mrtcat
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Posts posted by mrtcat
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3 hours ago, intime-nick said:
New LUGS quad driver customs have arrived. First impressions are good - fit, isolation & sound are great. I need to spend a few hours with them playing some varied music and then at least one rehearsal / gig to get the full picture but so far, so good.
I really bought them for the isolation and it's amazing how much better they perform on that front vs universals with the best isolating tips - I guess that's no surprise to anyone who's got some custom moulds but i didn't expect there to be that much difference.
They look great. I'll be very interested to know how you get on as I'm going to look to replace my re-shelled UE900s soon as the fit isn't great and they seem a bit light on bottom end as a result.
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6 hours ago, EBS_freak said:
Like everything... "it depends"...
Budget being the main one.
First up - whats my beef with Smooth Hound? It's latency comes in at circa 8ms. Top end latency that the average people can cope with is 10ms. I can feel latency in my ears at about 7ms. So if you have anything digital in your chain, like a modeller, a digital desk, digital pedals, the combined latency all adds up and becomes more noticeable. So that's why budget comes into play... historically, you'd pay a premium for low latency - but tech seems to have caught up... with pretty much all line6 stuff at 2 or 3ms for example.
So pretty much shop bought digital wireless is going to be 2.4 Ghz (like the Smooth Hound... but thing typically Line 6, Shure GLXD, Sennheiser D1, new Boss wireless). The downside of this is that it's open to interference from routers, phones, baby monitors, garage door remotes etc etc. How this impacts you in reality depends upon the gigs that you are going. If you are playing venues near offices, or hotels with a lot of wifi etc, you can have issues. Also, if you are playing gigs with a lot of people all with phones searching for wifi, that can impact stability. I remember playing in a TV studio with a Sony DWZ system- absolutely no chance of getting anything working given the amount of rogue RF. My ULXD however was solid - but that's digital over channel 38. But it also comes with a considerable price tag and lots of cool features that for me, never get used.
So that's your risk with 2.4Ghz. If you Smooth Hound has proven to solid enough in your gigs, then a 2.4Ghz system is probably good enough for you. Some manufactures allow you to drop the power on a transmitter, which helps keep RF interference between other devices less likely. Anyway, I digress slightly.
Your other option in the Wifi band is Stageclix - if you can find one (I think Thomann still have the) - at 5 Ghz. So less chance of wifi interference (assuming transmission power stays fixed - which by Ofcom laws should be 10mW/30mW depending upon application)... but the tradeoff by going further up the spectrum is less range and less propagation (e.g. the ability for the radio waves to penetrate through walls, not be disturbed by fixed structures etc etc).
Ideally, for bass, you want a digital system so you don't have to deal with companders (you get them in IEM systems as they are largely still analogue for latency reasons - I think Lectrosonic and their Dual is the only notable exception - I know Stageclix do an IEM system but it's a bit of a swizz as it's just their mono guitar system in reverse). Companders squish your signal - e.g. the bass and treble extremities - transmit it - and then try to reassemble on the other side. It works for guitar... but for bass, not so much... and of course, the quality of the compander varies widely between manufacturers and models. That's why until digital came along, bass players were most dissatisfied with wireless. Of course, with the Shure PSM300+ and Sennheiser EW300 - well, both of those have great companders in... and hence why you are paying the price and getting a higher quality transmission.
So for casual users, there's digital over channel 38 - not aware of anything out there for channel 70. So for channel 38, off the top of my head, there's the ULXD, which I have - and also the QLXD, which is essentially a cut down ULXD without the extended options etc. I bought my ULXD before the release of QLXD - I would probably go for the QLXD now as I don't ever use the extended feature set of the ULX. Sennheiser I think have the 1.8Ghz covered - but it's analogue gear that area of the spectrum comes under the shared mic license. (historically they Ofcom released that band for the development of digital gear - but it would seem nobody bit!)
So for 2.4, I'd probably go Line6, GLXD, Sennheiser D1, for 5, Stageclix, for channel 38, Shure ULXD, QLXD - and for 1.8, Sennheiser (but I wouldn't cos it's analogue).
