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EBS_freak
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Everything posted by EBS_freak
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Xotic XJ1T Repair - Strip to fix - Wax 'au natural' or re-paint?
EBS_freak replied to carlsim's topic in Build Diaries
Turned out nice that. -
Ben Harper 'Steal My Kisses' tab anyone....?
EBS_freak replied to Beedster's topic in Theory and Technique
Thought he was a Fender J 5 man. Dunno. Whenever I saw him play, he seemed to be on something j5 flavoured. -
Ben Harper 'Steal My Kisses' tab anyone....?
EBS_freak replied to Beedster's topic in Theory and Technique
Carvin SB5000 -
Any condenser will do you. Behringer C2... or cheaper. (Just look for that style - pencil type condenser) If it's just for ambient sound for IEMs, pretty much anything will do you - you just want a condenser that will pick up the room, so a 58 is pretty naff at doing that.
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Quick summary of the Xvive system - Good - no compander (ergo better audio quality than an analogue, especially analogue with a poor compander) more affordable than most Bad - 2.4 Ghz is more prone to interference that ch38 mono latency - IF it is used in line with a lot of other digital devices that are introducing their own latency. (Ideally your cumulative latency should be sub 7ms - or 10ms if you are less sensitive to latency. So if you are using a mixer with sub 2ms latency and just a xvive, you are at around 7ms, which is a decent enough figure. If you are using digital mics (or beltpacks on your bass) with digital pedals/modellers in lines... this figure could grow quite significantly) Good/bad depending upon viewpoint - non user replaceable batteries (if you forget to charge it, or it runs out on a gig, you're stuffed)
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Pro bands under the age of 50 - most. Certainly on pop gigs, it's a given. Level 42 are in the old school scene - although you'll see PRB on inears/overears (at least with his own band) and on L42 for backing tracks and click. Most MDed gigs will be on in ears for talk back too. EDIT - just looking at L42 - theres a fair few of them on inears.
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Its defo heading towards a crossover...
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@ChienmortbbAs with everything... thats a "that depends". There will be some latency with the A/D D/A conversion - but the top systems can now do that sub 2ms. So the tradeoff is no compander, better sounding feed for minimal introduction in latency. Most of the consumer IEM products are circa 7ms+ though... which is significant. Like most things, you get what you pay for. Having used decent IEM systems, I would say for me, the low cost systems dont cut it. Likewise, with channel 70, it's potluck - typically they are ok... but if you start playing areas where there's multiple AV devices being deployed, then yeah, crap shoot.
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I have never been so disinterested in gigging. I think covid really took the wind out of my musical sails and got me reevaluating what I want to do with my time. Couple that and dealing with people (music is never the problem, it’s the dealing with people that rips all joy from it) I’m just not excited for 2023 and the headaches it will no doubt bring.
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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.
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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
