EBS_freak
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Everything posted by EBS_freak
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...and most IEMs aren't either... just to add to the fun! -
Careful of this trap- mixing off the headphone jack doesn't allow for the impact of the room. The likelihood of mixing this way is your vocals will be too low in the mix where the punters are. You know when you hear desk recordings and the vocals always seem too high...? (They aren't when you account for the room)
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Sounds like you've got all this stuff sorted then. Good stuff.
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Id argue you can control the dynamics better because you aren't thumping seven shades out of your instrument to hear it because if you are standing on top of you amp and all the sound waves are travelling past your knee caps as opposed to your ear drums. The mixer is the one that is generally in control of the balance of the channels in the mix as opposed to the mixing... unless they are completely fking about with some offboard/DSP.
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Just watched the YT vid in the post above. Jeesh.
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Thats not to say it was sold for 450...
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So Ken Smith Burner meets Fodera Monarch.
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Re poly finishing - I believe tdog does them.
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Nowt wrong with single cuts... if basses which look like can openers is your bag!
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Lol
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Real sound engineers use aux fed subs anyway 😜
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You should all play the Bass Direct drinking game. Whenever you hear the word “nice”, take a shot!
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Yup - for those wondering - it says the loading on the back... and from the front, if the lettering is black on the bottom band across the bottom of the amp, it's the 4 Ohm version... otherwise if white, it's 2 Ohm (assuming the power board hasn't been replaced at any point in its life.)
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Train them with an optigate. If they aren’t close enough, the mic doesn’t turn on. Simple. (although not too great if they are the lead vocalist)
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Just an extra note on vocals - what’s far more important than anything, is vocalist technique. To avoid bleed, if you can get your vocalist to eat the mic - literally having their lips touching the grille, not only will you get a warmer sound from then, you’ll get less bleed. its a challenge to get vocalists to do it if they don’t already, but you’ll be amazed how much evening tightens up in the mix if you fix the most problematic inputs. (Especially things like cymbal bleed and general ambience which makes everything sound thin and tinny. It’s great having “air” on your main vox - but a nightmare if they aren’t using the mic properly)
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And SOLD! -
You want shielded for an unbalanced instrument cable.
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It’s worth doing properly as two cables lashed together each with the protective rubber sheath on tend to get overly heavy and not very flexible very quickly.
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The links are all in the opening posts - but admittedly, this one was out of date. If you are handy with soldering, heres the cable you need - https://www.sommercable.com/en-gb/Instrument-Cable-TRICONE-SYMASYM-1-x-2-x-0-14-mm2-PVC-11.3-x-11.3-mm-black/301-1101#neonCfg=pulength::pu100
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Bite block every time. Only folks that shouldn’t use a bite block are audiophiles who want to just sit still in a chair and get lost in the music or whatever they do.
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Maybe I'm a bit of a wrongun, but having ear impressions taken makes me go all gooey :P. Love it.
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Compression is very commonly misused on live mixes - and really can make stuff sound bad if you don't know what you are doing. The "wizard" settings, are usually just a starting point assuming you have correct gain staging and EQ. The vast majority of folk haven't got that latter point right... so the whole thing cascades into a mess. As they say, less is more.
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It needs to be run at 2 Ohms.
