wateroftyne

Yup!

...and while we're on the subject of WZ and great bass:

WZ wrestled with this song for ages, but was never happy with the feel. The alt. version above is one of those. When Mick Fleetwood and John McVie had a go, it all fell into place and the rest is history. It's gloriously wonky, and hard to replicate. FWIW, I'm not a fan of the alt. version. It sounds half-baked, and to be fair, probably was.

...but apart from all that, how was your overall experience? 😄

Yep, the Zooms have crappy dynamic range... always something to bear in mind / tolerate.

Foot stuff! Are the pickups going to have closed tops? Such a distinctive part of the Elite look...

Remember, with a DSLR (or Mirrorless), it’s all about the lenses...

Yep, they're spot-on for rough'n'ready stuff on social media, but get proper stuff for anything else. This was with my Q4n (not Q2n) - completely acoustic (apart from my bass combo, obv.). The mics are really pretty useable (I added a little EQ, 'verb and compression in post), and the image is OK after a bit of lens distortion correction.

I hope we're all remembering that Class D watts = Valve watts, and you need at least 550w to gig. 😉

Maybe an even smaller footprint would cause a cooling headache..?* *I have no expertise in this field. I'm just guessing.

I'm 'between' Handbox WB-100 valve heads at the moment. As soon as the gigs pick up again (pleeeeeeease) I'll be sticking my order in. Beautiful things.

Basically: if it's true 4K, you can crop in up to 2x and still be in HD territory for the edit. Any more than that, and you'll begin to see degradation (see below). It's quite common practice with 4K footage to crop in to create faux secondary shots, even in the broadcast world.

Ah, OK. Using the digital zoom on the 4K version should be less of an issue, I think.

Does that mean it's not shooting true 4K...?

I have no experience of the Q2N, but as an alternative the audio quality of the Q4N is (IME) decent. Don't expect anything like DSLR quality from any of these cameras - it's all a compromise somewhere along the line.

They need to buy The Beatles Anthology and put that on. It's been gathering dust for too long.

Sound is all about the brain interpreting vibration. It doesn't matter how it got there.

Not sure that's the case...?

If it was club gigs, I might have to use earplugs. Arenas? I'd be fine.

I think I'm lucky in that I generally only work with musicians that know what they're doing, and it's a pleasure to listen to them without the need for IEMs (occasionally with earplugs if the drummer is a little on the enthusiastic side).

Maybe.

Ha ha... or the sausages. Seriously though, I'm firmly of the opinion that Geddy's live tone has been a fizzy ball of tat since he binned the backline. Appreciate it may be a coincidence.

Yet the sound has still been terrible.

Most sound problems at gigs are: in big gigs, terrible venue acoustics, where the FOH guy / gal is on a hiding to nothing. Small gigs: The band are just too loud.