EBS_freak

1 hour ago, Al Krow said:

 

So particularly noticeable for female vox even more so than male vox?

Also noticeable on male vocals

Don’t do that - if you stand between the two, it will sound unbalanced

On 31/08/2023 at 12:21, Jakester said:

Ah, that's way too much stuff for very little benefit. 

 

I was trying to avoid getting a rack mount wireless system, as it's just one more piece of gear to lug round, cables etc, whereas the U4 is just two small pieces of kit. I currently use a wired connection to a P2, but it's a pain when you move around (to adjust a mic, for example) not realising you're still wired in!

 

Hmm, I may see whether I can cope with going back to mono then.

 

Edit: I wonder whether I could use two U3 systems in reverse - i.e. use the mic packs in the mixer and the receiver ends into my P2. Expensive though!

 

https://xvive.com/audio/product/u3-microphone-wireless/

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.

A mate and me talked about this a while back...

...and produced something similar!

£1200 Price drop

Due to me not running bands anymore, I'm shifting a load of my personal PA gear. All my stuff is currently in storage but will be pulling it out to photograph and update the posts. PICS NOW ADDED!

I've got for sale a pair of RCF 745As with matching HotCovers padded covers (with under cab strap).

https://www.rcf.it/en/products/product-detail/art-745-a

Condition of these cabs are near mint - a 9.5+++/10 easily. They have been babied because playing high end functions and weddings, they need to look cared for.

Polyester HotCovers padded covers look as new (circa £60 a piece).

Due to me not running bands anymore, I'm shifting a load of my personal PA gear. All my stuff is currently in storage but will be pulling it out to photograph and update the posts. Now with Pics!

As the title says, I've got "RoadReady" branded flight cased wireless mic set up comprising of 4x EW500 receivers and antenna splitter. The mics each have the 945 capsules. I'll include a set of brand new Sennheiser paddles too. Most importantly - this all runs on Channel 38 - so legal for use in the UK under the shared mic license.

Condition of all units could pass as pretty much new (no mic throws/drops, scratches, dents). They have been looked after and even the screen protectors are still on the receiver screens.

Powercon (will throw in a cable) is mounted on a rear mounted rack panel with 4 XLR outs, 1 for each unit. Each mic is cased in its Sennheiser branded "pencil case". 

Any questions, give me a shout!

1 hour ago, Woodinblack said:

 

And how often do you get a power supply failure? When gigging, external power supplies to me are such a pain in the aris, if there are two items, one is slightly better than the other one but has an external power supply, I am going to get the other one.

2 in 25 years. But I carry enough stuff to be able to field a failure.

£3600
 

Due to me not running bands anymore, I'm shifting a load of my personal PA gear. All my stuff is currently in storage but will be pulling it out to photograph and update the posts. PICS NOW ADDED!

Up first, I've got for sale a pair of RCF 8004-AS subs with matching HotCovers padded covers.

https://www.rcf.it/en/products/product-detail/sub-8004-as

Condition of these cabs are near mint - a 9.5+++/10 easily. They have been babied because playing high end functions and weddings, they need to look cared for.

Polyester HotCovers padded covers look as new (circa £70 a piece) and I am sure I can include some Powercons and make you up a Powercon to IEC to link to your tops.

They have been mounted with 4 blues wheels with brake to ease moving them around. I also have screw in speakers poles if you want to add tops that way and a folding ramp for easier loading into a van - we can talk about a deal if you are interested. 

I don't want to split but if two Basschatters want to go with 1 cab each and payment and collection at one time, happy to do that.

These are big, pro grade subs, they'll blow your socks off.

Any questions, give me a shout!

5 hours ago, dave_bass5 said:

Yeah, my comment was sarcastic. 
You know how it goes. New thing comes out and suddenly the perfectly working previous model is useless 😂

Must admit they do look very tempting. More advanced than the XR18. 

Agree.

All those full frame cameras and lenses that become rubbish because the next iteration came out!

Anyway...

There is no need for people to ditch their XR18s for A&Hs. The people that are going to do that, are the same people that like changing their bass all the time. There's still GAS in the PA world.

