EBS_freak

OK - the short answer is a little like this. You are most likely to be in either the Shure camp, or the Sennheiser camp. You can make both co-exist, but I would always suggest that your IEMs are of one make and model and likewise, your mics be of one make and model (or range, appreciating the fact that you may have a mixture of belt packs for lav/guitars and handhelds). If you running one brand, then you ideally put devices on a network and configure them all remotely via software - so Shure's Wireless Workbench or Sennheisers Wireless Systems Manager. More on those in a bit. To run up large channels counts, you'll definitely want a shared mic license - so typically channel 38 if you are moving your band around venue to venue. You can up the count by using the free to use license (ch70) but you are more likely to have interferences with venues and dodgy DJs using cheap ch70 mics that will interfere with yours. IEMs should be racked together on one side of the stage and mics racked together the other. You can get away with both rack units on the same of the stage - but aim for at least 3metres separation. Ideally, you want a distro and external aerials - however, this is not always a steadfast requirement. As long as the antennae on the units have line of sight - and ideally not on the floor, then for most venues you are likely to be OK. As mentioned before, its best that the antennas are clear of the rack - but if you aren't using external antennae from a distro, then have it so the antennae are closest to the performers, so the RF doesn't have to pass through the rack and electronics to get to and from the radio receivers/transmitters on stage. If lots of metal work comes into play, or if the venue has more stray RF noise, that's where the distros are going to help. And of course, if you are running dual diversity systems, you can have an antennae both sides, pointing across the stage, for better signal and less chance of drop outs. IEM dual diversity systems are expensive by the way - compare the price of a PSM1000 system over a PSM900. Back to the software - this is where the magic happens and most people don't know/understand the importance of this. You can upload your inventory of wireless gear to say Wireless Workbench and it will have all the technical details associated with that piece of gear available to work with. You can then specify the portion(s) of the radio spectrum within which you want your wireless to operate... and then let the software work out all the intermod free frequencies for you so everything works together without interference. Of course, if you have a profile for mismatched gear, it can take that into account (hence you could mix brands - although you do tend to get more usable channels if you stick with brands and models as stated above) You can then manually program all the devices with the frequencies the software comes out with. If you have WW on the network and all the devices are on the network - you can remotely push out all the config to the rack units (although you are limited to Shure for WW and Sennheiser if using WSM - so you can immediately see the advantage of co-ordinating RF units from just one manufacture, especially if touring and large channel counts are involved) and then sync the portable units using the IR sensors that tend to be on the units. All clever stuff. For relatively low channel counts, in the UK, its rare that you have to keep reprogramming your wireless units as Ofcom has got a pretty good handle on wireless control. I run 11 channels of wireless with my band and 99% of the time I can just turn up and play at a gig with the same settings as the last without any issue. If there is an issue, I use WW to scan the area for rogue RF (it can do this by using a receiver that it is on the network with) and choose to co-ordinate frequencies that are free of any troublesome RF. As I say though, for shared mic license, this is a pretty rare occurrence - but in the States for example, where wireless changes from state to state and generally abused, it can be a life saver. For big tours, you wont find bands on Ch38. They apply for licenses from Ofcom - which gives them legal access to other parts of the spectrum for specified durations. Of course - the gear has to be able to be tuned to that area of the spectrum. For completeness, you can also get a fixed license - so you will find that theatres tend to be allocated areas of the spectrum for their mic use... but obviously the equipment use on those frequencies are limited to the boundaries of that building. Lastly, your wifi wireless should be kept away from everything. Typically you'd have another rack for your router and hang your WAP(s) off that - and that would also probably contain your pair of Dante switches of similar if you are making use of digital runs (for audio over ethernet). In short, wireless can take time and be a headache when it goes wrong. So be prepared and have a bail out solution where everybody can go to wired. For tours and the like, this stuff doesn't just happen. It's weeks, sometimes months of preparation to have the confidence that stuff is going to work as intended. Hope this helps and gives you a brief insight!

Not really. I stated that I don't agree with the way that insurance is provisioned in such circumstances. Not a lack of understanding at all. If you hired a plasterer to plaster your wall and they ended up putting their foot through your window, they are paying for it, whether out of their own pocket or their own insurance. When you get somebody to plaster your house, you don't get a quote for them with insurance, or without insurance. Both service industries, different insurance policies. Of course the prices would go up - but in a rose tinted world, they should look at the processes that are leading to the damage or loss of parcels... after all, we all know how much care couriers take when handling our goods.

Indeed there are - but few get all the elements right - the video production, the players, the choice of song, the production on the audio, the branding. Not saying Scary Pockets hit the mark every time for me music wise - but their quality control is exceptional.

Thanks for the kind and words - and for acknowledging the case that my input on the topic is to help people not fall into any pits that they don't understand how to get out of!

Oh man. Sounds similar to the EHX vs Mooer case!

Aww cmon, they're just a covers band.

Thats more of a case of their systems not being fit for purpose for the service they provide. As you say, if they can provide the spec, you can work with that. If they don't... well, that's their lookout. (Or should be). And yes, I'm still angered by the fact YOU have to take out insurance for THEM to do THEIR job properly. You would hope their own insurance polices would cover such things. But alas. You can see why Amazon are ruling the roost and couriers are missing out... as Amazon, for common transactions, just take all this nonsense away.

Musicians are the most salty breed out there. The narrative, "we are all friends, we all support each other, we are all "good friends" etc...", meanwhile, they can't bring themselves to click a simple like button in support of others - and will go after your gig or use you to their own advantage, whilst bad mouthing you to your peers and generally stabbing you in the back. Terrible isn't it?

