EBS_freak

56 minutes ago, fleabag said:

Just a thought ..  say the transmitter works on 5.8 Ghz ( Mipro 58 ) ,  does the belt pack receiver also have to work on the same freq ?

 

 

 

 

Yeah - it's a pairing.

As such, I *dont* think that you can have multiple receivers receiving the same mix from one transmitter (but dont quote me on this). Also means you cant do the two seperate mixes by using Focus mode either. 

Thats the quality of the gate and compander in play. If it's any consolation, the chances of you hearing this when playing in a band context is low. Its worse because you are listening close. I know theres a fair few BCers who are happy with the LD in a live context. (Granted they may not of heard any alternatives)

If you want to improve this from an analogue system, you'll need to dig deep into your pockets - even the Sennheiser has a bit of residual hiss, the Shure is the best - but you pay through the nose for it.

Otherwise, I reckon the 5.8 Ghz digital system is the way - that should get rid of the compander... and should be clear as a whistle. Granted, again more money than the LD setup. The 2.4 Xvive is probably your next best bet - but that will be mono.

I know you don't want to hear it - but I don't tend to recommend much from the analogue world - Shure EW300 G2+ and Shure 900+ (or 300 with the pro pack) being my go to. 

I watch with interest. Will keep an eye open for the video.

Tonex.

Surely this pre is dead before it's even begun?

Worth noting that 823-832 is part of the shared mic license (fee based) as opposed to the 863-865 free, no license required, frequencies.

It's not just the proximity that can lead to interference, it's more accurately where intermodulation occurs. However having said that, the frequencies are so far apart, if intermodulation does occur, it's likely to be inconsequential and certainly low enough power and beyond the 5th order to be concerned about. If this means nothing to you and you want to to understand intermodulation, here's a good 5 min read - https://www.shure.com/en-US/performance-production/louder/all-about-wireless-intermodulation-distortion 

Always liked this song. Nice.

I wonder if you get through a shed load of E strings! (Appreciate this is probably how the song should be played for all the subtle glissandos).

Top work. I enjoyed it - haven't watched these kinda vids for a while so this was a nice one to stumble onto!

Buy once, buy right...

...oh.

Somebody's got to keep the economy going!

It’s the middle digit in the RCF

models that gets you the benefits! The more you can offload through the horn, the better.

On 21/02/2023 at 11:40, cheddatom said:

you get more sustain though right? Am I just imagining that?

Possibly. Again, it depends. It's probably somewhere on the boundary of high SPL and resonance...

9 minutes ago, cheddatom said:

Even the strings feel different under my fingers

Psychology.

It's still a point though - the feeling of high SPL stage could certainly influence how you mentally feel on stage. 

7 minutes ago, BigRedX said:

 

which is why guitarists who want feedback tones and sustain still use a small valve combo located in a suitable place on the otherwise "silent" stage to achieve this.

 

Been there. Amp on a stand at knee height firing up a the guitarist and across the stage (basically at 90 degrees to the mics)

28 minutes ago, la bam said:

There will no doubt be a pedal to emulate feedback somewhere nowadays.

Freqout.

45 minutes ago, warwickhunt said:

 

I get sick of trying to tell bands that 2 subs 5-6m apart is worse than just 1 sub on its own... the looks I get when I say that max effect will be gained by stacking their 2 subs! 

 

Woah, now we are on the fringe of thread descending into chaos. Sub placement, separation, stacking, cross firing...  or... cardioid! 

Oops - forgot to include... the answer to underpowered band pub sub placement is normally coupling with a wall! (And then there's the risk of your band turning into swampy bass mush. Use with caution!  )

1 hour ago, Downunderwonder said:

One well placed subwoofer is all you need in a pub.

Thats a very brave statement. Not all pubs are equal.

It also depends whether you are filling a dance floor with music... or the whole venue.

1 hour ago, Al Krow said:

 

Intuitively that all makes great sense. Interested why you prefer two 15s over say two 12s plus a decent sub?

