EBS_freak

Ah yes, I remember now. EBS always tend to use weird voltages - same with their fans. http://led.linear1.org/led.wiz Using the above, you'll be able to arrange a 6 blue LED array. (42v, 3.3, 20, 6 as the inputs) Solution 0: 6 x 1 array uses 6 LEDs exactly +42V R = 1200 ohms The wizard says: In solution 0: each 1200 ohm resistor dissipates 480 mW the wizard thinks 1W resistors are needed for your application together, all resistors dissipate 480 mW together, the diodes dissipate 396 mW total power dissipated by the array is 876 mW the array draws current of 20 mA from the source. To be safe, I'd get a 1.2k Ohm resistor with 1W rating.

I forgot off the top of my head. Can you tell me what’s written on the bulb? I can give you the required if you give me the spec. (blue LEDs always look great in a Fafner)

ACS are great for filtered earplugs, especially if you can get them through the link that WoT posted above.

Yeah! Decent. I like.

Of course, the correct move in your position would be to insist that the wedge stays!

@dave_bass5 - thanks! I've got a question for you though - what's the concern with you going down the IEM route?

Anybody got any extra stuff they want to see adding in?

Well, they didn't see it like that...

Happens to the best of us. I got booted when the originals band I was in landed the opening slot for the Blur reunion gigs. Mysteriously the original bass player was reinstated - not surprising as they were all childhood friends and I was the 18 month newbie to the band. Ragin'. Still, silver lining, they never got anywhere and disbanded soon after.

You can keep wet and drying back to a satin/matte finish.

Its doable - but will go shiny over time.

They are essentially the same. The top ones are the newer versions.

Funny - I’m the opposite, I like the Woojer - but the Woojer with a transducer, one of each, on my hips.

How you get on?

Enjoy! Good fun.

Condenser mics don't have to be anything special. A Behringer C2 or two will do you.

A condenser mic (with the highs rolled off) on a mic stand. Job done.

Funnily enough, I've just put something up about the Zoom H6. The other thing I'm going to be writing about is splitters and using stuff like the Behringer P16I.

Forget the bulb. Replace it with a LED and resistor. It'll never fail (you'd hope) again. You can then have whatever colour glow you want (well, if you can find the appropriate coloured LED).

Clean after EVER performance people! It takes seconds Just like you go for a pee in between sets... give your IEMs a quick clean!

A few seconds on a polishing wheel would take those out.

As some of you have seen, I've started work on a beginners guide to IEMs. I've put a couple of sections in and currently writing the third (which is about mixers and generating your mix via aux busses). Is there anything in particular that you guys think should be included? Feel free for some pointers and we can all work towards getting the guide written to help everybody get onboard without having to trawl through this thread. There's some great info in this thread -- but obviously we could do with teasing the best bits out of it and presenting it in a more concise manner!

No need for that @caitlin, I'll give you some pointers on limiting from my point of view and combine them into a post above, no need to delete. Will get stuff the important stuff posted at the beginning of the thread but there's nothing stopping having conversations in this or the other thread. Limiting - basically, on some radio systems, there is a limit function. This leads people to thinking that there's some sort of compression circuit in there. Generally, theres not. What the limit function does is set a maximum volume so the user doesn't accidentally turn up the unit too loud by accident. It doesn't do any sort of audio compression or limiting. In order to enable such functionality, you'll need to introduce something that will do that compression or limiting for you. In the digital world, this is pretty straightforward. On a digital mixer, on the aux bus, you'll typically have control over the overall EQ of that bus and a compressor. If you want to implement a brick wall limiter, put a compressor on the output with a ratio of 20:1 (or as high as it will go if will not go to 20). Set the threshold - this will be the maximum volume that the bus will allow to pass, meaning anything that exceeds this will get squished down to that maximum volume. Make sure it has a fast attack so the compressor sets in quickly... and a relatively slow release. It will be a balance to get the gain structure right so that the program level doesn't exceed the threshold - and only when there are sudden spikes that the compressor kicks in. Analogue is more difficult as you'll require a separate piece of hardware to do the same. With digital becoming more and more affordable, I'd defo recommend go digital, for processing like the above alone.

