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EBS_freak

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Everything posted by EBS_freak

  1. EBS_freak
    The wireless. Wired in rehearsals, analogue wireless (hence with compander) at the gig.
  2. EBS_freak
    This may help you. If you concentrate on the clap, you should be able to hear the flamming and phasing becoming more obvious.
  3. EBS_freak
    Maybe it's easier if I write a couple of statements. In the pro world, the target E2E maximum latency is 7ms. Most people perceive start to perceive latency over 10ms. If there's no digital in the chain for your singer (e.g. mic) apart from the mixer, you are looking for a circa 2ms latency at your mixer. I can't find any figures for your mixer as to what it's system latency is. Most prosumer digital mixing desks are around 0.7ms-1.5ms now (Behringer/Mackie/Allen and Heath etc). I can't guarantee what the RCF is, but it would be fair to assume it's less than 2ms. Even if it's 5ms, its unlikely to be a problem for your singer. The real problems come when you are using something like a bass on a wireless with high latency (e.g. smoothound (8ms)) going into a desk, say 2ms, then into digital IEMs (5ms) - you are already at 15ms. Then if you have something like a Helix/Kemper, you can add another 2-3ms. And if you are using digital pedals, you are probably looking at 2-3ms per pedal in your chain. So even with a stripped down system you could be at 18ms. With a pedalboard instead of modeller, with a couple of digital pedals engaged you could be pushing 20ms plus... and of course, if you are running a modeller with pedals.... you get the idea. You are going to be feeling the disconnect in your playing at this point. (With a singer it's kinda worse... because theres a delay in your ears to what you are hearing ambiently in your head. The phasing can be really off putting) So if I was stick my neck on the line and taking into account constraints... my recommendation would be Xvive. (through gritted teeth).
  4. EBS_freak
    This
  5. EBS_freak
    Hi @Phil Starr Good to hear you now have everybody on board, that's always the first hurdle! Completely get where you are coming from - IEMs can be very expensive, very quickly when you switch from wired to wireless. Sadly, analogue wireless is pretty ropey unless you start spending some serious money. At the end of the day, I guess its what you can put up with. The companders in analogue systems tend to be a bit ropey in the cheaper systems - they sound very compressed, tend to jettison the bass and the "air". Obviously both of those traits aren't idea... and the better the compander (usually the more expensive) the better. Some companders are really nasty and harsh - and for some people, the movement from wired to a wireless system can be a miserable experience. Most drummers for example, hate (analogue) wireless IEM systems because it messes with the dynamics too much. I couldn't say what the performance of the LD system would be compared to the Trantec. I've not heard them side by side. My experience of the LD isn't that great - but then again my benchmark is a PSM900 in the analogue world... so everything is going to sound lesser than that. But to not be knob, I would say, if you haven't got any latency concern, I would sacrifice the stereo (you may not be running stereo anyway) and go digital with the quality of the audio. If you have not got any cumulative latency issues (I would be surprised if the e2e system latency is more than 7ms for you vocalist unless they are using a horrendous digital mic). As for moulds - it's certainly not a necessity - I appreciate the massage step up in price going from some KZs to some customs! If the generics fit, dont fall out and dont distort, jobs a goodun I guess!
  6. EBS_freak
    Not sure - but here’s a pic of it if you can compare.
  7. EBS_freak
    https://www.fender.com/en-GB/electric-basses/jazz-bass/mononeon-jazz-bass-v/0149400386.html Fair play! I like the mononeon accessories Fender are doing too. Great recognition!
  8. EBS_freak
    In short, they are mono and latency is 5ms (depending upon your viewpoint, 5ms is not low latency and any review that says it is, shows up the reviewer for not being that clued up on the RF world). If that latency works for you (taking into account any cumulative latency in your chain (think wireless bass, digital pedals, digital desks etc)) then it is what it is and could work well for you. With 2.4, you are always going to be at risk of interference as there are only 3 truly intermod free frequencies on the 2.4 band... and of course, they may already be in use where you are playing. They seem to do the job OK for most. Just have a bailout plan if they do display drop outs. PS beware shared mixes will cause arguments and could put people off IEM use.
  9. EBS_freak
    As a starting point, stainless steels are a must (DR Lowriders (are my fave, are higher tension strings and on all my basses) or DR Hi-Beams). Live wise - Marcus used a HD350+ (and actually had a HD350 with a 650 power amp - called the HD350+ that was never on sale to the general public). Even with his SWR deal, he still used EBS. Mark King - the sound that you hear is nothing down to his choice of amp/speakers. It's all DI. So to ape Marks sound, a compressor and a fairly transparent EQ (like a mic pre) will get you better results. Scoop the mids. Add the highs to taste. Again, the EBS multicomp, or using a HD350 (with the comp on when slapping) will get you into Mark King zone with no issues. Why HD350 (or TD650) - because they are extremely transparent. Some people hate them for that very reason.
  10. EBS_freak
    I can guarantee the sound that you are hearing here is down to Bernie's electronics - in this case the Rumour circuit with humbucking soapbars, in parallel. It's instant Mark King if that's your thing. (It does loads of other tones also... it's not just limited to this sort of slap) For reference, here's the same pre and pickups in my Spitfire. This is straight into the DAW. (Hear the similarity?)
