SimonK
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Does anyone know which of these will fit the ZS10s? I would also like to try some foam ear buds to see if I can get a better bass response. It's OK at the moment but only when I really wedge them into my ears!! https://www.amazon.co.uk/SONICFOAM-Memory-Foam-Earbud-Tips-SF1-Black-5-8-6-5mm-See-chart/dp/B09L7CX9JD/ -
Have spent the last three days using IEMs exclusively (at a church conference) and I suspect they will now be here to stay - a sad day for my amps and cabs. However, apart from getting better ear pieces (I'm using KZ ZS10s), does anyone know a good way of tweaking the EQ on individual channels in the aux monitor mix? We are using a Yamaha TF1 desk and the monitor mix app, and while I can turn instruments up or down, what I really want to do is EQ a bit more thud in the kick, and also take some mids out of the guitar, but there doesn't seem to be a way to do this without changing the main mix. I think the problem I'm having is because I can hear everything so much better through the IEMs the sound engineer part of me wants to EQ it as well! Alternatively are there any digital desks that have the capacity of EQing aux mixes separately to the main mix?
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"Staycation" today and tomorrow - going a bit hi-tech in the bass corner. IEMs working a bit better this week although still struggling a bit to hear the kick. This picture is also proof that I used the big muff. Loving the Yamaha monitor mix app now that we've got it to work. (before anyone asks what the SM57 is doing, it is swung out of the way as I'm sitting on a Cajon that I play for a few things).
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Yes made me suspicious as well as generic parts for most things can also be purchased - mind you it is true that specific circuit boards often need to be sourced from manufacturers, but thus said if you can get the schematic they can be made for a lot less. However, lateral MOSFETs are apparently a problem: https://www.electronicsworld.co.uk/its-the-end-of-the-production-line-for-the-lateral-mosfet/34469/ but can be solved if you pick up some broken amps and scavenge!
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...he's the sort of person who will do anything for a bottle of wine so long as the understanding is that he doesn't guarantee results, and if it breaks again and he doesn't fancy/have time to look at it again that's just how it is (although in my experience he has fixed everything I have given him apart from one tricky GP12 that we still can't find the source of a buzz!). PM me if you have something as we are very close (about twenty minutes from Waterlooville).
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My relationship to the Trace pre-shape (granted on the GP11/12s) has been to turn it on, play a few notes, say "cool", then turn it off for the gig. The compressor is fine if you don't have anything better on your pedalboard, albeit I normally use compressors for peak limiting rather than anything more drastic.
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I'm really lucky in that I have a friend who builds amps for a hobby and seems to relish me bringing him something old and broken. I am frequently amazed by quite how quickly he can fix things - often just a component worth pence that needs finding and then switching out. You very seldom need to source something original from the manufacturer (even whole circuit boards can be remade). We then did the figures for setting up a repair service (and market on forums like this), but to be viable would need to be charging £60 to £100 an hour for labour alone. Problem is a lot of the second hand equipment is worth a lot less than the labour cost to fix it regardless of how cheap the components are and simple the problem.
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...you may have just achieved legendary status on this forum going for that as your first bass! Either that or you work in the city and in which case legendary status is revoked.
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I think you missed my T2 fail after needing to get some wireless IEMs (11th Jan on page 5 of the thread).
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I suspect the effort that it may take to get AI to write a hit single might be similar to the effort of a person writing it from scratch... But for remastering/recording/adding instrumentation I think it is a tool that is here to stay, and sadly will take people's jobs.
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If AI is destroying anything in music/media I think it is the online social media/content creator roles (and I struggle to be sympathetic about this!). I find myself scrolling far less due to the sheer amount of AI related trash on facebook etc. While online marketing has helped many especially younger musicians over the last ten years or so, I think things may start moving back to the importance of a musician being someone who doesn't create glitzy and technically perfect 20 second online clips, but actually someone who plays real music to real people!
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I'm increasingly teaching ethics and AI in a University. I use music as quite a good example. We need to see AI as a tool, and like any tool it can make some work more efficient, but we must not mistake quantity with quality. Generative AI in particular can create large quantities of music etc. very rapidly, but that doesn't mean it is any good. Conversly, in the right hands, AI can help creators generate really high quality work - for me the main benefit of AI in music is more in recording/remastering than composing (for instance). There's plenty of aphorisms about this but I quite like: "Those who are carried to a goal should not think they have reached it" regarding AI - it's one I use with my students and coursework!
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Philosophers call this "Qualia" which is loosely defined as the "what it is like" of experiencing something. The kicker is that we can never know what it is like to experience something from someone else's perspective, and thus the best we have is indirect evidence from others who act/report the same sort of things as we do for a given experience/stimuli. There's also the fact that while not identical, our biology is close enough to others to infer that what I experience as the colour "red" is most likely pretty similar to what you experience, but we can never know for sure. Probably the most famous discussion on this is Thomas Nagels' "What is it like to be a bat". But this is high falutin philosophy, with IEMs it probably is just minor differences in ear shape!!
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Sadly Christianity has been complicit in some of the most horrendous crimes of the last couple thousand of years, and indeed the argument that many people give about not wanting to have anything to do with religion for this reason and instead pursuing secular humanism is entirely reasonable on this basis. Furthermore, if you follow contemporary Christian worship over the last thirty years or so, almost every one of the big worship marques has had a scandal/fall from grace at somepoint (or if they haven't yet they are probably about to) meaning that we wouldn't be able to use anything. For me, where art or technology are concerned, I prefer to separate the product from the author/creator, but nevertheless if you were in my congregation and specifically raised these songs and told me why you prefered for them not to be played I would absolutely, and prayerfully, consider the perspective.
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Whenever we have preamp threads more people recommend the Tech 21 than anything else. Thus said I really like my Genzler Magellan pre because it has two very different "flavours" (foot switchable), a HPF, mute switch, and really powerful EQ settings. Not sure if it sounds like "tubes", but through the IEMs yesterday it sounded awesome (albeit I also add a Keeley compressor as well).
