EBS_freak

[quote name='xzodar' timestamp='1389626890' post='2336250'] Great bit of kit though, I've not used it in anger yet but it seems really well put together and 'just works'. [/quote] It really is quite special - and if you got it at the Thomann bargain price, you scored double!

[quote name='Bankai' timestamp='1389802077' post='2338070'] If anything, encryption would make problems from interference worse. I don't understand how it could improve them. [/quote] From my Shure ULX-D user manual - Advanced Encryption Standard (AES-256) for any application where secure transmission is needed: • AES algorithm used in Shure ULX-D™ Wireless has been validated (validation no: 2552) by the National Institute of Standards and Technology (NIST) as conforming to the Advanced Encryption Standard (AES) Algorithm, as specified in Federal Information Processing Standard (FIPS) Publication 197, Advanced Encryption Standard • Enabled via front panel menu and IR sync • [b]Added benefit of eliminating stray RF interference by allowing only [/b] [b]encrypted signal through to the receiver[/b] I actually spoke to the Shure UKs wireless guy only last week about this (and some concerns surrounding latency of digital systems) and he discussed that the lack of an encryption key, on a encrypted setup, would cause any signal received over RF without a key, or matching key to be dropped straight away. Without encryption, all digital data streams arriving on the same channel would be processed - hence, the risk of interference from stray RF. His advice, for a more robust transmission, was to take the latency hit as it is so small on most systems. Just to clarify - I don't think we are saying that adding encryption can improve RF performance in terms of signal strength. And you are right, encryption will also stop eavesdropping (or conversely broadcasting), but we'll have to agree to differ on the interference part.

What is your budget?

End of an era. The absolute steal priced Sony units have all sold out at Thomann.... Good work BRX. In before the curtains.

It may not be your cab - over time, the PCB can work loose. Try thumping the HD350 a little and keep playing. If you can make the crackle be intermittent, what you need to do is give your amp a little TLC. Remembering not to be stupid around electronics, whip the top off and screw the retaining screws tight again. A little silicon (there may be the remains of some already in there) should help the screws stay in position. If you are unlucky and you have taken a tweeter out, it's a Selenium ST300 - have a search for a replacement diaphragm. A quick search shows this up - [url="http://www.loudspeakersplus.com/cgi-bin/commerce.cgi?search=action&category=SERD"]http://www.loudspeakersplus.com/cgi-bin/commerce.cgi?search=action&category=SERD[/url] - I would wager you could find spares closer to home maybe. Importing that is still going to be way cheaper than the cost above.

[quote name='BigRedX' timestamp='1389621834' post='2336172'] Ordered! Does it come with a PSU? I already have a 1 Spot 9V PSU in the rack for my MicroThumpinator, but no more 13A mains sockets on the power distribution strip so I need to work out whether to get a 9V daisy chain cable for the 1 Spot or a Mains cable with 1 plug feeding two IEC C13 leads instead. [/quote] From Thomann, it comes with a 12v adapter with europlug. I never used mine - I ditched it for a feed from a standard 9v pedal feed (centre negative - as per guitar fx pedals) Easiest thing to do is just daisy chain. It may be worth putting a bit of heatshrink or electrical tape over the link from your source to you daisy chain feed just so that there is minimal chance of it slipping off. Don't want to be faffing inside the rack for the sake of a bit of heatshrink of electrical tape round the join.

[quote name='jumper' timestamp='1389391583' post='2333903'] Hi all, Has anyone had experience of the AKG DMS70 digital system as it says that it has no signal compression, any is fully encrypted resulting in no interference !? If so can you tell me if it suffers from latency ??? I'm considering this or the sony for regular gigging and am erring towards this as it is rack mountable and expandable. Thanks! [/quote] [url="http://forums.presonus.com/posts/list/18793.page"]http://forums.preson...list/18793.page[/url] PS - Go Sony. Check out the price of Sony on Thomann..... and thank me later.

[quote name='Bankai' timestamp='1389416099' post='2334013'] Encryption has no effect on interference, so ignore that. [/quote] The presence of an encryption key within the datastream transmission actually helps with RF hence reducing the chance of interference. There is a slight trade off in terms of latency, for example pro systems it adds an almost negligible 0.2ms but with other systems, maybe the AKG, it may be bigger. I have heard bad reports with the AKG with regards to drop outs... but I can't verify this for you. If you look on the net, there are very mixed reports regarding this systems performance. Also noting, not that it's really something that will have any impact on the majority, but the AKGs encryption is as 128 instead of the standard 256.

