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EBS_freak

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Everything posted by EBS_freak

  1. EBS_freak
    Its defo heading towards a crossover...
  2. EBS_freak
    @ChienmortbbAs with everything... thats a "that depends". There will be some latency with the A/D D/A conversion - but the top systems can now do that sub 2ms. So the tradeoff is no compander, better sounding feed for minimal introduction in latency. Most of the consumer IEM products are circa 7ms+ though... which is significant. Like most things, you get what you pay for. Having used decent IEM systems, I would say for me, the low cost systems dont cut it. Likewise, with channel 70, it's potluck - typically they are ok... but if you start playing areas where there's multiple AV devices being deployed, then yeah, crap shoot.
  3. EBS_freak
    I have never been so disinterested in gigging. I think covid really took the wind out of my musical sails and got me reevaluating what I want to do with my time. Couple that and dealing with people (music is never the problem, it’s the dealing with people that rips all joy from it) I’m just not excited for 2023 and the headaches it will no doubt bring.
  4. EBS_freak
    And if you have the delay piped into your ears (via IEMs) the delay is easier to perceive... and be off-putting!
  5. EBS_freak
    Ah Rotosound. "Hey Nige, is that hard to play? Cos its hard to listen to."
  6. EBS_freak
    Indeed. It's like juggling. What's the purpose of it... apart from fun? Fun to watch, fun to showboat with. Fun things dont have to have a reason.
  7. EBS_freak
    All relative isn't it. Back in the day, Hendrix was seen as showboating... yet, his playing can be duplicated by many now. Same for people like Van Halen. Showboating is built out of innovation. Even if the innovator doesn't know what to do with it... somebody will take and develop it. And to a certain extent, music is art... you dont have to like everything.
  8. EBS_freak
    Theres no latency on analogue as there is no analogue>digital conversion then processing (and then digital > analogue conversion). On modern digital mixers we are now at a stage where it's generally sub 3ms whatever you are using. Most of the common mixers lay between the 0.7ms-1.5ms range. I know that pedants will say there's still latency but it's microseconds, (one millionth of a second) not even milliseconds.
  9. EBS_freak
    What, you didn't even get the call for the L42 dep thats been going around for years? I thought everybody had done that gig.... like the Drifters.
  10. EBS_freak
    Of course he could - and has - and no doubt still does. His Youtube channel is all about entertainment and generating views. He would get no interaction if he just played run of the mill stuff. There's an episode I think where he even talks about his history.
  11. EBS_freak
    200ms+!
  12. EBS_freak
    Looks like Player Plus preamp
  13. EBS_freak
    It wasn't really negative or positive - was just pointing out the latency, being on 2.4ghz (so more prone to interference) and it being mono. Of course, the big positive is there is no compander so the quality of the audio is far superior. Stereo is amazing compared to mono. As you pan instruments across the soundscape, you get a much bigger feeling of space and "air". It's easier to pick up separate instruments, and especially makes room for vocals to sit more prominently in the mix. I guess the best was of explaining it is to listen to your favourite song in stereo... then in mono. It's one of those things, once you have stereo, you'll never want to go back to mono. It's just betterer. Whatever is happening out FoH, you don't care. Your monitor mix is your monitor mix. Place instruments at any volume at any position in the stereo mix. Get super crazy and get a tracking system so you can walk around the stage and have the mix change so it reflects your position on the stage..... ok, maybe that's a budget stretch too far! But you get my drift.
  14. EBS_freak
    Remember you wont hear that effect with your bass - I posted that youtube vid to simulate whats going on when you are a singer (the voice you hear reverberating as you sing around your head being the 0ms and then the feed coming in from your IEM being the latency (if that makes sense).
  15. EBS_freak
    You wait til you figure out you can do that at gigs and get that brilliant in ear sound too.
  16. EBS_freak
    The wireless. Wired in rehearsals, analogue wireless (hence with compander) at the gig.
  17. 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.
  18. 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).
  19. EBS_freak
    This
  20. 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!
  21. EBS_freak
    Not sure - but here’s a pic of it if you can compare.
  22. 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!
  23. 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.
  24. 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.
  25. 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?)
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