  11. EBS_freak
    Indeed - the move to Apple Silicon would be the best move at the moment - if the budget stretches. Also, the Pro and Ultra variations of the Apple silicon has dedicated ProRes support, so when working in ProRes, you get major speed advances. (it's quite annoying that whilst my Intel based iMac is still faster at processing, it's cost me a good couple of grand extra outlay... but I don't feel the enhanced performance is 2k worth!)
  12. EBS_freak
    @Dankology- can you upload some footage from your hacked GH2 at the bitrate you want to be used. Will see what real world editing experience is like on my macbook to get an idea if you like?
  13. EBS_freak
    I dont know as I've never used GH2s, I'm in Canon, Sony and Blackmagic world. Canon and Blackmagic (braw in resolve, prores in FCPX) are both quite lightweight (although the new Canon format (from R5 for example) is not so much). Sony footage is a pig to edit straight out the camera due to it's codec. I only mention is because it could be an issue unless you transcode up front. I've got a 2.8 i5 Macbook with 8GB which will do simple editing no problem... although it really needs 16GB. All the other video work I do (all the colouring, BM fusion etc) I do on my iMac - but that's not worth discussion as that's a beast with 128GB RAM. I would say try and stretch to the Apple Silicon if you can. For video, they run cooler, pound for pound are much quicker. Of course, Intel Macs will start to be on the decline with support. I'm not talking Apple here... but if you are keen on plugins, I can see it not being too long until you see solely Apple Silicon offerings as it becomes too much of a pain in the derrière to support two codesets and you'll begin to find plugins that are not compatible with older versions of video editing software. And... Macs have a very long shelf life. My macbook is 2014 and is fine for lightweight editing... but it is beginning to show it's age now that more advanced features are coming out. It's defo running a lot hotter and with fans on the newer versions of Final Cut Pro without doing too much* for example (and I reiterate, I am stuck using more demanding later versions of softwares as theres some plugins that I want to use that will only run on the latest releases of video editors) * my too much may be different to yours...
  14. EBS_freak
    No. It’s depends upon what format your camera spits out and at what resolution. Sony footage for example is pants for editing without transcoding. Again, it depends what you are trying to do. If you are colour grading, you will lower cpu demand by being in a more friendly codec.
  15. EBS_freak
    The codecs should become insignificant - as if you are editing on a Mac, you should transcode to prores first or create proxies. Once you are in Prores, most macs, even those that are 5 or so years old will handle with a breeze (assuming you aren’t going crazy with colour corrections and the like) I guess what is recommended all comes down to budget…
  16. EBS_freak
    Shall send you a dm
  17. EBS_freak
    There needs to be separation between transmitters and receivers as they will interfere with each others. So, physics has thwarted your gap in the market!
  18. EBS_freak
    EDIT: - I'd hope that it would be a Dante input as opposed to output! It's only worth it if you ever think that you are going to make use of Dante. If you are not, then no, it's not a big issue. As a typical use case - imagine you have say, 6 stereo IEM systems, all racked up, with a switch that you are using for your Dante traffic. In that case, 6 systems would have 12 XLR cables to get the stereo signal in. You can negate all that plugging in and out with just one ethernet cable (but there will be 6 ethernet connectors permanently racked up to your switch - then you have a single ethernet cable to your main Dante switch). Again, think of micing up a kit. You could have a Dante enable preamp box and instead of having a big heavy analogue loom, you just have one ethernet cable to plug in to get from that stage box to your Dante switch. If you haven't got a Dante compatible desk (loaded with Dante card), the whole thing is a moot point anyway. The real win of Dante is getting rid of a load of cables - and splitters - if you are running multiple desks and audio devices. If none of this is you, then yeah, it's something you are never going to use. Dante networks tend to be a significant investment as the gear that is Dante enabled, tend to be in the pro end of the spectrum. For example, Shure wireless Dante enabled mics start at ULXD4D (dual receiver - about 3k... before you even look at the transmitters). If you want to Dante enable non Dante devices, you can always add Dante Avio adapters - they are typically around £250 for XLR based units. So based on all that, if you are making use of Dante, yes! No brainer. If you haven't got Dante - have no intention on spending money on going down the Dante route, then no, it'll be something you'll never ever use.
  19. EBS_freak
    Nearly!
  20. EBS_freak
    Cybermarket seem to check out ok on trustpilot (usual abnormal reviews).
  21. EBS_freak
    And this one is too... more or less.
  22. EBS_freak
  23. EBS_freak
    In short, budget and wireless tend not to go together. I certainly wouldn't recommend anything on the budget side when it comes to wireless - especially analogue wireless. As an aside, as I've stated previously in the thread, the Mi58 has my interest due to the low latency figures (as in proper low latency figures not some high latency figures that are marketed as the opposite), it is digital (hence no rank sounding compander) and the optional unbelievable optional inclusion of Dante that defo puts it into the more pro camp. If it wasn't MiPro and had Shure or Sennheiser written on it, it would £1700+ easy. My ZS10 and P2 recommendation should be within the realm of most musicians. Under a £100 sounds like a reasonable price on protecting your ears.
  24. EBS_freak
    If you are wondering why MI58 - check the sound quality here (5:52). He does a walk around a venue... but as long as your transmitters are in line of sight and all that, or close to the stage, which I would imagine most people reading this are going to have... then jobs a goodun. Low latency, digital audio quality, no compander. What's not to like?
  25. EBS_freak
    XS sounds really toppy and thin to me - reminds me of the awful PSM200. If you are looking at a more budget system, I'd probably be investigating the MiPro MI58 and get rid of the compander altogether as the XS one sounds pretty rough to me.
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