Wow, there's so much to think about. We run an XR-18 mixer via an external router (dual band 2.4GHz - 5GHz) with all members controlling iem mixes on tablets so maybe I should stay away from a 2.4GHz wireless. This could get pricey lol.
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Which guitar wireless would you use? My smoothound has seen lots of action so isn't irreplaceable.
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20 minutes ago, EBS_freak said:
Actually, just looked - the BLX24UK/B58 K3E appears to be channel 38 (606-614Mhz)... The T11 variant is the channel 70 version (863-865Mhz). This mic has preset frequencies, so this is the one you'll have to work around... this is why if you are running a bit of mixed wireless, the EW300 is the one to go for.
The Smooth Hounds (must admit, not a fan for use with inears) should be far enough out of the way at 2.4Ghz to prevent intermodulation issues. They are going to be more bothered by neighbouring wifi and mixing desk routers.
Seems he has a really old system:
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2 minutes ago, EBS_freak said:
Channel 70?
I'll need to check with him
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1 minute ago, EBS_freak said:
Which system is the 58 - thats the one that is going to give you an issue...
Pretty certain its a BLX24UK/B58 Beta 58A
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5 hours ago, EBS_freak said:
OK - what wireless exactly are you using? I hope that you have discrete tuning on all the systems, as things could get a bit nightmarish otherwise!
Both myself and guitarist are using smoothhound systems and the singer uses a shure Beta 58a wireless mic. At the moment everyone else is on wired iems but I am pretty sure they'll go wireless shortly after me.
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4 hours ago, EBS_freak said:
Yeah - looks like there's some market fixing at 839 inc VAT on the G4s.
Probably worth mentioning that E band is license free, GB band is shared mic license (£75 per year, or £135 for two years - if either bought online... let me get you the link).
Of course, GB (ch 38 license) is better as there's less chance of getting interference from wedding DJs etc and their cheapo wireless mics. The Channel 70 license is generally OK to be fair - although can be a bit limiting if you want to run lots of wireless (only 3-4 pieces of kit - but generally 3 - in that piece of the spectrum)
Worth mentioning also that the E band can tune down to 823-832 - which is also covered in the shared mic license. However, in true "typical" style, the spectrum round there is a bit dirty... but again, generally OK unless you are in an area with quite a lot of RF fallout.
That's massively helpful. I'm probably going to go for G4s on CH38 licence as there's going to be three band members on wireless iems plus wireless guitars and bass. We have 1-2 gigs a week through 2019 in the calendar already and the £72.50 a year will be covered in the first half of the first gig.
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Awesome, thanks so much for the insight. I will definitely go with the Sennheiser. I had seen this one:
And this:
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I'm in the market for wireless setup now. My options (within my budget) are:
Shure PSM300 P3TRA or Sennheiser EW300 IEM G3
Any thoughts on which is best and are there any other options I've missed at a similar price point (£700-£800)
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1 hour ago, CameronJ said:
That’s good news. Refund?
Yes on this occasion a refund. Still leaves me needing a 5 string but I'll take time to consider options before jumping in lol.
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Awesome thanks mcnach.
Adrian has looked at the luminlays again today and agreed they aren't right. He has now resolved the issue for me for which I'm very grateful.
Thanks again all.
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Willie Weeks. From 8.30 - absolutely my favourite solo ever.
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1 hour ago, mcnach said:
let me know if you need luminlay pictures that look better... I had mine installed by a local guy and he did a good job. He also said when I approached him "oh, yeah, no problem, that's easy"...
58 minutes ago, Woodinblack said:Or me - mine are from Maruszczyk
That's really kind gents, thank you. If you did get a chance to send me some pics that would be great.
I'm going to stand polite but firm because I've not only paid for the bass but also an extra £26 to send the neck back, after they forgot to install the luminlays, and then a further £68 to send the bass back to the workshop in Poland.
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9 minutes ago, Muzz said:
Is he aware this is being documented on a busy bass forum, and therefore not doing his business any good? He might respond differently if he knows this is the case...
Probably not but I don't really want to appear to be threatening him in any way.