[quote name='tonyf' timestamp='1389310806' post='2332850'] Cut the jibber jabber, get surfing to a well known German music retailer and get that credit card busy....! [/quote] Share the guilt of spending. Thats my trick...

[url="http://www.lectrosonics.com/ASPEN-Series/bob88.html"]http://www.lectroson...ries/bob88.html[/url] Dante will kill everything. Running say 48 channels of audio (ins/out) over a single (or a pair of resiliant) cat 6 seems preferable to traditional cable. Digital recording of every track from the source to mix post the event, zoning... in fact, if everybody got on board the (expensive atm) Dante wagon, analog cable could be a thing of the past.

[quote name='BigRedX' timestamp='1389276897' post='2332233'] EBS-freak, I'm still not convinced about the logic of only having the output jack on the back of the Line6 unit. If you have the rack mounted version surely it would make sense for to have both front and rear mounted jack? If you are going to use it with a pedal board you'd buy one of the non-rack mounting units which are cheaper anyway. All my serious rack mounted guitar orientated equipment has front and rear mounted jacks to give you maximum versatility when patching the gear together. [/quote] Sennheiser, Shure, Line6, Lectrosonics, AT, AKG, the main rack players... none of them have an output on the front (apart from a headphones which is designed for use by the monitor engineer). There is obviously argument enough for it not to be there. There are primarily there for vocal mics. Maybe I shall ask next time I speak to somebody on the inside why the output isn't present on the front. They'd probably argue that any decent rack gear should have inputs and outputs on the back leaving the front for controls! I suppose it's the equivalent of putting a HDMI cable on the front of the tele! It would make sense to have front and rear mounted jacks for the purpose you are looking for but I believe we are in the minority using rack gear for wireless right next to our amps. The manufacturers have decided that we should be using pedal versions of the wireless... and when you look at the majority of players, that actually makes the most sense. I guess the manufacturers see most of the gear we see on stages as toys - the real rack stuff wants all the external antenna... and that is never going to be visible right up on stage.The market trend is to get away from bass rack gear anyway. Why take up real estate on the front of a rack wireless unit when more useful information can be displayed on screen - and that's what the monitor engineers care about. A looped round cable will solve the problem - a bit annoying if that's going against how you imagined your setup to work. Even Axient and D9000 don't have front outputs... simply because most guitarists won't be putting them in their racks. Generally, AV companies would be taking care of that from their racks and probably using digital distribution over long cable runs to get the signal to near your gear without any impact on quality. Anyway, to do it properly, as above, we shouldn't even be using standard cables to go from wireless unit to preamp. The tech way is Dante. The transmitter sends it digital to the receiver. Receiver sends data stream via Dante to Dante input on your bass system. Conversion to analog takes place. No capacitance on the line! No loss of signal. Despite all of this, I understand that it's probably annoying for you.

[sup]That's crazy.[/sup] [sup]Alternatively buy a system with a transmitter that is fit for purpose?[/sup]

[quote name='BigRedX' timestamp='1389268230' post='2332055'] EBS_freak, I've had a look at the rack mounting kit for the G55. Still no provision for a front-mounted output jack. I'd be very reluctant to be drilling into a brand new item just to fix an oversight by the designer/manufacturer. [/quote] I've been thinking about this. I think the reason why there is no front mounted output jack is because I would wager most of these systems are used for wireless mic (either handset, lapel, headset) and hence would have no reason to have a duplicated jack. I'm guessing in Line 6's case, they would argue that most guitarists would use a pedal board so they would say that the pedal board solution is the one to go for. Looking at the design of the Line6 and the rack kit, I reckon you could sneak a George L through the corner. Looks like there would be just enough clearance to get the cable in between the rack units and through that corner... but that is, of course, unconfirmed. As for the Sony receiver, everything is flush. The knobs are set into the unit and the tops are flush with the top. Whilst I had my Sony unit, I don't think I ever changed it from channel 1 - and never had one bit of problem with it. Must have played over 40 different venues with it including hotels with comprehensive wifi... and the Sony didn't drop out once.

According to wiki... One rack unit is 1.75 inches (4.445 cm) high. You may just be in luck! Just!

You're a very restrained man Tony. New toy to play with and you didn't give it a bash?!

