EBS_freak

Extended LF does not usually equate to goodness. It usually just means undecipherable mud... especially if the player onstage is in controller of the sub frequencies.

that may be the Case

Less chance of signal degradation over longer cable runs. How it does this, is that the same signal is sent down the two cables but crucially, the polarity of the signal on one of the cables is reversed. Any noise that is introduced on the cable run, will be present on both cables and is then eliminated when the polarity of the one cable is reversed then summed with the other. I think the thinking behind the LM2 balanced input was for double bass pickups? Would there be any benefit of running your Zoom B3 balanced output into the balanced input - absolutely - but the length of cable you are probably talking, you won't be able to hear it.

With "Rickentractor" (said with the accent) on the headstock and impending lawsuit from our friend overseas.

Ha! Sorry :-/ For any IEM followers, I'd be peeved if I was Luke - he had Shure 215s whilst his brother was treated to a (actually numerous sets of - spot the continuity errors!) set of sparkly new Cosmic customs.

If you want to call Pink cheesy, than yeah, he signed and managed her. - and just been told he was instrumental to the success of Robbie William's solo career. I can see why he turned down the "opportunity" to appear in this documentary.

Keep up.

If you didn't see who was behind the production of it, have a look at the closing credits (SPOILER : It's James Corden and his production company). That may explain the particular slant on the way that this documentary was delivered. It was clearly filmed and put together to come across Spinal Tap esque in my opinion... and that's why it got the traction that it did. I mean, the comedy/cringeworthy lines - "The best toy we had growing up was a dart. No dart board, just a dart" - Matt Goss "One of my songs is called 'We're All Kings' - which is about a man sweeping the road - he's one of my kings because I'm thankful I don't have to sweep the road." - Matt Goss "The letters H, O, M, E are so important to me because they personify the word home." - Matt Goss "I'm a Londoner. Embankment. Big Ben. Cab drivers." - Luke Goss "I made a conscious decision because of Stevie Wonder not to be superstitious." - Matt Goss "Epitome, which I believe is Latin for abstract." - Matt Goss "I think hindsight is the philosophy of fools. You learn nothing in some way because sometimes you have to do the same again." - Matt Goss "I was a rectangle and he was a rectangle and we made a square that became a fortress." - Matt Goss My personal favourite bit was Matt showing us around his man pad... with his chessboard. Anyway, I don't believe for one minute that this was that way that this documentary was meant to pan out for the Goss brothers originally - I think the production company took all the cringe and made that the primary content. All the production element of the stage show wasn't included - you don't go from a John Henry's studio to a stage in the manner that they did. There would have been production rehearsals and everything.... but that would have diluted the imagery presented to the end viewer. I thought the musicians did come across bad though - sitting on the phones and looking like they'd rather be anywhere else. I'm guessing the Goss brothers did OK out of it though - it's probably got more viewings and people talking than a regular portrayal would have got. For example, we are talking about it now. Would we be doing the same if it was a straightforward bland take on a reunion gig? Nah. No way. People are actively watching this docu for the cringe factor and what they've heard about it on social media whereas in any other situation, not given it the time of day. One thing that I did think was a bit odd was that the Beeb allowed a product hype - Tama and Zildjian - I thought they were usually dead against such sort of advertisement. Maybe it slipped through the net. On the whole, I kinda feel sorry for Luke... Matt is clearly an ego and a very difficult person to work with. The tour obviously turned a bit sour and cancelled with "logistics" problems. Maybe that was always the plan - to add more fuel to the documentary story.

I was quite surprised to see Rudimental not mentioned in Dave's post earlier, especially when given your first observation. In regard to Rudimental drumming... Beanie is Rudimental's drummer - a bit of a killer player... and some of you that have an interest in that sort of thing, may or may not know he is also on guitar/bass duties for Anne-Marie, who in turn was one of the original vocalists associated with Rudimental. I'm glad I got to see her performing with Rudimental before she found her own career taking off - the Blackpool gig they did in Winter Gardens (with all that bass going through the sprung dancefloor) is one of the gigs that I've been to that I'll never forget. Incredible vibe. On paper, I really shouldn't like the band - but I have found myself to really dig on pretty much everything that they have done. Anybody from the IEM thread will know that "Free" is one of my go to tracks for trying out an IEM... the bass and production on that track is truly staggering. (Emeli Sandie on lead vox)

Add Fearne Cotton to that list...

