EBS_freak
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Everything posted by EBS_freak
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No. It’s depends upon what format your camera spits out and at what resolution. Sony footage for example is pants for editing without transcoding. Again, it depends what you are trying to do. If you are colour grading, you will lower cpu demand by being in a more friendly codec.
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The codecs should become insignificant - as if you are editing on a Mac, you should transcode to prores first or create proxies. Once you are in Prores, most macs, even those that are 5 or so years old will handle with a breeze (assuming you aren’t going crazy with colour corrections and the like) I guess what is recommended all comes down to budget…
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There needs to be separation between transmitters and receivers as they will interfere with each others. So, physics has thwarted your gap in the market! -
EDIT: - I'd hope that it would be a Dante input as opposed to output! It's only worth it if you ever think that you are going to make use of Dante. If you are not, then no, it's not a big issue. As a typical use case - imagine you have say, 6 stereo IEM systems, all racked up, with a switch that you are using for your Dante traffic. In that case, 6 systems would have 12 XLR cables to get the stereo signal in. You can negate all that plugging in and out with just one ethernet cable (but there will be 6 ethernet connectors permanently racked up to your switch - then you have a single ethernet cable to your main Dante switch). Again, think of micing up a kit. You could have a Dante enable preamp box and instead of having a big heavy analogue loom, you just have one ethernet cable to plug in to get from that stage box to your Dante switch. If you haven't got a Dante compatible desk (loaded with Dante card), the whole thing is a moot point anyway. The real win of Dante is getting rid of a load of cables - and splitters - if you are running multiple desks and audio devices. If none of this is you, then yeah, it's something you are never going to use. Dante networks tend to be a significant investment as the gear that is Dante enabled, tend to be in the pro end of the spectrum. For example, Shure wireless Dante enabled mics start at ULXD4D (dual receiver - about 3k... before you even look at the transmitters). If you want to Dante enable non Dante devices, you can always add Dante Avio adapters - they are typically around £250 for XLR based units. So based on all that, if you are making use of Dante, yes! No brainer. If you haven't got Dante - have no intention on spending money on going down the Dante route, then no, it'll be something you'll never ever use.
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And this one is too... more or less.
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In short, budget and wireless tend not to go together. I certainly wouldn't recommend anything on the budget side when it comes to wireless - especially analogue wireless. As an aside, as I've stated previously in the thread, the Mi58 has my interest due to the low latency figures (as in proper low latency figures not some high latency figures that are marketed as the opposite), it is digital (hence no rank sounding compander) and the optional unbelievable optional inclusion of Dante that defo puts it into the more pro camp. If it wasn't MiPro and had Shure or Sennheiser written on it, it would £1700+ easy. My ZS10 and P2 recommendation should be within the realm of most musicians. Under a £100 sounds like a reasonable price on protecting your ears.
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If you are wondering why MI58 - check the sound quality here (5:52). He does a walk around a venue... but as long as your transmitters are in line of sight and all that, or close to the stage, which I would imagine most people reading this are going to have... then jobs a goodun. Low latency, digital audio quality, no compander. What's not to like?
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XS sounds really toppy and thin to me - reminds me of the awful PSM200. If you are looking at a more budget system, I'd probably be investigating the MiPro MI58 and get rid of the compander altogether as the XS one sounds pretty rough to me.
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Looks like it's a pair of latched switches with a TRS connection.... so... https://www.thomann.de/gb/lead_foot_fs2.htm
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Overkill for most, I know.
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It’s because you’ve probably not had a PA speaker with the quality of horn that the RCF has. It really has a massive impact on the quality. When speaker designers make a cost saving, it will always be the horn that gets hit first. That's why the middle number of the most interest as that indicates what horn is in the unit. The more you can crossover and send to the horn, the more you free up the woofer... and vocals through a decent horn will tend to outperform vocals through a woofer.
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Replace with LEDs and never bother again!
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Hipshot!
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You're right. If you can make your song stick on Tiktok, that's how you make your song a success nowadays.
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Indeed. I've worked for numerous charities in a work capacity as well as a musical capacity. There's some things that I would entertain. I think a lot of it comes down to what player you are in the game. A hobbyist, a semi-pro or a pro musician. The first in the list is the most likely to do it for free... and the quality of bands from such players can range from pants to amazing. Semi-pro depends upon your situation... and who you are in a band with. A semi-pro musician may play with pro-musicians. So whilst a semi-pro musician may be up for freebies now and again, they aren't likely to remain popular with their pro counterparts. Careful though, there's loads of folk out there who's only source of income is through music - and they'll hate you for "devaluing" their services by taking on low ball or free gigs. But then again, fair's fair. If you are going to chose a profession where there's a market for hobbyists, there's a risk. And despite what pros proclaim - a hobbyist can be just as good as a pro. In fact, a hobbyist may even provide a better service than a pro musician that treats a performance as "just another gig, just another paycheck".
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I used to watch a lot of originals bands whilst at Uni. Even caught Coldplay before they were. a blip on anybody's radar. Really enjoyed their stuff and even then, you could see they had the potential to go places. This was pre them releasing Parachutes... and for me, when Coldplay sounded the best (that first album is a pure gem)... before they became the stadium anthem band that they are now. Grassroots music is defo on the decline, which is a real big shame. People (as in the wider public) don't want to hear new music it would seem. It seems to be largely dictated by what the radio deems suitable to play you. (or what they've been paid to play you). I used to sit on Pandora for hours on end, getting introduced to new artists too.
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Funnily enough, this week, I've had an agency contact me about doing a carnival 3 and a half hours way. 7 piece band. Fee? Free. I politely declined. The band would be heavily in debt for petrol costs for the 7 hours round trip for starters before we'd even played a note. Interesting enough, I went to the carnival page, and there they are, no surprise, asking for donations to fund it. I found it interesting that the ask for anybody freebies, musicians are the first to target. I wonder if they paid to go through an agency to avoid the onslaught from the bands.
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(PS you can add that to you arsenal when you point out that you bet the bar staff aren't working for free...)
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Screw asking musicians to play for a decent money. It's nothing but a hobby. What I want to know is, despite all these "hobbyist" gardeners, why can't I find anybody to sort out my back lawn. Raging.
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Congrats on making it to market Stevie!
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Compact budget PA set-up to put bass through (without back-line).
EBS_freak replied to Al Krow's topic in PA set up and use
A set of UE6s. Then a set of A12t.
