EBS_freak

Should also point out - all the lenses used in the above are f2.8 or faster... which is another big factor in keeping ISO (and consequently noise levels) down.

Sound on cameras is always dubious - unless you are running external mics. The importance is always placed on the image, with the audio being a secondary concern. Anyway, camera stuff. Here's some science... Most cameras that are in common use, are 8 bit... which gives 16 million colours... which you'd think is pretty decent... however, there's a few extra things that need to be taken into account. First off, dynamic range... thats the ability to distinguish between the shadows and the highs. The higher the dynamic range, the better, and the better the ability to map a RGB value to the light that the sensor sees. Of course, you have to get the exposure right - and most cameras that do this, can do it automatically - and don't do it well in gig environments. They tend to overexpose the lighting - or/and the blacks are all crushed - again, this comes back to the dynamic range being unable to capture the full range of highlights and shadows. If you expose manually - and get it wrong, for example, underexpose, you'll artificially lose the dynamic range and crush the blacks... or if you over expose, blow the highlights. Gigs are notoriously difficult to film because of the requirements on dynamic range between the shadows and the highlights provided by lighting. So DSLRs(/mirrorless) can help - in that they tend to have better sensors and lenses than most cameras - and better dynamic range - but in most cases, you are still at the mercy of 8 bit - which means it's essential that you get your white balance and exposure correct. If you don't - and try to do any colour correction in post, the image will just fall apart and look rubbish. Why? Because those millions of colours only translate to 255 shades of red, green and blue (not a lot at all)... which when you are trying to fix skin tones for example, doesn't give a lot of latitude as soon as you start pulling on the red correction. If you underexpose, you effectively decrease this number further. So what do you to make the best of a bad situation? Well, make sure your white balance is correct for starters (so you minimise the colour correction needs) - and make sure your exposure is the best that it can possibly be given the difficult environments - this may mean breaking out some VND filters. Getting the colours correct in camera is the best thing you can do to get the results. I know there's always those people that will advocate shooting in log (or cinelog) or whatever you want to call it... but in a gig environment, it's really is pointless on a 8 bit recorder. The thing is though, people can kind of cope with bad video - but bad audio is another matter. When videoing, I try and always get a copy of what is at the desk for mix down in post (as mentioned above) - but sometimes thats off the cards and you just have to make do (always carry a field recorder with you). I do a lot of filming for a mate - and we now carry around a splitter so we can always get out own audio of all the source instruments. We've been burnt too many times from rubbish audio being given to us from the sound companies running the show. At the end of the day, they don't really care... but it can make/break your video. In the above situation, I wouldn't bother with a headstock cam. They had their time in the 80s. I'd just get a decent cam and stick it pointing your way on a tripod and be done with it. In the first video, my nod to the 90s, was the fisheye lens from the back of the stage. It's probably one of my fave angles to be fair. If you really want to push the boat out and get something more exciting to watch - get a load of cameras. Here's a few things that I have shot - Silverstone Classic - 6x 8bit DSLRs, 1x10bit mirrorless and 1x12bit cine camera (on shoulder rig - that's me with horrendous lockdown hair). Audio supplied by PA company. Marquee - (4x? - I can't remember) 8 bit DSLRs, 1 x10bit mirrorless, 1x12 cine. This is your typical nightmare gig situation where the lighting gets blown out and everybody tends to look purple. 6x DSLRs (8bit), 1x10 bit (from the back, messed up the exposure, you can tell (blown highlights that couldn't be recovered but doesn't look that bad), 1x12 bit on the shoulder rig) As you can tell, the audio, isn't ideal in any of them... but more than passable... but I'm now in control of that so can mix to my hearts content. Hopefully, this shows what results you can achieve if you know how to use your gear correctly. Those 8 bit cameras are doing quite the job - they are just old Canons running magic lantern - and 3x 200Ds. Not my first choice - but as you can see, they can get some pro looking results if you know how to make the best out of them. Practice, practice, practice!

Just out of interest, what are the gigs you are doing @jazzyvee?

Aye. As soon as you start increasing the sensor sizes and upping the lens quality, it really does start to expose the deficiencies in the micro cameras.

I concur. Camera angles make it more interesting... however, without decent sound, there's really no point.

Simply boil the strings. It’ll be fine.

I played trombone at school but never continued when I went to uni. It is a great instrument and along with piano, got me a good grounding in reading bass clef. Id always wanted to play the acrobat - which I remember annoyed me when I got the music and it was in tenor clef... another fricken clef to learn!

or talking of rebadged... https://www.thomann.de/gb/harley_benton_ministomp_magnum_d_i.htm

932s wont give the low end extension you probably want without a sub...

To be fair, she’s not really at her peak is she? Some of these songs are a right solid sing.

But the band are cooking!

Shh now. We are living on the edge of the end of a golden era. We will never be able to see these historical powerhouses perform again… and in ten to twenty years time, none of these folks that paved modern music as we know it will exist - nor will there be an equivalent. instead it will be all Cowel douchery. I don’t know about you, I’d rather be listening to off key legends than products from the reality pop machine.

I’ll err… just leave this one here…

Hotcovers. 100% - but I suspect you are sorted now.

The ME-1 headphone amp is decent enough. It's not as if you are looking for the most absolute hifi listening experience on a live stage!

Bravo Dave! You’re doing great on those there keys! Enjoyed that.

Not really - as the vast majority of transmitter units in this format that are sold are used with lavalier mics, with the transmitters attached to the wearers belts.

And then there's Schack... The bolt on... that isn't?!

I guess this one is mine - all white GB Spitfire. Certainly the most played bass I own. Complete with signature DR Lo-Beam 40 60 80 100 125

Took me a while to spot you Dave!

ipad useage for a front singer depends on the band. As a tribute band, I'd hope that everybody was off ipads/charts

The EBS "bright sound" is largely down to using EBS Proline and Neoline cabs. They have a very prominent Selium tweeter that gives it that bright zingy top end that EBS have become known for. People don't seem to appreciate that there is a big knob on the back that enables you to turn that tweeter down/off. Other than that, EBS is actually pretty natural in sound - in that they sound more like a PA then a traditional bass amp with a baked in sound. Some people like the baked in sound... other people like to shape their sounds on the filter. There is no reason why you can't make an EBS TD/HD sound more vintage by rolling off the tweeters and the top end of the pre. The Classic range of amps are less EBS sounding than the rest of the range - you may prefer to go that route if a more old school sound is what you are looking at with minimal tone shaping. But as above - try the amps out for yourself.

First question, what IEMs are you using? Can they actually reproduce the bass you are looking for?

Replied to your PM - but at 1080 for the UE18, at this time, thats the one for the money!

Good man!