, dave_bass5 said:

I asked him at the gig on Sat about one song and he said it was tricky doing this.

Perhaps he should spend the next week doing this as part of his practice… assuming he does.

10 hours ago, Killerfridge said:

It's good, but I think it misses some key points. Janek and his wife Chelsea address it very well here, especially around how "we have no evidence that fakery is bad for self esteem", except we have a litany of evidence in young women and facetuning:

 

 

 

4 mins in and they’ve said nothing. Nup, not sitting through any more of that.

16 hours ago, chriswareham said:

Lots of bands mime substantial parts of their performance at concerts, especially at the professional level. My wife is a former professional opera singer and was in denial when I told her that several of her favourite bands mime a lot. I knew this because friends have actually played in those bands and told me about it. Then through one of those friends she was offered a chance to perform with the side project of the lead singer from one of her favourite bands. It was to "perform" the operatic backing vocals and keyboard parts. They sent the backing tracks, which consisted of pre-recorded vocals and keyboard parts that the audience would hear plus an in ear track she would hear. That in ear part included a click and cues of the form like "chorus in 4, 3, 2, 1" simply to ensure the mimimg was convincing to the audience.

Theres more to it than that.

Granted, there will be mimes - but when you get to larger productions, where there is a hell of a lot of effort put into polishing the audio, click is vital for things like time based effects (e.g. delays). Theres simply too much going on for sound engineers to be tapping tempos or trying to get players to control their onstage effects to be in sync to an ever changing tempo. Solution = click, and midi timecode. Lets not also forget, for large scale events, you'll need a click for automations on the light show.

Cues is no biggie - why wouldn't you prerecord the cues if you are running to a pre-arranged show? It's making the MDs life a bit easier on the talk back mic.

I know Rick Beato talked about changing up shows - all possible if you mark your loop zones in the arrangements. Like everything, it's all in the prep.

And thats why the best stadium shows are complete mammoth works of art.

1 hour ago, Merton said:

https://www.instagram.com/share/_tobxtl53

Got lucky with the timings then!

Is Jones really going to deliver on that bass?

Can you not choose lighter woods and get as much as it chambered as possible?