EBS_freak
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Everything posted by EBS_freak
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And if you have the delay piped into your ears (via IEMs) the delay is easier to perceive... and be off-putting!
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Ah Rotosound. "Hey Nige, is that hard to play? Cos its hard to listen to."
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Indeed. It's like juggling. What's the purpose of it... apart from fun? Fun to watch, fun to showboat with. Fun things dont have to have a reason.
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All relative isn't it. Back in the day, Hendrix was seen as showboating... yet, his playing can be duplicated by many now. Same for people like Van Halen. Showboating is built out of innovation. Even if the innovator doesn't know what to do with it... somebody will take and develop it. And to a certain extent, music is art... you dont have to like everything.
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Theres no latency on analogue as there is no analogue>digital conversion then processing (and then digital > analogue conversion). On modern digital mixers we are now at a stage where it's generally sub 3ms whatever you are using. Most of the common mixers lay between the 0.7ms-1.5ms range. I know that pedants will say there's still latency but it's microseconds, (one millionth of a second) not even milliseconds.
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What, you didn't even get the call for the L42 dep thats been going around for years? I thought everybody had done that gig.... like the Drifters.
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Of course he could - and has - and no doubt still does. His Youtube channel is all about entertainment and generating views. He would get no interaction if he just played run of the mill stuff. There's an episode I think where he even talks about his history.
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200ms+!
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Looks like Player Plus preamp
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It wasn't really negative or positive - was just pointing out the latency, being on 2.4ghz (so more prone to interference) and it being mono. Of course, the big positive is there is no compander so the quality of the audio is far superior. Stereo is amazing compared to mono. As you pan instruments across the soundscape, you get a much bigger feeling of space and "air". It's easier to pick up separate instruments, and especially makes room for vocals to sit more prominently in the mix. I guess the best was of explaining it is to listen to your favourite song in stereo... then in mono. It's one of those things, once you have stereo, you'll never want to go back to mono. It's just betterer. Whatever is happening out FoH, you don't care. Your monitor mix is your monitor mix. Place instruments at any volume at any position in the stereo mix. Get super crazy and get a tracking system so you can walk around the stage and have the mix change so it reflects your position on the stage..... ok, maybe that's a budget stretch too far! But you get my drift. -
Remember you wont hear that effect with your bass - I posted that youtube vid to simulate whats going on when you are a singer (the voice you hear reverberating as you sing around your head being the 0ms and then the feed coming in from your IEM being the latency (if that makes sense).
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You wait til you figure out you can do that at gigs and get that brilliant in ear sound too.
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The wireless. Wired in rehearsals, analogue wireless (hence with compander) at the gig.
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This may help you. If you concentrate on the clap, you should be able to hear the flamming and phasing becoming more obvious.
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Maybe it's easier if I write a couple of statements. In the pro world, the target E2E maximum latency is 7ms. Most people perceive start to perceive latency over 10ms. If there's no digital in the chain for your singer (e.g. mic) apart from the mixer, you are looking for a circa 2ms latency at your mixer. I can't find any figures for your mixer as to what it's system latency is. Most prosumer digital mixing desks are around 0.7ms-1.5ms now (Behringer/Mackie/Allen and Heath etc). I can't guarantee what the RCF is, but it would be fair to assume it's less than 2ms. Even if it's 5ms, its unlikely to be a problem for your singer. The real problems come when you are using something like a bass on a wireless with high latency (e.g. smoothound (8ms)) going into a desk, say 2ms, then into digital IEMs (5ms) - you are already at 15ms. Then if you have something like a Helix/Kemper, you can add another 2-3ms. And if you are using digital pedals, you are probably looking at 2-3ms per pedal in your chain. So even with a stripped down system you could be at 18ms. With a pedalboard instead of modeller, with a couple of digital pedals engaged you could be pushing 20ms plus... and of course, if you are running a modeller with pedals.... you get the idea. You are going to be feeling the disconnect in your playing at this point. (With a singer it's kinda worse... because theres a delay in your ears to what you are hearing ambiently in your head. The phasing can be really off putting) So if I was stick my neck on the line and taking into account constraints... my recommendation would be Xvive. (through gritted teeth).
