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EBS_freak

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Everything posted by EBS_freak

  1. EBS_freak
    Another entitled musician that thinks the world owes them a living. If you live in a property away from others where practice doesn't impact others at all, great. If you dont and you can modify your room, or instrument (e.g. use your bass unamped), great. If you can come to an agreement with your neighbours about when noise is made, again, great. If you don't live in a property where you can make adaptions or can't come to an agreement with your neighbours, go and find somewhere else to practice. If it's your job as you say, you can even claim that back on your already comical tax return. It's absolutely not up to your neighbours to live in misery because of your antisocial behaviour. I'm all for supporting music but I'm also in the game of thinking that p1ssing off people (especially knowingly) is not acceptable either. I’d like to live in a mansion away from people so I can make as much noise as I want at any hour - but I can’t as I can’t afford to. The world isn’t perfect so suck it up and put yourself out to make it work the best you can. Why does everybody think that their convenience should be at the expense of others? If she can’t make this work, her job as a musician isn’t viable.
  2. EBS_freak
    Yes. I'm advocating the EW300 G2, EW300 G3 and EW300 G4... but not the EW300 G1.
  3. EBS_freak
    Think of it like this. The FX send is how much of a particular channel you send to an fx unit. Only when you turn up a slider for the FX return, will that summed fx get routed to your FoH and Auxes. The FX unit sums up everything it gets and it's the FX return which dictates how much of that fx is introduced to the foh and aux busses. (So many FX sends for a mix, (whether that be for foh or aux) but only one return per fx. If you dont want any fx going to your auxes, make sure that the return is down, likewise, if you do want it to go to your aux, make sure its up. The more tuned in amongst you will probably realise that if you send something to the fx unit, you lose the option to have a different fx mix (for 1 unit) in your aux to your foh. (That's where you need to have one fx send just for foh, and another for auxes for example... or another desk)
  4. EBS_freak
    Are you sure you didn't have any fx going into your aux? Or something like a fx return?
  5. EBS_freak
    No brainer. Squier A nice story...
  6. EBS_freak
    Lo riders stainless will give you the hi beam sound zingy sound but will have higher tension when you drop the tuning.
  7. EBS_freak
    Just to add some extra info to what I'd written previous - the units with multiple channels that auto-select, dont necessarily help when in an area with lots of wireless. They are fixed channels, if you want to be able to run high numbers of wireless units, you'll need systms where you can manually tune the frequencies. Then you can calculate some true intermodulation free frequencies and have no interference. So the systems which don't do that, you are into the realm of pot luck, where things should mostly work but may not in some environments. Like always, carry around something that isn't wireless to be safe!
  8. EBS_freak
    Im not sure there is an answer to your quandary. Cables are always going to pull in that situation. Anything, whether it be the cable or a wireless adapter, is going to either add bulk or introduce a cable that is at risk at tugging at your ear, or pulling the IEM out of your ear. I can't actually think of anything (even budget aside) as a solution that I would be happy suggesting to you 😕
  9. EBS_freak
    This doesn't really make any sense with me? The 2.4 range which is widely used by routers, only has 3 truly intermodulation free (no overlaps) frequencies in the range (channels 1, 6, 11). It's when people start putting in wireless systems that make use of the other channels (like mics, IEMs etc), that the chaos starts. Like all of these things, radio require careful consideration when deploying... so for example, 3 routers in close proximity, for example for different companies, should be all on different channels. Dont be surprised if you then do a gig in an office block where 2.4 starts going crazy... for everybody (assuming fairly close proximity there). So if you turn up at a gig where there is a lot of contention in the 2.4, you've got the beginnings of understanding why. Likewise, upping transmission power could make matters worse when there's multiple bits of wireless around. Like channel 38, 70 and 2.4. and 5.8, all of this is a bit of a free for all with no strict management. However, when you get into the realms of site licenses or leases, things are VERY co-ordinated.