Anybody that has build a monitoring solution around Ultranet or wants to use A&Hs ME solutions are going to be disappointed. (This is the big omission for me and if I was in the market for such a thing, as somebody that wants stereo IEMs, 3 auxes is a bit , especially when in the Ultranet world, adding stereo sub mixers is pretty cheap compared to buying a mixer with loads of auxes) 

I didn't mention it before, but it's the QSC mixer that's really going to take the heat from this release. I just can't see anybody wanting to buy a TouchMix now. Ever.

5 hours ago, Chienmortbb said:

Sound On Sound review here. https://www.soundonsound.com/reviews/allen-heath-cq-18t

Con: External PSU (I'd like to see a Power con)

Pro: External PSU (I'd rather have a external adapter than a transformer in the box that causes noise on the pres/channels - downside of small form factor)

USP of 96khz and probably A and H see themselves as a step above Behringer. Maybe a comparison to the MR18 would be more appropriate? 

No, you'd have to combine the outputs of two users into one summing mixer. Use a Insert cable from the U4s into a PM1 for example.

Two U4s.

Yup. Didn't demonstrate any mixer focused knowledge in that video either.

His knowledge of mixers and their functionality would clearly be lacking.

Gosh. The Anderton's guy is sooooo annoying. It's like I've been dragged into a transmission of QVC.

Great piece of kit, only thing that is a bit of a  is the lack of connectivity to the ME personal monitors - which given that the XR18 has the ultranet, is a bit of a disappointment. But everything else, spot on I reckon.

https://reverb.com/uk/item/35930091-ampeg-v9-1979-910-9x10

75kg. Nice.

1 minute ago, dave_bass5 said:

Had another great night with the IE400’s. So glad I stumbled on these before going all out with customs. Its so nice not to have to keep fiddling with my right ear.

 

One thing id like to ask, how much noise isolation would customs give over memory foam tips that fill the ear entrance? I find im getting enough, and its nice that i can still have a conversation with them in (anlthough its hard to tell if thats from the live mics on stage picking some of the other person up). Are customs more isolating? Its hard to judge as some people say the world disappears once they have them in, but i really cant imagine thats 100% true. 

I find them more isolating than tips still, due to the higher volume of density of material in your ear canal. (e.g. customs tend to have a much larger solid amount of acrylic or silicone in the ear canal compared to tips). The best way to approximate what customs sound like in terms of isolation, is to put your fingers into your ears as deep as you can - it's like that (even to the point where if you talk you can hear it resonate in your head).

26 minutes ago, jimmyb625 said:

They look quite good. It seems like this will be the successor to the QU series, with the SQ being the next step up. 

 

This is to go after the touchmix, ui, xr, Mackie market. 96khz is great to see too. Will the XR18 become unseated as weekend warrior mixer of choice? 

Now these look interesting - Allen and Heaths new line of CQ mixers.