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This
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Hi @Phil Starr Good to hear you now have everybody on board, that's always the first hurdle! Completely get where you are coming from - IEMs can be very expensive, very quickly when you switch from wired to wireless. Sadly, analogue wireless is pretty ropey unless you start spending some serious money. At the end of the day, I guess its what you can put up with. The companders in analogue systems tend to be a bit ropey in the cheaper systems - they sound very compressed, tend to jettison the bass and the "air". Obviously both of those traits aren't idea... and the better the compander (usually the more expensive) the better. Some companders are really nasty and harsh - and for some people, the movement from wired to a wireless system can be a miserable experience. Most drummers for example, hate (analogue) wireless IEM systems because it messes with the dynamics too much. I couldn't say what the performance of the LD system would be compared to the Trantec. I've not heard them side by side. My experience of the LD isn't that great - but then again my benchmark is a PSM900 in the analogue world... so everything is going to sound lesser than that. But to not be knob, I would say, if you haven't got any latency concern, I would sacrifice the stereo (you may not be running stereo anyway) and go digital with the quality of the audio. If you have not got any cumulative latency issues (I would be surprised if the e2e system latency is more than 7ms for you vocalist unless they are using a horrendous digital mic). As for moulds - it's certainly not a necessity - I appreciate the massage step up in price going from some KZs to some customs! If the generics fit, dont fall out and dont distort, jobs a goodun I guess!
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Not sure - but here’s a pic of it if you can compare.
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https://www.fender.com/en-GB/electric-basses/jazz-bass/mononeon-jazz-bass-v/0149400386.html Fair play! I like the mononeon accessories Fender are doing too. Great recognition!
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In short, they are mono and latency is 5ms (depending upon your viewpoint, 5ms is not low latency and any review that says it is, shows up the reviewer for not being that clued up on the RF world). If that latency works for you (taking into account any cumulative latency in your chain (think wireless bass, digital pedals, digital desks etc)) then it is what it is and could work well for you. With 2.4, you are always going to be at risk of interference as there are only 3 truly intermod free frequencies on the 2.4 band... and of course, they may already be in use where you are playing. They seem to do the job OK for most. Just have a bailout plan if they do display drop outs. PS beware shared mixes will cause arguments and could put people off IEM use.
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Outboard preamp to get 'active' Mark King type tones?
EBS_freak replied to Angel's topic in Amps and Cabs
As a starting point, stainless steels are a must (DR Lowriders (are my fave, are higher tension strings and on all my basses) or DR Hi-Beams). Live wise - Marcus used a HD350+ (and actually had a HD350 with a 650 power amp - called the HD350+ that was never on sale to the general public). Even with his SWR deal, he still used EBS. Mark King - the sound that you hear is nothing down to his choice of amp/speakers. It's all DI. So to ape Marks sound, a compressor and a fairly transparent EQ (like a mic pre) will get you better results. Scoop the mids. Add the highs to taste. Again, the EBS multicomp, or using a HD350 (with the comp on when slapping) will get you into Mark King zone with no issues. Why HD350 (or TD650) - because they are extremely transparent. Some people hate them for that very reason. -
Outboard preamp to get 'active' Mark King type tones?
EBS_freak replied to Angel's topic in Amps and Cabs
I can guarantee the sound that you are hearing here is down to Bernie's electronics - in this case the Rumour circuit with humbucking soapbars, in parallel. It's instant Mark King if that's your thing. (It does loads of other tones also... it's not just limited to this sort of slap) For reference, here's the same pre and pickups in my Spitfire. This is straight into the DAW. (Hear the similarity?) -
Indeed - the move to Apple Silicon would be the best move at the moment - if the budget stretches. Also, the Pro and Ultra variations of the Apple silicon has dedicated ProRes support, so when working in ProRes, you get major speed advances. (it's quite annoying that whilst my Intel based iMac is still faster at processing, it's cost me a good couple of grand extra outlay... but I don't feel the enhanced performance is 2k worth!)
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@Dankology- can you upload some footage from your hacked GH2 at the bitrate you want to be used. Will see what real world editing experience is like on my macbook to get an idea if you like?
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I dont know as I've never used GH2s, I'm in Canon, Sony and Blackmagic world. Canon and Blackmagic (braw in resolve, prores in FCPX) are both quite lightweight (although the new Canon format (from R5 for example) is not so much). Sony footage is a pig to edit straight out the camera due to it's codec. I only mention is because it could be an issue unless you transcode up front. I've got a 2.8 i5 Macbook with 8GB which will do simple editing no problem... although it really needs 16GB. All the other video work I do (all the colouring, BM fusion etc) I do on my iMac - but that's not worth discussion as that's a beast with 128GB RAM. I would say try and stretch to the Apple Silicon if you can. For video, they run cooler, pound for pound are much quicker. Of course, Intel Macs will start to be on the decline with support. I'm not talking Apple here... but if you are keen on plugins, I can see it not being too long until you see solely Apple Silicon offerings as it becomes too much of a pain in the derrière to support two codesets and you'll begin to find plugins that are not compatible with older versions of video editing software. And... Macs have a very long shelf life. My macbook is 2014 and is fine for lightweight editing... but it is beginning to show it's age now that more advanced features are coming out. It's defo running a lot hotter and with fans on the newer versions of Final Cut Pro without doing too much* for example (and I reiterate, I am stuck using more demanding later versions of softwares as theres some plugins that I want to use that will only run on the latest releases of video editors) * my too much may be different to yours...
