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EBS_freak

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Everything posted by EBS_freak

  1. EBS_freak
    Theatres tend to have a fixed site license and allocated a range of the RF spectrum for use by Ofcom. (eg not channel 38) 1, 6 and 11 are intermodulation free. Channels 38 and 70 are simply sections of the radio spectrum. What you run in those frequency ranges could be digital or analogue. I run ULXD in channel 38 - and thats digital. There's no reason why you couldn't run digital in channel 70 - although with 2.4 and 5ghz available, as a world wide, license free solution, its making less and less sense for manufacturers to build anything for channel 70. Overall, not too bad.
  2. EBS_freak
    This is the UK, where you big up the underdog and then trash them when they have any degree of success.
  3. EBS_freak
    I have it lower down on my strap, just about kidney height, so I can feel around and turn it on and off. My arm mobility not so good to reach over my shoulder to get to it if it was further up the strap. You'll find out what works for you though I guess, all personal preference.
  4. EBS_freak
    75 cm from the specs.
  5. EBS_freak
    Off the top of my head... Encryption Ability to put on a network and configure remotely using Wireless Workbench (plus remote monitoring of battery life etc) High Density mode (run more units at lower power (e.g. 12 units typically fit in channel 38, in high density mode, this runs into the 100s) Dante output - do audio over IP (on dual+ receivers) Rackable to RF distribution units All metal constuction Wide tuneable range not in 2.4/5 Ghz (e.g. in licensable frequency ranges) Lower latency (2.9 vs 4+ (see previous conversations above)) 30mw vs 10mw transmission Ummm..... I think 48khz vs 44.1khz (not sure on GLXD+) - but notable as Dante favours 48 and 96khz... As you will see, most of the differences are to make the ULXD tour friendly where there's likely to be a lot more radio being deployed.
  6. EBS_freak
    Looks like Shure WA582B may be the official pouch?
  7. EBS_freak
    I use Shure ULX-D.
  8. EBS_freak
    I use the Neotech small size for my ULXD1 transmitter. ULXD1 is 86 mm × 66 mm × 23 mm (3.4 in. × 2.6 in. × 0.9 in.) H × W × D GLXD1 is 115mm x 66.94mm x 28.51 mm (4.5in. x 2.6in. x 1.1 in) - found out this is without antenna EDIT: Medium Neotech is 4" x 2.5" x 0.8" (10.2cm x 6.4cm x 2cm) My email tells me that I'm using - and Another edit.... Hang on... EDIT: going by the dimensions, I dont think Neotech is the route to go for GLXD!
  9. EBS_freak
    On the strap in a holster. I find it the least problematic when taking the bass on and off. I have used a few over the years, Neotech being the one that has remained in situ. Do a google search on wireless pouch to have a look at which floats your boat. You'll find out why you dont want it on your back pocket or belt the first time when you forget to unclip it and look like an idiot... or the unit falls to the floor. Clipped onto the strap is great, until it slips off and gravity takes over.
  10. EBS_freak
    Daft - wireless tech goes obsolete.
  11. EBS_freak
    I hate the look of dongles. Much prefer the cleaner look of a cable going to pack.
  12. EBS_freak
    Stated before, I think IEMS are actually more suited to pub situations than larger stages. (OK, not more suited cos they are suitable for all environments). Running with no back line and totally on IEM keeps the volume and bleed into the mics down and helps with the confines of space that you often get at such gigs. Your band will get a much better sound for the punters as soon as you ditch as much backline and do it all within the box so to speak.
  13. EBS_freak
    Wireless tends to chomp through AAs. In my wireless units, I tend to use Eneloops. I recharge for every gig. They have a life span of 3-4 hours. (EW500 (mics), ULXD (mics), PSM900 (IEMs), EW300 (IEMs)) Would be super pricey if using one time use. I started out with procells until I figured out how much it was costing and the environmental impact of binning batteries with 30% still left (but not enough to do a gig)
  14. EBS_freak
    Magnets!
  15. EBS_freak
    Latency in Groups 1 and 3 is 4.53ms (still on the high side) which paints a different story to the 8ms worst case scenario that the video mentions. Line6 battery life is decimated because of the output power that the transmitters work at. If you put it into low power mode, you'll find that it will more than service the needs of the average user of their systems. The use of active basses with wireless should have no impact.
  16. EBS_freak
    And another one. 👍
  17. EBS_freak
    This actually really surprises me to read. Having had correspondence with him (I quizzed him quite hard when he came to market), he seemed to know what he was doing, especially when he came to the choice of BAs and tuning.
  18. EBS_freak
    Share some pics.
  19. EBS_freak
    So why not the reshell of your MEE audios via lugs? That’s where I’d be going with your budget - You like the sound, they work for you. Would be proven and still cheaper than the s2. Dont do custom tips - I guarantee you’ll still want customs. Cut out that waste of money and go straight for the end game. It’ll be cheaper in the long run and put the biggest smile on your face.
  20. EBS_freak
    A lot of channels - but can make life a lot easier in a way. Ofcom co-ordinate frequencies for such events outside of the typical shared mic licenses that are typically used. I'd wager they are all patched via Dante - all devices get plugged into a pair of routers (for redundancy) via ethernet. Way, way easier than messing with a spaghetti of cables. Everything is digitally routed with an ID, so you don't have to worry so much about plugging into the right socket. Just turn on the rig, plug in the two ethernet cables from the wireless rack into the main pair or routers, plug in the two cables for the mixing desk... patched. Also worth mentioning that the higher end wireless systems can run in high density mode (lower power, typically gives you 30m coverage (which is more than enough to get from the wireless receivers on the stage wings) - but gives you circa 8 channels per 1 mhz). For comparison in a 606-623 shared mic environment where you can typically deploy 12 (standard) wireless units, you are now looking at 136 channels of high density wireless. Pretty cool stuff.
  21. EBS_freak
    “Hi, I’m @Jon Liebman, welcome to funk bass”
  22. EBS_freak
    Not really - it's the rarity aspect, the wanting of a birth year bass, a slice of history etc... Going by your logic, nobody would buy or want vintage cars, or classic Ferraris (or other marques). Most modern cars can out perform the classics in every aspect... but these run of the mill modern cars will never have the same appeal or price tag of their classic cousins.
  23. EBS_freak
    In 20 years time, try selling the two and see the price difference. Heritage counts for a lot.
  24. EBS_freak
    Musicman experience here. Bizarre that they became stockists. Probably just after Musicman fixed all the issues… Its all part of the bass buying fun though.
  25. EBS_freak
    Just remove a string. Problem solved.
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