  10. EBS_freak
    So with 5.8Ghz, you have less interference - but the nature of RF propagation for 5.8, means that the radio waves are less good at passing through mediums that lie between transmitter and receiver (e.g. when comparing to 2.4 using the same transmission power). This is still true for all radio waves, but the higher the frequency, for a fixed power amount, the effectiveness of penetration (oo-er) is less. So yes, less interference - but more likely to drop out if you haven't got direct line of sight between transmitter and receiver. And of course, for the same power, range will be considerably less for 5.8 compared to 2.4. If you are getting problems, take this into account, make sure that any body worn transmitters/receivers, aren't placed as such so that the radio waves have to pass through your torso to get to their destination. As with everything I say though, do take things with a certain pinch of salt - because if this stuff works for you, it works for you... just don't go into things blind and then scratch your head when the result isn't what you are expecting.
  11. EBS_freak
    That would take me far too long to type out...
  12. EBS_freak
    Implement a talk back mic and start sharing jokes at the expense of those not using IEM. They will soon become paranoid and subject to fomo.
  13. EBS_freak
    And that is why you run two mixing desks, one for monitor world and one for front of house. Although if you have enough channels on your desk, you can do a split (either or analogue or digital) to a different set of channels on the same desk and run a monitor mix from there. Each monitor mix will have a GEQ on it which can be unique for that mix - but again, EQ for each split channel will have one EQ (and comp/gates) shared between those on the end of mixes where those particular channels are being used.
  14. EBS_freak
    +Carol Kaye
  15. EBS_freak
    Indeed - I don't think anybody could argue that they are likely to sound good (although I was never keen on their last flagship - the live). You can't complain at the performance of a decent quad - but yeah, into the realms of the Roxanne and it's competitors, theres some real special stuff going on.
  16. EBS_freak
    'Substandard Rock' is another that you can have for free - or insert any other genre that's appropriate.
  17. EBS_freak
    Just shy of 3k! Bargain!
  18. EBS_freak
    So UE have announced their 21 driver a side IEM. Waiting on pricing but guessing it will be wallet busting!
  19. EBS_freak
    Generally, anything that takes a song and turns it into an insipid ballad, is beyond terrible.
  20. EBS_freak
    If <12ms works for you, and you liked the price you paid for it, all power to you! For a representative measure of latency, you need to split a source - one straight into a DAW, one into your wireless, into your helix (and through any digital pedals you may have (engaged), then into a digital desk, then into your digital iems and then out into the DAW. Then measure the how out of phase you are between the two channels. Instrument wireless, 6ms, Helix, worse case 2ms (depending upon models), digital desk (I'll be super favourable and choose an XR 18/QU that has 1ms latency as opposed to something more latent), then your inears at 12ms. 21ms. Not great. Hear on this - Now try and lock in with your drummer who is on a wired feed. Flam, flam, flam. Again, it all depends upon how sensitive you are to latency as to how much you can cope with it. (That's not an ability to play, it's an ability to not be put off by the impact of latency). And of course, if you aren't locking in with the drummer and you can't tell that, people in the audience, or studio, may. I'm not going to rubbish anybody saying that they are fine with 10ms+latency latency - but likewise, nobody is going to be right in my mind when they are telling me that I can't hear it and am not bothered by it... because I absolutely am. As a rule of thumb, acceptable latency in a pro concert production IEM setup is stated as circa 7-10ms end to end.
  21. EBS_freak
    745s are probably the closest to getting that sensible(ish) priced one box per side solution. Remember though, ye cannae change the laws of physics. Dont get too dependent on a drive rack and flattening the response. The room changes when people are in it... and if you are trying to flatten whilst people in the room, you'll soon start peeing people off!
  22. EBS_freak
    Orchid Micro DI. If wireless, straight out of the DI output from my ULXD. All tone shaping at the desk - digital split onto two channels, one for FoH, one for IEM mixes.
  23. EBS_freak
    I wasn't going to say it... because it's all I seem to bleat on about these days. But yeah, utter dog if you have anything else digital in your chain. Probably on the verge of OK if you are just looking for something at home with nothing else in your chain. But I'd be worried what sort of latency is doing to my internal metronome.
  24. EBS_freak
    Take a trip down Halfords and get some Meguiars ultimate compound. Either elbow grease or buffing wheel will get you there.
  25. EBS_freak
    Hipshot are amazing. I send an email questioning saddle and string length for intonation... and totally unprompted, through the post I got so many spares and bits and bobs so I could work out exactly what I needed. Spectacular!
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