7. SOME THOUGHTS ON SILENT STAGES One of the great things about IEMs, is that it opens up the opportunity for silent stages. As the name suggests, the silent stage allows for no (or minimal) sound to come from the stage itself and the only source of sound (as far as the audience is concerned) is from the FoH. All monitoring is direct into the artist's ears. Silent stages can be your best friend, especially in troublesome venues - and it will make your band sound better too, as there will be less reflections happening from backline and wedge monitors. By removing the number of open mics on stage (e.g. that are typically found on amps and drums, that go to front of house and wedge monitors), there will be a lot less chance of feedback and you will have a lot, lot more control of what is coming from the stage. For example, guitar cabs are highly directional - I'm sure we've all been to gigs where you stand in the audience on one side of the stage and get deafened by the overwhelming volume of the guitarist, yet when you stand on the other side of the stage, the guitarist is almost inaudible. This phenomenon is easily fixed; let the PA do all the heavy work instead of the backline - in fact, if you can, sack off the backline altogether. PA cabs have a lot more spread then guitar cabs - therefore the sound that your audience is likely to be more balanced, wherever they choose to stand. 7.1 SILENT STAGE CONSIDERATIONS - THE PA When using a silent stage, it is imperative that your PA can do the heavy weight lifting to cope for the whole band. This means that your PA setup has to be full range (e.g. a vocal only PA won't cut it) and have enough headroom to cope for the power sapping lows from the keyboard players left hand, kick drum and bass, whilst having enough headroom to cope with delivering the vocals clearly. In reality, you will need some high quality full range tops, or a set of tops and sub(s). A good set of affordable (bearing in mind, these are to the job of your vocal PA and replace your backline) full range tops are the RCF 735A, or RCF 745A cabs. The 3 and 4 in the middle of the model numbers of these cabs denote the size of the voice coil of the tweeter and are an incredibly rare addition to a lightweight, loud, ABS cased cab. The significance of this is that the crossover point can be a lot lower - allowing for the tweeter to pick up more of the midrange and free up the woofer (paper cone) to take care of the lows. These particular cabs will quite happily handle bass and kick for most gigging bands, without the addition of separate subwoofers. Having said that, if you band is playing larger venues or say, marquees, you may want to invest in some subs to help move that extra air and give the tops and easier time of it. As stated previously, with the band's sound only coming from the PA speakers, this enables more control of the sound and a greater, more even balance across the audience. 7.2 BUT WHAT ABOUT BACKLINE? Whether you are a bass player, guitarist, or whatever, you should consider thinking about whether having a silent stage would be a good move for you (of course it is!). For a lot of bass players and guitarists however, there can be a lot of attachment to having "your sound". In reality, the audience don't care - but if you do demand having your own rig and want some flexibility, you should consider going down the modelling route. There are loads of absolutely great modelling units out there now - whether it be a Line 6 Helix, Kemper Profiler, Neural DSP's Quad Cortex, Axe FX, Headrush, Postive Grid Bias or even offerings for the like of Boss, Zoom, Mooer et al (these are just a few, you are almost spoilt for choice now!) - and the likelihood is, that they will offer a more consistent, studio quality sound that is typically better than anything you could produce in troublesome gigging situations. They will sound great out front and amazing in your IEMS (especially if you are running stereo fx!). Again, there are less open mics to worry about, the sound of your PA mix won't be impacted by backline - and again, your band will sound a lot better for it, consistently sounding great at the venues you play. You'll notice there's a lot less reaching out and adjusting volume too. If anybody's ears do tire and they want to pump the volume in their IEMS, they do just that - using their own personal mix - without degrading the mix out front (although if you are doing it right and having your IEMs at the right volume, you should be able to get through soundcheck to the end of the gig without touching any faders). If you must use an amp, then consider using them offstage, or at least pointing away from the stage area (e.g. placed at the sides of the stage, off axis (e.g. sideways on) to the audience and facing off the stage - or maybe even contemplate doing what Bruce Springsteen does and have all the amps pointing skywards (although this may be problematic in the wrong venues! - but apply some common sense). The key thing is, keep their influence on the FoH mix to a minimum. Make sure mic bleed is minimised and depending upon your band's enthusiasm for putting ego aside and playing for the audience, keep the volume as low as you possibly can - let that PA do all the work in getting your sound into the ears of the audience. 