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EBS_freak

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Everything posted by EBS_freak

  1. EBS_freak
    Sell the RCF before more people clock on about the AH!
  2. EBS_freak
    After much consideration.... screw it. IEMs should have it's own place on the forum
  3. EBS_freak
    I wouldn't say IEMs are exclusively PA but I'm not really bothered where it sits.
  4. EBS_freak
    Yes - although be prepared to open your wallet!
  5. EBS_freak
    I guess it means when it comes to products marketed in this way, the results often match the price point, not what you would wish for. There are however, some exceptions. In comparison, Sennheiser, Shure and Lectrosonics cost what they do, because they perform exceptionally well.
  6. EBS_freak
    But this one is. (I thought the Phenyx looked familiar) https://www.gear4music.com/PA-DJ-and-Lighting/SubZero-SZ-IM2-Stereo-In-Ear-Monitoring-System/2D74 So looks like a generic rebrand exercise in play. Proceed with caution!
  7. EBS_freak
    Whether it is or it isn't, it isn't available in the UK shared mic license of free for all license bands.
  8. EBS_freak
    In fact, probably easier just to post this - https://www.optogate.com/shop/index.php?main_page=index&cPath=1 You've also probably clocked that there are various companies who manufacture a clone (maybe under license, dunno), including Monacor for example.
  9. EBS_freak
    It's because the one for dynamic mics does not require a phantom pass thru, whereas the one for condensers do - hence more electronic components, more cost. (Optogates require power via phantom power, regardless of model)
  10. EBS_freak
    Try PB-05E
  11. EBS_freak
    Apologies if that came over a bit snarky. I just find it weird when people bemoan the pricing of a product. As an example, your average mic comprises of less components than the Optogate, manufactured in vastly higher numbers and yet people will quite happily pay a lot of money for them. Even the budget mics from China are vastly overpriced compared to their construction costs. Yet a niche product that doesn't get produced in anywhere near the numbers and will have nowhere near the profit margin gets seen as too expensive. If you use one, you'll see they are worth every penny when you see how much gain you can recover before feedback because it's actively closing off the unused mics that would be otherwise just be contributing bleed. Anyway, £111 at DV247.
  12. EBS_freak
    If you shop at Canford, you deserve your wallet to be thraped Make your own for less than 20 quid if you feel so inclined!
  13. EBS_freak
    oops.... sorry...!
  14. EBS_freak
    Agreed. That ugly really is ugly. I think it looks to be a super little mixer - but the only really big question mark is why they didn't include the ability to connect to their ME monitors. Seems like a marketing oversight - If you are looking to get people to lock into the Allen and Heath ecosytem, that would be a perfect way to do it - and they still has compatibility with the other mixers in the more budget end of their range... just seems like a bit of a dropped ball, especially when Ultranet and the affordability of the submixers are a killer feature of the XR18. Dante would be nice - but again, it was never going to happen. The Dante card would be about as much as the mixer... and they wouldn't sell many for this level of mixer. Anyway, despite some of the negatives, based on what I'm seeing, as I say - it's a cracking little mixer.
  15. EBS_freak
    Just thought - you can change up where band members and noisy things are. I always have the kit off to the side, furthest from the lead vocalist. Any amps can be on their backs pointing up at the roof (Springsteen style) or at 90 degrees to the mics, pointing off stage and away from mics. You can then mic amps and put a bit through PA if necessary, just for better coverage.
  16. EBS_freak
    Throat mic!
  17. EBS_freak
    Just worth noting - this is why digital desks rock. With recordings, you can see where your short falls are. If you are having difficulty mixing tracks from the recordings, you can see why you are having trouble live. It’ll be the cymbals - (think harsh treble) and you can’t separate it from the vocals!
  18. EBS_freak
    Headset mic for the drummer?
  19. EBS_freak
    In order of cost - 1st improvement- correct mic technique. Eat the mic, work the mic, keep the gains low so your vocalist input is way, way, way louder than the surroundings. 2nd improvement - get the band to turn down. 3rd improvement - use mics with greater off axis rejection... however, if you vocalists aren't too hot on mic technique and singing direct onto the mic, you may have mixed responses. 4th improvement - optogate on open mics (but not the lead vocalists). They will only open when the singer is close proximity to the mic and are a lot more reliable than audio threshold gates. 5th improvement - use screens of shame. Drummer and cab shields can help prevent bleed to your open mics. 6th improvement - go silent stage and inears (appreciate there's a cost outlay here... but avoid 5th and go here... although you may still want the 5th for the drummer. The cymbals bleed everywhere.
  20. EBS_freak
  21. EBS_freak
    “Less than 12ms latency” So… 11 point something ms latency. nup. plus total mayhem trying to coordinate multiple wireless devices.
  22. EBS_freak
    Also noticeable on male vocals
  23. EBS_freak
    Don’t do that - if you stand between the two, it will sound unbalanced
  24. EBS_freak
    You can... and people do. I talk about similar in the IEM bible thread. If I was going down this route, I'd mount the receivers in a pouch on my bass with a unbalanced XLR stereo feed from the two receivers to a P2. Trying to hang all that off your belt will pull your trousers down.
  25. EBS_freak
    A mate and me talked about this a while back... ...and produced something similar!
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