 

The last sentence seems, on the surface, to chime against the often repeated mantra on this amps & cabs forum that "speaker cone size shouldn't make a difference to a cab's ability to handle bass" i.e. a 10" cone should be able give out the same depth of bass as a 15" cone; it's more about how the cones have been tuned and driver displacement? But then very few of us ever end up using just a single 10" speaker, although a single 12" speaker e.g. a BF SC or BB2 or 12" MB combo are a pretty common set up. But I guess that's maybe more the ability of a single 10" to handle a lot of wattage from an amp, whereas the BF BB2 can comfortably handle the power requirements for most indoor situations.

It's more about the box that it's put in! Yes, you can get high displacement drivers - but then that brings in other challenges. But in the interests of avoiding arguments, I'll keep my mouth shut.

I prefer 15s and 2x18 inch subs. I have the option of ditching the subs for the smaller gigs where I dont need the low end support and can work the tops harder. Ultimately it's about headroom. There's all these discussions about what size speakers sound better - but in reality, for the stuff that our ear is most sensitive to, it's the inclusion of a decent horn that is most important and the ability to lower the cross over point. (So in my cabs, it's the horns that are doing most of the lifting across the audio spectrum leaving the woofer to work purely on bass purposes. Of course, I can then free the woofer in the top even more by introducing the subs...  But ultimately that's a different discussion point.

As Jack alludes to... can you get lows out of a 10? Yes. Can you do that at volume? Well, not as easily as 15 can for the reasons that he mentioned. And of course, for a same x max, you are pushing way more air in a 15 than a 10. So whilst your 10 maybe able to handle the lows at low volume, can it do what you need it to when you start driving it up?

Incidentally, a band that I used to play with from time to time used a single 12 inch sub. Not great at all, it quickly ran out of headroom. However, when I introduced a trigger for the kick drum, with a highly processed sample and run through a limiter before hitting the sub, it hit surprisingly hard... but thats cos I was really controlling the dynamic range of the lows that was going to that sub. And of course, with it not being a mic, meant that I could process it pretty hard without the risk of feedback. A kick drum mic - you'd get nowhere near the equivalent out of that sub.

There is a big statement to be made surrounding all of this. And it comes down to processing.

If you can play a piece of prerecorded music and it does the job through your PA speakers, it stands to reason that you could do the same. HOWEVER, nobody usually processes their live desk to represent what is happening in the studio. Lots of compressors, lots of limiters. And if you do, you'll typically get into feedback problems before too long. What I'm trying to say, is that you can normally extract more out of some PA boxes with some careful processing.

For my purposes, would I trust 10s... or even 12s? Well, I'm the 15 inch cab space for a reason. Out of the box, they can typically handle the bottom end better and tend to have more headroom without the need to go into more processing at the desk (which may not even be available to you).  

I’d defo say that the pres in all these prosumer desks aren’t up to much compared to some of the nicer single low channel count interfaces. Factor in varying qualities of analogue to digital conversion chips and your ears are probably going to pick something up sooner or later.

I’d also wager the entry level focusrite interface pres are built to a budget compare to some of those interfaces out there! But then again, as I inferred above, they are probably good enough for most. (Especially when they aren’t being ABed to anything particularly nice by the intended consumer!)

I can’t make out. Is that just the clear? If it is, wet 1500 around a thin dowel, drop fill some clear top coat until it is proud of the surrounding area. Denib the proud paint. Then 1500, 2000, 2500, 4000 (on a block), compound and polish to finish. Although you may want to polish the whole bass because you’ll be left with a super smooth shiny spot on the bass otherwise!

4 string - but the inlays are missing. Think we are pretty close.

Can you stick up a pic of the scratch?

That headstock looks quite Marleaux... two ticks. Off to google.

I think the secret to finding this bass is going to be recognising the position of the knob which is located behind the bridge. That's really quite rare to as there's not normally that much wood behind the bridge.

My mind did shift to Warrior as I knew that they did that 3 in a line with 2 underneath the bridge and bridge pickup... but no, no cigar.

Again, with Tobias and MTD, that rear knob is in the wrong place.

Now I've unconvinced myself.