"Allen & Heath has unveiled its new CQ series, a trio of compact digital mixers for musicians and bands, audio engineers, home producers, small venues, and AV installers, that places ease of use and speed of setup firmly at the heart of the user experience.
“CQ takes our renowned processing and effects, adds exciting new assistive mixing tools, and packages it all up into our smallest, and most affordable, digital mixer series yet,” says Keith Johnson, Product Manager at Allen & Heath. “Usually at this price point, users are forced to choose between a mid-range analogue mixer, lacking in modern features, or an entry-level digital mixer, where corners have inevitably been cut. With CQ there are no compromises. It’s a fully featured 96kHz mixer with stunning audio quality and intelligent tools that, regardless of your experience, lets you mix smarter, sound better and work faster. Just add sound!”
Built around an innovative new 96kHz processing engine, the series comprises the CQ-12T and CQ-18T desktop mixers featuring tactile controls and a seven-inch multi-touch screen, and the portable CQ-20B stage box mixer, all controllable via the companion CQ apps.
The processing engine, utilising Allen & Heath’s FPGA technology, brings numerous time-saving tools to the CQ to speed up and simplify common tasks for users of all abilities. Gain Assistant automatically sets preamp gain to the optimal level and monitors and adjusts for any unexpected peaks in the signal. Feedback Assistant identifies and filters out problem frequencies across all outputs via simple one-button operation, with more in-depth control available for challenging acoustical environments.
Input channels can be switched between a Quick Input, giving users a source-specific set of controls with single knob control of channel processing, or a Complete Input for full control of all channel processing parameters. Additionally, an Automatic Mic Mixer (AMM) is present on all input channels, instantly improving clarity and reducing background noise in speech-based applications.
The CQ range also introduces a new suite of high-quality, user-friendly reverb, delay and modulation algorithms with instrument-specific presets for speedy setup, while the FX Assist tool shapes the FX by dynamically responding to the input signal for optimal clarity. The CQ-18T and CQ-20B offer 4 FX engines and the CQ-12T features 2 FX engines.
All three CQ mixers benefit from flexible recording and playback options including a multichannel USB audio interface, multitrack SD card playback and recording, simple stereo recording and playback via an external USB drive, plus convenient stereo Bluetooth playback.
The CQ series is supported by a pair of free multi-platform apps. The CQ-MixPad app enables remote control of the mixer from anywhere in the venue, while the CQ4You app empowers performers to take control of their personal monitor mix via their mobile devices. The CQ-18T and CQ-20B also benefit from integrated high-performance dual-band Wi-Fi for quick and easy connection of control apps without any additional network equipment.
The CQ-18T provides 16 mic/line inputs and 1 stereo input, the smaller CQ-12T includes 10 mic/line inputs and 1 stereo input, and the stage-friendly CQ-20B offers 16 mic/line inputs, two of which can be used as Hi-Z instrument inputs, and 2 stereo inputs. All three models feature 6 independent outputs which can be configured to run up to 3 stereo outputs."

Yum. If pricing is right, these look spot on.

On 22/08/2023 at 15:57, joel406 said:

I've seen a few threads. But they quickly degrade into disdain for IEMs. One chap even said putting them in his head would result in him ripping them out and throwing them across the room. A very toddler Ish reaction. While many have embraced IEMs there are more (it seems) that are unwilling to even try them. A lack of understanding how they work seems the underlying problem. Personally, I have been playing since the 70's and admittingly was apprehensive and slow moving to IEMs. But once I made the decision to at least try them, I wondered what took so long. Bass response is staggeringly great. And the clarity is unmatched. I understand that not everyone can afford quality equipment. A good set of IEMs with just 5 drivers can easily run upwards of $500+ usd. And a decent wireless unit is a minimum of $850 usd. Not everyone is about that. But when you look at what we spend on inefficient amps. That pales in comparison to the tone of IEMs the expense is very justified. Yes, I still own amps. A throw back from a dying era. And I will keep them (maybe). The Mesa Subway D-800+ and my Epifani UL901 are amazing. Paired with either my Mesa Subway 212 cabs. Or my Mesa Subway 410 cabs. They outshine anything out there. But the Quadcortex and the C.A.B. M have them on file. And now I can have them easily available without having to transport them. The biggest benefit of IEMs (to me) was being able to move anywhere I wanted to, without having a change in sound. Tone doesn't change as well as the mix. You can go to the toilet and your sound remains the same. 

 

Long post... sorry.

 

 

But there is a lot of ignorance out there in regards to IEMs. People hate change. Even when it's for the better.

55.6k views in the buoyant IEM Bible thread. There's plenty of interest - mindset change is the hardest, and of course, the user experience is only as good as the sum of the components. If your mixer cant hack it, you haven't got the FoH oomph to put your bass through and your IEMs are rubbish (e.g. the phones you get free with your phone), then yeah, results are going to be variable.

That looks great. Weird monitoring setup… but hey. If that had multichannel record, that would be ridiculous - and I’d be all over it.

38 minutes ago, bubinga5 said:

 

I like this one better.  

7 minutes ago, peteb said:

 

I'm not really up on all this incel nonsense... 

 

Clearly.

Not a fake. Genuine copy. Or a tribute.