7.3 BUT WHAT ABOUT DRUMS? Drummers tend to perform on acoustic kits as they prefer them - I get that. For a lot of venues however, acoustic kits are problematic. If you cannot get your vocal mics far enough away from the kit, there are likely to be problems with bleed - and getting rid of cymbal bleed from vocal mics is nigh on impossible, especially if you care about how your vocalist(s) sound. (The frequencies associated with presence and air for a vocalist, match those that are produced by the cymbals on a kit - if you remove those frequencies, your vocalist's sound will suffer and you are more likely to have feedback issues as you push the fader to make the vocalist push through the mix). There's a few tricks that you can utilise when using acoustic kits to help the problem that I can talk about here - but remember, if the snare is too loud for the venue and the drummer refuses to play quieter, or the cymbals are too loud for the venue, as far as the audience are concerned, your drummer has automatically sacrificed the sound of the whole band. My comment around live band sound is always this, as a a player, remember that you are playing for the audience. If you feel the need to turn around and start playing with your amp setting post soundcheck, sneakily pushing up the volume, or deliberately play quiet in soundcheck, you are doing your band's sound and audience a disservice. I'm sure that a lot of people have seen drum screens. Again, they are not always the drummers best friend - and for many, it's seen as an open invite to smash seven shades of **** out of a kit. (Note - don't play with those types of drummers). They can help bring the volume down but there are a few drawbacks that should be mentioned. they are seriously heavy and difficult to transport. In reality, they are a two person lift. Also of note, is that they tend to destroy any soft bags that they fit in due to their weight... so ultimately they end up in much heavier, harder wearing, flight/hard cases and ultimately, being left at home. they can cause problems with reflections when the kit is miced. The posher screens have sound absorbing panels (again, add to the cost, weight etc) but you still have to take into account back walls that can reflect sound back into the mics. You can get drum booths... but seriously, they are more for a static install, (think churches), take an age to put up... and look super weird at most venues. they aren't cheap and need to be looked after. Scratched drum screens look terrible. Like, really terrible - especially if stage lights hits them. You may wish to consider a halfway house and look at cymbal baffles /shields - which are effectively small screens that are placed around you cymbals to help lessen the amount of cymbal bleed into nearby mics. They don't offer the noise reduction on a kit like a full drum screen does, however, they may do just enough to help the problem, whilst being lighter and easier to transport (although do factor in the extra hardware and the associated weight needed to mount them. I have to say, for a lot of bands, electric drums would sound a lot better for your band. Electric drums have got so good now, you can get that processed, tight drum sound out of the box and you can get the volume of the drums right for the venue through the PA alone. The only aspect of electric kits that I realise are not quite there, are the hi-hats. Easy fix though, they are quiet enough to have as a single entity miced up next to an electric kit. Even the most simple of kits, even with the most simple of sample sets, can be supercharged by running into something like Slate Drums, Addictive Drums, Superior Drummer, EZdrummer etc to give you an incredible live sound - probably better than anything you could otherwise produce in a less than idea gigging environment. If the looks thing is a big thing for your drummer, you can always go down the mesh head route and use triggers (I actually love kick triggers for adding in sine waves to the kick for a super strong fundamental). This will give you the look of an acoustic kit but without the volume. Check out Jobecky drums if you want an acoustic looking kit that is ready to go in an electric drum sense. If you absolutely must go acoustic, make sure that you have a sympathetic drummer that plays for the audience and consider using small kits. Small, quiet, kits with dark cymbals sound much better in troublesome venues... and with all the processing that is available on digital desks, small kits that are miced up can be processed to sound massive - but without all the flab of big bass drums and ringy toms. 7.4 CORRECT MICS AND VOCAL TECHNIQUE I can't state the importance of this enough - use the correct mic for the job and ensure that people know how to use their mic to their full potential. Buying those ultra sensitive condenser mics that cost the earth may be appealing - but unless you have the stage space and acoustics to support them, they will often cause more headaches than they are worth. 