EBS_freak

You'd hope theres an EQ on the output - because if you are using wedges, you'd want to be able to notch frequencies as an absolute minimum.

These are the originals, not the Mk4. Same as the Mk4 but in different casing and without the FiR feature on the DSP that the Mk4 has (they are as the link). Weight 19.6 Kg / 43.2 lbs

Looking at the sales specs - - Output: 6x Mono Aux 1/4" TRS Jacks (linkable)

What's the linkable thing about?

I would have thought you would have had to link on the mixer and then your remote monitor mix will just assume control of that linked pair? (Then I'm guessing additional options like pan will appear in the app?)

Stereo mixers aren't possible. Whut? Aw man. That's pants.

2 minutes ago, Phil Starr said:

Damn You again 😂

 

I don't usually suffer from GAS but these look spot on, I don't need the extra facilities but if this had been on offer when I bought My RCF mixer it would have been 'the One'. The CQ20 for me would be spot on. Metal boxes, flexibility, a functioning router, all the sockets visible, intuitive looking software and only a couple of hundred quid more expensive. I'm almost hoping my mixer breaks

 

 

Sell the RCF before more people clock on about the AH! 

5 hours ago, EBS_freak said:

I wouldn't say IEMs are exclusively PA but I'm not really bothered where it sits.

After much consideration.... screw it. IEMs should have it's own place on the forum

3 hours ago, Phil Starr said:

If @EBS_freak is happy could we have this moved to the new PA section please and then Pinned 

I wouldn't say IEMs are exclusively PA but I'm not really bothered where it sits.

21 minutes ago, Chienmortbb said:

Are there any decent headset mics?

Yes - although be prepared to open your wallet!

43 minutes ago, police squad said:

does that mean, 'don't bother, it's not very good'

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.

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!

4 minutes ago, police squad said:

I've stumbled across this stereo wireless. How do we know if its any good?

https://phenyxpro.com/es/products/ptm-10?variant=44218305183981

 

Whether it is or it isn't, it isn't available in the UK shared mic license of free for all license bands.

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.

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)

Try PB-05E

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.

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!

4 hours ago, Phil Starr said:

Russ as usual has spoilt our fun by rationally listing all the options  

oops.... sorry...!

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.

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.

3 minutes ago, dave_bass5 said:

Totally refuses to put anything on his head. He has his reasons (medical mainly), but is still a bit traditional when it comes to gear and prefers the old teachings 🙄

Throat mic!

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!

Headset mic for the drummer?

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.

“Less than 12ms latency”

So… 11 point something ms latency.

nup.

plus total mayhem trying to coordinate multiple wireless devices.