EBS_freak

It would help them pull out of that 80s Tandy's look... especially with the logo that is on the bass cabs.

I think the biggest one is the person behind the desk!

Interesting stuff - if this works as described, that should start to sort out some of the nasty directional situations you get in the pubs. Logo is better too.

Bit of tape over the top if you concerned about it falling out.

Perfect

Remember - playing recorded music through a PA isn’t representative of a band playing through it. One has been through compressors/limiters/mastering... the other... not. You can apply some processing - but not like a studio.

AKG WMS40 isn't digital - therefore isn't subject to the analogue to digital conversion (and vice versa) (and the latency with which it brings) that the other systems in this thread mention. The downside is however, they have a compander - which can lead to you being robbed of botom frequencies and the higher frequencies being harsh and brittle. Of course, each implementation of the compander implementation is generally unique to each manufactuer (and model) which means results can vary substantially.

There should be no capacitance that you get on a standard length of cable. It should actually sound better from that point of view... but whether that is something you like is debatable. Basically, wireless should reproduce top end better than a cable.

Lectrosonics D Squared trumps it... Massively faster at 1.4ms :p I think Axient is still industry leader though, at sub 1ms.

This is pretty much it. Digital wireless can be a complete nightmare for some people - some units have stupidly high latency. A lot of modern name brand units are now under 2ms with the vast majority being under 3ms. Digital pedals, fx units etc all have their A/D D/A conversion which all add latency. So if you have enough of those in a line, the ms all start to add up. Latency can crop up from a lot of sources in the studio - the conversion process itself, the power of the host, latency on plugins... and thats before we start talking about latency before it hits the DAW - things like digital pedals, modellers, VB99s etc. Most people have a tolerance between 7ms and 10ms latency. The most extreme cases, people have a tolerance of 4ms. But there are very, very, very edge case. This is why I say that a Smooth Hound with a latency of 8ms is pretty poor - and by adding in a digital pedal or two can blow that 10ms limit. It always makes me smile when I read comments like "no latency" or "no perceivable latency" with regard to that particular unit, as thats more a comment on their user's sense of timing...! Should probably say though, if you are standing on top of your amplifier going in direct, then something like a SmoothHound is likely to be OK for a good many. IEM users? Digital pedal users... err... I'd err on the side of caution.

With the latency of modern digital wireless, I'd be very surprised at that. Things like Smooth Hound and alixpress specials where latency figures are up near 8ms when combined with the latency of sound cards and round trips... then sure, yeah, I get that. But latency figures of sub 2ms... you are superhuman and you are beyond a metronome.

Some more theory stuff! This one aimed a little more elementary. Again, any improvements, comments etc...

Ah yes! Sorry - they are those stupid slide on things aren't they? I think I actually gave up on SKB for this very reason now that you have jogged my memory. SKB - clever way of a guaranteed upsell!

https://www.amazon.co.uk/World-Data-Bolts-Washers-Equipment/dp/B0089AY9OG

I hope you aren't suggesting that there's a Chinese knock off of Hall himself? Mind you, I suppose even Rockenbroker have to have a CEO too.

Late addition to the bill...

Yes - sister arm of RCF. Useed to run some Operas - very good for the money. What particular speakers are you looking at?

This is all down to choice of mic and mic technique (and gaining properly (and an insensitive mic helps too). A decent headset mic is a good call... but so is an overhead gooseneck with something like a Shure 56. An Audix OM5/6/7 are also a good call as offer very good rejection. The key thing is though, is the lips need to be right up to that grille. Another top tip is to use an optogate to open and close the mic... although that can sound very off-putting through inears due to the sudden change the sound can have when the gate opens. A lot of sound problems associated with drumkits, is largely down to the choice of drumkit. Drummers love big cymbals, big kits... but if you are using IEMs and got a handle on the processing of modern digital desks, your best move for the drummer is to have the smallest, quietest kits and then mic it and let the PA do the work. For example, in my band, the drummer uses a 16" kick. It sounds super tight, goes super deep... but without flab and flop that you normally get with larger drums. Of course, there's other tricks that you can do... like augment the kit with samples - so you may want to look into that also. Cymbals are the biggest issue... so get a drummer to buy darker cymbals. They arent as shrill... and not as loud... but again, through processing, you can get pretty much everything you'd ever need from them. Dont forget that a mix is a combination of the sum of it's parts. So if there is cymbal bleed from open vocal mics... don't go pinning the faders on overheads for example. With bleed, the game is being patient to find the sweet spots with all the active channels in operation. The more you play with it, the more you experiment, the quicker you will get at getting that perfect feed.

You should see the heat that Mackie are getting for their delay in Master Fader 5. It's always the same with software. I don't know why companies bother announcing release dates... as timescales, especially when it comes to software, inevitably slide!

Nobody tempted to do the P2/WL20 hack? I reckon that's the best way of getting a good full range, wireless mono feed!

Sad to hear this. 😕 RIP Gary.

It's a common misconception that rolling on bass is a good idea to make the bass punch through and sound fatter. Most of the stuff in the real lows is going to sound very muddy, very quickly, especially with subs if you start bumping those lower frequencies up. Look around 100Hz and up to get the definition you are looking for - you may find that your FoH will improve substantially by actually hpfing whats under 100Hz... even for bass... especially when running subs. If you think that the big thuddy bass drum you hear through subs is typically around 55-65Hz range, you can see why ploughing on a load of that on your bass is going to end up in a load of indecipherable mess and just rob a load of useful power from your poweramp.

1. Via the DI. Yes. 2. EQ bass cab for onstage monitoring 2b. EQ on XR18 for front of house sound. Send the bass from the head preDI as the tone shaping on the XR18 is more comprehensive than that of the Genz. Keep the monitor volume from your amp setup on stage as low as you can. Roll off the bass... when people add bass, you tend to add indecipherable mush. Add lower mids.