Jump to content
Why become a member? ×

EBS_freak

Member
 View Profile  See their activity

  • Posts

    13,874

  • Joined

  • Last visited

  • Days Won

    20

 Content Type 

Everything posted by EBS_freak

  1. EBS_freak
    Hi @Mike Brooks- just checking out your affiliate links. Be wary when you cut and copy it can truncate and just leave you with some ...s on the end that leaves you with broken links.
  2. EBS_freak
    Im saying nothing.
  3. EBS_freak
    http://orchid-electronics.co.uk/Mic_Mute_lite.htm
  4. EBS_freak
    Suspect that you are clipping on summing. Roll back your aux sends on each channel by the same amount.
  5. EBS_freak
    In the analogue world, yes.
  6. EBS_freak
    Eh? I think I understand what you are saying. One to one, not one to many.
  7. EBS_freak
    Yes - it's radio. But payload is used to transmit digital packets, so when you connect, it could be a case that it negotiates a one to one connection. Certainly you can't do multiple connections with ULXD (granted thats not IEM though (wireless mic system)). That also offers a encrypted/non encrypted connection... however, I believe the peering is negotiated to lock in a pairing.
  8. EBS_freak
    I'd wager you'll be OK. When you are gigging - and certainly when everybody is playing, you probably wont notice it. And you'd still probably take it as it will still be more clear and have all the IEM advantages over using a traditional monitor.
  9. EBS_freak
    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.
  10. EBS_freak
    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.
  11. EBS_freak
    I watch with interest. Will keep an eye open for the video.
  12. EBS_freak
    Tonex. Surely this pre is dead before it's even begun?
  13. EBS_freak
    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.
  14. EBS_freak
    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
  15. EBS_freak
    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!
  16. EBS_freak
    Buy once, buy right... ...oh.
  17. EBS_freak
    Somebody's got to keep the economy going!
  18. EBS_freak
    It’s the middle digit in the RCF models that gets you the benefits! The more you can offload through the horn, the better.
  19. EBS_freak
    Possibly. Again, it depends. It's probably somewhere on the boundary of high SPL and resonance...
  20. EBS_freak
    Psychology. It's still a point though - the feeling of high SPL stage could certainly influence how you mentally feel on stage.
  21. EBS_freak
    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)
  22. EBS_freak
    Freqout.
  23. EBS_freak
    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! )
  24. EBS_freak
    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.
  25. EBS_freak
    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.
×
×
  • Create New...