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Just had a response from Adrian. He accepts there is an issue with the body but says there's absolutely nothing wrong with the luminays. I genuinely can't believe that he really believes that. They look terrible. He has asked me to send a picture of luminlays that look better.
I have asked for a refund but he seems to be getting a bit argumentative over it.
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Yes I'll also admit to being a bit remorseful now. I've had to chase him after my bass arrived back at his workshop two weeks ago. Whilst we can all see that the luminlays were poorly fitted he has argued that they can't possibly be poorly fitted as the luminlays are 3mm dots that were retro fitted over 2mm dots. He also said that the poor fitting neck pocket should be accepted as after all these are hand built guitars not cnc made parts.
I'm pretty certain that I'm going to opt for a refund. I don't feel confident that they'd get it right second time around. It's a real shame because the Elwood L I had previously was absolutely perfectly made.
11 hours ago, El_JimBob said:Having a little buyers' remorse at the moment...
Whilst I've found Adrian very approachable whilst speccing my instrument, he's been somewhat colder and distant when trying deal with issues my Jazzus has had since I received it. Emailed him a few months ago when I was having problems with the neck, and was pretty much told it must be my fault, as the bass was fine when he received it...
Having decided to put up with the issues for the time being, it's now experiencing quite a severe twist by the headstock end and I've dropped him another email saying I'm pretty upset now. His response? 'why upset? There are much bigger problems in life than this'... I've pulled him up on this and he's claimed he was just trying to cheer me up. Weeeeell, that's not really helping... Anyway, he's offered to look at the neck if I ship it to him, so we'll see what happens...
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5 hours ago, fiatcoupe432 said:
Summer is great in Italy as there is live music out on the square every night ! If you into jazz next time visit Perugia or anywhere in Umbria !
Also another great place to be for live music is the buskers festival in Ferrara ! Unbelievable talents out there
We played at the Onda Rd in Passingnano Sul Trasimeno last summer as part of the summer music festival. Going back next year where we'll be playing in both Tuoro and Assisi. Beautiful part of the world and some smashing backdrops.
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Mines been back at Maruszczyk since Tuesday last week and not heard anything from Adrian yet. I'll drop him an email this afternoon to see what his thoughts are.
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On 04/07/2018 at 20:07, Musashimonkey said:
There’s one in the classifieds with a Mono case that could be delivered for £990, I reckon... 😉😊
Our guitarist just picked a full fat helix up 2nd hand from one of the online guitar shops with a proper line6 case for £820 including delivery. Still had the plastic screen protectors on.
15 hours ago, Musashimonkey said:Thinking about keeping mine now, loads of tones available...!
Can't see myself ever getting rid of mine.
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46 minutes ago, EBS_freak said:
Guess who heard the N8s today...?
Aaaaand?
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6 hours ago, Blink said:
A word of caution. The are great if you have someone controlling the FOH sound. If a member of the band in responsible for FOH sound they need too hear the sound in the room otherwise you end up with a perfect IEM mix but the sound the audience hears may well be pants!!
As long as a proper sound check is done then shouldn't be an issue. With digital mixers you can save everything and recall it at a gig. I do FOH for all our gigs and my in ear mix barely changes from venue to venue. Once the soundcheck is done I can usually tweak my in ears mix after the first song and then I'm set.
There's a massive thread about this already in the Accessories & Misc forum btw.
In Ear Monitors - help needed...
in Accessories and Misc
Posted
So i've pulled the trigger on wireless. I really had to consider budget as much as anything. We've never had signal drop out issues with 2.4ghz but have sorted our wifi so it can run solely at 5ghz (it's always on stage so not having to battle through walls, over long distances or round corners). I've retired the smoothound in favour of a Line 6 relay g50 which did eat into my budget considerably but have found (and this was where I had to compromise) a Shure PSM 300 with the premium pack on CH70 for £615. I'll always have a cable as a backup so although it may not be 100% guaranteed interference free at every venue, it should at least be good at the majority. Would have spent more but have recently had to buy a couple of new kitesurfing kites to replace my old kit that's getting a bit past it and they are silly money these days. Massive thanks to EBS_freak for all the valuable advice tho. Excited to see how it all goes.