EBS_freak

Yes - It gently removes all the low subby bass, that’s not really required on vocals.

They are pro bit of kit. They are superbly made. It's not too complicated - in reality, all you'll need to do is this - Mic - turn down the sensitivity. Receiver - turn up the AF output (eg the make up gain). Set on the same frequency... done. Just use on the of the presets within ch38. You may want to turn on the hi pass filter if your desk hasn't got one.

More to the point, is it in your hands yet? Next step is to get a set of Eneloop batteries!

Have fun!

There's a couple of Italian clinic musicians... I think it's fairly certain they are going to be off the table.

Just checking! 😛

You think they make pretty amps? Theres only one manufacturer that I think makes consistently visually pleasing amps... Darkglass.

Well worth the watch.

Eye of the beholder - I've always loved the look of their no nonsense HD and TD amps. It when they started with the artwork on the Reidmar that my eyes began to twitch.

“We have installed signage in all toilets and digital screens across the venue advising staff and visitors on the importance of maintaining good hand and personal hygiene“ What a sad state of affairs when people are too inept to even step up when it comes to their own hygiene. Mind you, I am still witnessing people doing a splash and dash, spitting in the streets and a dump and run. Dirty, dirty people. My other half is immunosuppressed - and what really angers me is that her health very much depends upon the basic rules of hygiene being followed by others... and people are too selfish to do that. All this stockpiling of goods - don’t people that everybody has to protect themselves to protect others...? Anyway, this is a rant for another thread. Maybe see you at the show, maybe not. If we are following the example of Italy, in a couple of weeks we will all be on lockdown anyway.

I witnessed that yesterday... yup, I'm with you on that one. I loathed it to begin with... now... grr.

As for your question between 8 and 9 series mics, the 9 series are seen as being audibly better than the 8 series. What that means in reality, from my experience, is that the 9 has a better high end (more airy, less harsh), and a thicker mid tone.

I concur - its better to have a channel with no processing on it, rather than introduce processing that can bring with it more troubles than benefits. Presets don't take into account mic types which can greatly influence gain, eq, thresholds... I think you need to understand the processing and what every control does before even contemplating using them. The amount of times I've seen people struggle with PA because of poor use of compression and EQ, I'm thinking to myself, concentrate on the bassics of getting things balanced before heading into the likes of compression and gates. For people new to PA, I always advise to get themselves some raw tracks and try mixing them in the DAW and understanding how things like gates, side chaining and thresholds etc work. And then take into account what works in a DAW doesn't necessarily work live. If you start compressing the hell out of stuff and adding a load of make up gain for example...

Proper getting into this video stuff... now looking at ditching 8 bit to go 10 or 12 bit so I can get more out of the grading aspect without everything falling apart. C'mon people, lets get some more content up here!

Defo.

Open it up. It's out of warranty. Chances are it's a readily available LiPo or something along that lines. Post some pics up with some identifying marks. Who knows, you may even be able to replace it with a greater capacity now that battery tech has moved on/got cheaper.

935 - cardioid, dynamic 945 - super cardioid, dynamic 965 - cardioid/super cardioid (switchable), condenser I guess your choice between 935 and 945 depends upon your singing style and any monitors that you may use. Either 935 or 945 will do but chose considering on this - cardioid (935), offers less off axis rejection than super cardioid but will reject sound from directly behind it better than a super cardioid. So what this really means, is if you sing with a wedge directly behind the mic/mic stand, this is the one to go for super cardioid (945) offers greater off axis rejection than cardioid but will punish you more if you dont sing directly on the mic. It also doesn't have half as good rejection in the monitor wedge situation (so you should always have your monitor wedges more to the side of you than directly in front of you. For anybody else who is reading this, if you have say backing singers that are behind a row of amps or something (maybe on a platform, go for cardioid to avoid bleed entering the rear of the capsule). condenser (965) the 965 can switch between the two patterns... HOWEVER, condensers tend to be a right pig to work with on smaller stages because they tend to be a lot more sensitive in the highs. This means you tend to get more problems with feedback and you tend to have to start notching problematic frequencies quite aggressively. If your stage is big enough and the rooms are not problematic, they sound great - but in reality, a lot of environments are not like this. I gave up on condensers for live use because they bring with them a lot of problems that increase setup times. Great when they don't give you any headaches though! Compared to the Beta 58, the matching mic pickup pattern mic is the 945. If you are aware of the need to singing directly onto the mic, the 945 is great. If you are a bit lazy with mic technique and tend to sing around the capsule, than the 935 will be the better choice to keep output volume more consistent. Pay attention to this bit - Sennheiser wireless analogue mics are very sensitive out the box and people tend to freak out because they will literally pick up everything in the room. (they seem to be setup for podium use where speakers can be half a meter or so from the capsule - the worst thing for a stage environment as you can imagine!) The key to working with any analogue wireless mics is the following... First up, THE most important thing - and this should apply to every mic: 1. when singing, your lips should be on the grille. This does a number of things - greatly reduces the bleed into the mic. (Other stuff on stage but particularly drums if you have drums). 2. It also makes the voice sound richer and deeper - this means that you can get a lovely low end (the proximity effect!) without having to resort to boosting the low mids that can lead to an increased risk of feedback. Remember, you can always cut EQ - but boosting EQ tends to bring with it problems. 3. It gives a more balanced output. The drop off as you pull away from the mic, particularly on Sennheiser mics, is quite dramatic. This is a good thing - as long as your mic technique is in check. Second, set the sensitivity of the mic transmitter as low as it can go. This also encourages good mic technique and keeps bleed lower. You can add the makeup gain on the receiver prior to going into the preamp on your desk. This helps keep the mic calm and not too lively to be unmanageable. That is pretty much it. So to recap. Keep your lips on the grille. Keep your lips on the grille. Keep your lips on the grille. Keep your lips on the grille. Keep your lips on the grille. Sensitivity down on your mic transmitter - and make up the gain on the receiver.

It depends whether you are looking from a professional point of view as opposed to a prosumer point of view. You won't find many plastic boxes deployed in a true professional environment. Having said that, as you say, there are some very capable plastic boxes that punch above their weight and sound better than some of the wooden box counterparts. Of course, one of the big attractions of plastic boxes, is that they tend to be a hell of a lot lighter... which is a big consideration when you have to lug the things yourself.

Bloody love Genesis.

If you look at the pcbs of the last run of g3s and current g4s you may spot something familiar... In short, it’s pretty much a facelift.

I can get with this. In a previous life I would have made a retort such as "spoken like a guy who doesn't know any music theory".... however... I move in some very heavy theory circles... and sometimes, I have to be the voice of reason. "FFS guitarist. The song requires a simple G, not a substitution, not an extension... a G." I think it's why I fail to get a lot of session musician's solo albums. They'll go out their way not to play the obvious, or a root... when in reality, things would make a lot more sense and sound better if they did. But then again, that's their art isn't it? Who am I to judge.

No one will even notice if there is a bass or not!

I've also said that. Of course, you know they will never do such a thing.

I've said that myself to many... (only to be scoffed at)

A bit out of your zone but Bowfinishing in Godstone is a short trip around the 25 - highly recommended.