99% of the time, dynamic mics are going to be the easiest to deploy whilst causing minimal headaches for the typical gigging musician. Vocal mics and bleed are the biggest problems that a lot of bands have. In short, if you are singing, your lips should be on the grille of the mic. OK, you may not get that studio quality recording - but this is a gig and it's important that you have the best signal to noise ratio that you can. The closer you can get to the mic, the more the vocal will sound louder than anything that can bleed into it. Result? Less chance of feedback and a cleaner sounding mix (both in your monitors and FoH). If you are listening to your band and it still sounds harsh and the cymbals are killing your ears, chances are, it's the treble bleed from the cymbals that are being picked up in vocal mics. Mic choice can greatly influence your sound also - I prefer to use mics such as the Audix OM5, OM7, OM11 - for their great off axis rejection. There are other great mics that are also great for off axis rejection - go and find the mic that works best and sounds best for you (of course, you may want to trade the best sounding mic for a little superior rejection - or have a few mics to choose from depending upon the venue). Of course, there is a downside for people with poor mic techniques; you have to sing into the mic capsule and NOT around the mic capsule. The greater the off axis rejection, the cleaner your source into the desk - however, as stated, it does require discipline when on the mic. If you are looking to implement a talk back or have a drummer that sings, you may want to look at utilising something like an optogate. An optogate is a simple phantom powered device that plugs into the back of the mic and switches the mic on and off based on your proximity to the mic. This means that whilst not in use, there is a gate that effectively takes that mic out of the mix - meaning no bleed. Not cheap considering how small they are - but can be incredible in keeping your mixes sounding clean out front. They are the business. USEFUL LINKS : https://www.rcf.it/products/product-detail/-/journal_content/56_INSTANCE_2MT9qNpeXdu4/20195/210091 - RCF 735A https://www.rcf.it/products/product-detail/-/journal_content/56_INSTANCE_2MT9qNpeXdu4/20195/210101 - RCF 745A https://uk.line6.com/helix/ - Line 6 Helix family modellers https://www.kemper-amps.com/ - Kemper profiling amps https://neuraldsp.com/products/quad-cortex - NeuralDSP Quad Cortex modeller https://www.fractalaudio.com/ - Fractical Audio modelling units (home of AxeFX) https://www.headrushfx.com/ - Headrush FX modellers https://www.positivegrid.com/ - Positve Grid modellers https://www.boss.info/uk/categories/multi-effects/ - Boss modelling units https://zoomcorp.com/en/gb/multi-effects/ - Zoom modelling units http://www.mooeraudio.com/product/MULTI-EFFECTS-19 - Mooer modelling units https://www.clearsonic.com/ - Clearsonic drum screens https://www.graceacoustics.co.uk/categories/Drum-Screens/ - Grace Acoustics drum screens http://www.drumscreens.co.uk/drumscreens/ - Drumscreens.co.uk drum screens https://www.clearsoundbaffles.com/ - Clearsound cymbal baffles /shields https://www.smokinacecasecompany.com/products/cymbal-shields - Smokin Ace cymbal baffles / shields https://www.roland.com/uk/categories/drums_percussion/v-drums_kits/ - Roland V Drums electric kits https://uk.yamaha.com/en/products/musical_instruments/drums/el_drums/drum_kits/index.html - Yamaha electric kits https://www.alesis.com/products/browse/category/e-drums - Alesis electric kits http://www.atvcorporation.com/en/products/drums/ad5/ - ATV electric kits https://pearlemerge.com/ - Pearl electric kit (featuring Steven Slate Drums) https://2box-drums.com/ - 2Box electric kits https://www.ddrum.com/ - ddrum electric kits and triggers https://jobekydrums.co.uk/ - Jobecky electric drums https://www.stevenslatedrums.com/ssd5/ - Steven Slate Drums virtual drum kit (plugin) https://www.xlnaudio.com/products/addictive_drums_2 - Addictive Drums 2 virtual drum kit (plugin) https://www.toontrack.com/product/superior-drummer-3/ - Superior Drummer 3 virtual drum kit (plugin) https://www.toontrack.com/product/ezdrummer-2/ - EZDrummer 2 virtual drum kit (plugin) https://audixusa.com/ - Audix Mics https://optogateonline.com/ - Optogate http://www.optogatesolutions.com/ - Optogate ------------ HERE ENDETH THE MAIN CONTENT - FEEL FREE FOR DISCUSSIONS UNDERNEATH! ------------

Ive been meaning to do this for a while... should make things a bit easier to digest for people new to IEMs.