I'll give you a bit of background on the Swissonic router. I took one apart - It's basically a router that can be found on Aliexpress for $30 that has been rehoused in a nice rack unit. That's not to say that the router doesn't do the job, if it works reliably, then it works reliably... and as stated, it's a nice format in that you can keep it racked up and ready to go. The reason that there isn't much out there in terms of rack mount WAPs (wireless access points) is that from a physics point of view, WAPs should be mounted away from metal as metal interferes with RF. When mounting WAPs/wireless units in racks (e.g. including microphones/IEMS), the antennae are usually external to the rack to avoid this issue. In larger scale gigging situations, the WAP is usually mounted with external antenna with hidden SSID(s). This not only reduces the risk of interference - but makes for a more reliable connection (assuming you have line of sight) You've probably noticed that a lot of home routers are very plastically and avoid metal construction - there is a reason for that - they are self contained and its often not practical to get the antennae away from the base unit. So from a purist's point of view, the Swissonic is a terrible implementation as you are putting your WAP in an area that typically dense in metal structures - and additionally, combined with a load of electronics that produce EM that can also negatively impact the performance of RF. In @DaytonaRik's deployment above, things aren't quite as bad as they could be - as the antenna, although close to a lot of metal and electronics (including radio transmitters AND radio receivers - more on that in a minute) at least stand proud of most of the rack. As for the placement of mic receivers and IEM transmitters, this is as about as worse practice you can get and it will be greatly reducing the amount of intermodulation free (e.g. interference free) channels that you will be able to access. Given that there's only two channels in play here, and they are on different channel bands (one on free to use, the other on shared mic license), it's likely, I'm guessing, you are getting away with it Rik! If you upped your channel count with this style of deployment, you would have a right ball trying to get your radio working! Having said all of that, if the resulting performance is good enough to be reliable for your needs and you can justify the price, than for the neat integration into the rack, the router may be a good call. At the end of the day, if it works and meets your expectations, then jobs a goodun! I only included this post as anybody working with wireless should go into this with their eyes open. @BCH - I would be wary of your stageclix system being placed right next to a 5G router - hopefully the device is clever enough to find a clean channel on 5G (there's a lot more of them compared to the 3 intermod free channels on 2.4 for starters) but you may have to set your router to fix on a channel that plays nicely with the stageclix. In short, always be prepared to ditch the Stageclix and ditch the wireless because a venues wifi may take yours out. A lot of conference centres are great at doing this. Always cater for a wired connection to your desk too... because not being able to control your mixing desk is a bit err... stressful. (Been there, done that, without the cat5 cable...) Hope this is insightful - this hasn't been written to run anybody's setup down - quite the opposite. I've tried to be helpful to avoid any mishaps down the road!

I doubt it. I think the last time he mentioned it, it was built for him taking a standby gig where he needed to practice on the plane. I would be interested in one if it did though!

@IvanBass456 Just to clarify - are you talking dispersion from a hearing yourself point of view (in which case, you are more interested in vertical dispersion), or from a width perspective. Vertical dispersion isn't that good with the cabs that are being mentioned - and as you have alluded to, vertical stacking to get the drivers closer to your ear may address some of the issues that you are describing.

You could ask yourself, do people really know what good sound dispersion is? If I told you that dispersion was good or bad on my cabs of choice, would you believe me? Should you believe me?

M200s too. Very nice!

Pretty much YouTube anything and hold onto your hat. He was the bass player with Prince before Prince died... sad that MN never got to tour with Prince as that would have just been a crazy show.

What is his, is hers and all that. Nataly is great too - and Pomplamoose as you say, are a great success story in their own right. The key thing is, unlike most other musicians - they try and try again and dont let failure get them down... AND work together. That reminds me... I have loads of admiration for Jack and Nataly as they have worked hard for their success. If you've got some spare time, I would urge you to watch this to understand what a great character Jack is and how he deserves every success -

Don't want to deralil the thread, but why don't you look at avoiding the issue of cabs by finding a FRFR solution. By eliminating the baked in sound of a cab, you can can control the specifics of what you like through a comprehensive pre/modeller?

Nice headphone amp there!

Their music. They perform it. Just because they didn't write the music doesn't mean that they can't say it's their music. Using that logic, the majority of pop stars are just about lose the right to call their music theirs. All those classical musicians that are performing the works of others are suddenly nullified and what they have brought to the performance is void? If it's not for you, you could have just moved on. Did you have some salt on your Frosties this morning? I enjoy some of their takes on songs, not always. But I don't need to justify what I think to anybody. Just enjoy music for what it is. If it talks to you, enjoy it. If it doesn't, move onto something that does.

To answer your questions in turn.... Conducting Soloing when required. Probably sitting down when not. Playing when required. Probably counting bars when not. Playing when required. Probably counting bars when not.

Yes - but are they sharing their music with studio quality produced audio and professional video with the rest of the world? They aren't - so immediately Scary Pockets aren't your average covers band - as they know how to market themselves.

WHAT??? ARE YOU SUGGESTING THAT THE LYRIC IS NOT FIT FOR THE SINGER??? HOW DARE YOU. HOW VERY DARE YOU. 😜

It doesn't has to be better or worse. It's just different, there's room for both.

Nah, she can identify as anything she wants. To be fair, identifying as a man probably fits better than identifying as a carrot. Or perhaps it's more deep than that. Perhaps she has a lot of stereotypical male traits - aggression, foul mouthed... and she is looking at somebody that she thinks has unwanted male traits and she doesn't like that.

Average. Lol. Why do they have to do anything original? Millionaire founder of Patreon Jack Conte does this for sh1ts and giggles to amuse himself and play with great musicians. If you have the likes of Robben Ford guesting, you ain't average.

get woke