Will do. Will get tax return out of the way this week and get back to you. Ah yeah - I'm guessing the mix template that we setup hasn't been migrated to live use yet! That's what the tech rehearsal is for! Dropping the monitors will clean things up now end...and if you can get silent stage apart from the drums, jobs a goodun. Your feedback issues will be a thing of the past... (well, apart from at the H&J where the low roof and the brick wall right in front of you is a bit of a nightmare!). My headaches are always from cymbal spill into the vocal mics... maybe 2019 will be the year I finally invest in the drum screens.... (depends how busy the diary looks). Yeah, mini Helix stomp thing for the win!

I wonder if there's a stock sound library at the Beeb where they can simply drop in Jool's fave licks...?

And because light travels faster than sound, unless the Beeb have resynced it, the sound of which you are hearing and what you are viewing further screw with the liveness of it all.

Your tinnitus and response to pressure would not surprise me. Funnily enough, if I go scuba diving, then my tinnitus clears up to the point where I don't recognise it at all. Eventually it creeps back. I got bent once and went into a deco chamber and following the treatment, my tinnitus was the best it had ever been. When speaking to the chamber staff, they said that the chamber that I was being treated in was originally from Germany and whilst there, was used for tinnitus treatment - but because the results weren't conclusive enough and consequently the medical research at that original particular research clinic was stopped. I'm convinced - for me, pressure is a big factor in how good or bad my tinnitus is... but for others, it would seem that it has no bearing. There's certainly a load of research papers out there using hyperbarics for tinnitus treatment - it can make for interesting reading... but don't expect a miracle cure. My tinnitus is very mild now - I think my brain has tuned it out... I certainly can't hear it whilst going about my day unless I stop and specifically listen for it. I scope out OK on a hearing test (no significant losses - certainly nothing that wouldn't be out of the ordinary for somebody my age) and it doesn't really bother me now. My tinnitus was a result of a particularly nasty ear infection and not music related... I've always tried to look after my ears in that respect. With specific regard to flying, I've never had the same experience of yourself... but everybody's tinnitus does seem to be different... and that's why it's such a nightmare to research.

Spoiler. It's not live. It was recorded earlier in the year. And you're watching it off a recording. /pedant

A revelation? Looking forward to the debrief over a pie meet at Rugeley. I remember the first gig I did on my first set of IEMs and I was cursing myself that I had done so many gigs without them. Certainly can’t imagine living without them now. Did you make use of the split desk we set up last time at the pie meet? Was your bass EQ phat?! And what about the kick? Presumably you compressed it nicely? Gated/non gated? Oh man, excited for you dude. You still working on Jim ditching the amp?

The last thing you want on stage is a big sub to bleed into your mics and muddy everything up.

You do know you can post old photos to Facebook?

13 posts. Did you sign up especially for this thread or something? EDIT: oh no. I see now. Yeah, funny that you should choose to weigh in on another Jools related thread.

I’m not, I wrote this post in September.

Again, didn’t say anything about live music. Just Jools.

I didn’t say anything about live music, just Jools Holland.

The boss solution is to use Dante... but sadly very few FOH desks are equipped with the cards. A single Cat 5 and you’re good. Actually, if the FOH is a X32 or Midas you could do a split using AES/EBU. The chances of you having somebody clued up or prepared to allow you to reroute though... again, slim chance.

Ok - I guess the key thing is who has got access to the cabling. Is your FOH guy going to be the same guy who is cabling on stage? It’s all doable as long as you have time and have the comms and expectations laid out before you get to the venue. The worst thing you can have is an expectation that everything is in place and you have such a reliance on your setup being in place, your performance is put at risk. With that many vocal mics, you are defo looking at using a split no question. I think you need to be very clearer on your rider what you need - and get to the venue early. Also, make sure you have a 16 way snake of your own as suddenly requiring an extra 16 XLRs could really screw some venues (although I suspect you will wire the split into a rack? - that does potentially bring problems on stage as it depends where the venue stage box is and whether there’s physical space for a racked x32 to be sitting around). Also, are you looking at a rack x32 or physical slider one? Just revisited the x32 rack and yes, looks like you should be able to use the TRS aux outs (obv 1 per stereo side). You are right, you are limited on the bus count on the XR18. What you may want to look at is if a Y cable split post the isolated split from the splitter to feed a pair of XR18s may be order of the day... may work out cheaper and offer some redundancy. You have the opportunity of still going mono if one of the XR18s failed that way.

Is Jools even relevant anymore?