I've got my stuff PAT tested courtesy of StingrayPete. In reality, I've only ever been asked twice to provide PAT certificates - once at a hotel and another at a large corporate function. The hotel wasn't interested in the stickers, they just wanted to see the certificates. They didn't even check that the certificates matched the gear. They obviously have some checklist and them having a copy of our certificates no doubt proves that they are following that - probably as mentioned before, for health and safety and insurance reasons - anything that shows that they have taken reasonable steps etc. The function however, they wanted to see the PAT certs in advance and checked the gear against the certs on stage on the perfomance night. Why so much interest? I'm not sure... maybe they have been stung. But that gig was worth a lot of money and you have to play by their rules... or you don't gig. This gig was for a very, very large events company, so you don't want to get blacklisted with them for the sake of PAT testing. To be honest, it's good piece of mind to know that everything you have got on stage has had some, even if it's minimal, checks.

[quote name='njr911' timestamp='1389261886' post='2331952'] What's the best way to approach this ? Trip to the GP? I notice the local ACS place is in the Leeds General Infirmary Boots [/quote] It's dead straight forward. I've had a few IEMS made now. Basically, get yourself an appointment there with the instuction that it's for taking ear impressions for a custom moulded in ear monitor. When you get there, they'll check in your ear to make sure all looks good. If you've got a build up of wax, you'll have to get your ears cleaned out which may delay the process slightly. If all good (and it usually is), they'll take some impressions - this involves squirting a silicon type mix into your ears and effectively waiting for it to set before being removed. Then, that gets shipped to, in this case, ACS. Most impressions for musicians are taken as open mouth impressions (especially with acrylic IEMs), with a bit block between your teeth. ACS seem to go for closed mouth impressions. My ACS are from closed mouth impressions and they fit perfectly. It's no biggy - dealing with overseas manufacturers is no sweat either. Just send you impressions to them.

B'tard has nicked all my moves. Those who have seen me play, will know this. :/

[quote name='BigRedX' timestamp='1389194853' post='2331165'] I'm still looking. I was going to get the Sony if it would fit in a 1U space and could be powered off my existing 9V PSU as it was nice and cheap on Thomann. Will have to look at the new Line6 model now though... [/quote] From memory, it'll be a touch too tall for a 1u rack space. It's a bit of a minefield all of this - the only company offering a rack mountable solution at a non crazy price is Line6. It's a shame that Shure decided not to put the GLXD in a rackmount format Will be interesting to see what cards Sennheiser will play... as they are only looking at digital at the very top end of the market at the moment.

Did you ever go wireless? See that the Line6 rackmount is available now.

[quote name='Tom Brookes Music' timestamp='1389015764' post='2328767'] Yeah I'd considered IEM kits. Not going to be taking an engineer with us and at some venues I'd guess our first song will be the soundcheck so I'm so sure that it would be the best way to go... Thanks for the replies so far guys, food for thought. [/quote] Don't bother with IEMs if you haven't got the ability to sound check properly...

[quote name='kristo' timestamp='1389016687' post='2328787'] Exit: The Top Gun Anthem. [/quote] A mate of mine's bride made her entrance to that! Ha ha.

[quote name='clauster' timestamp='1389027852' post='2329011'] I really rate his PR35. The engineer at our local venue was trying to work out what the hell was going on when our singer first plugged it in. When he found out it's a Heil he was really happy. As far as he was concerned it was MUCH easier to place in the mix due to the flatter frequency response. He'd just been bamboozled that suddenly there was a lot more top end than with the 58s. The filter switch is good too. Almost completely cuts out any handling noise. [/quote] That surprises me - the handling noise I don't think is anything special on it - the hp filter should cut the boom as opposed to anything else? A lot of sound engineers will put HPF at 100Hz as a given but the HPF is a really nice touch to have included on a mic. The plosives are the only thing that I think this mic suffers with - it punishes people with bad mic technique! The supplied windscreen tames that though. It really is great though - with that top end, as you say, it's as close as damn it condenser sounding from a dynamic as you can get I think. Filter in, channel strip flat. Job done! Feels great with the rubberised finish - but I'm not sure how well it holds up over time... [quote] Oh God, more wireless gear is the last thing he needs.... It all ends up piled in "bass corner" at gigs. [/quote] Ha ha - wireless gear gets dumped with me as I'm the only one who understands it all! I'm responsible for everybody getting their wireless working and IEMs sorted!

[quote name='clauster' timestamp='1389021921' post='2328873'] The Heil gets the most use. He only got it a few months ago and the clarity over the Betas un-nerved him a bit at first. Sounds great to my ears though Really clear and great dynamics through it. The Shures only get used for rehearsing BVs and when we come up on an engineer who doesn't like the characteristics of the Heil. (Shures seem to be the Fenders of the mic world). The Shure wireless is the Beta58 Rackmount system. Not sure about the Senheiser as it's about 10 years old and he hasn't used it in about 7 of those years. It just stays in the rack as a backup. [/quote] The Heil gets mixed response from a lot of sound guys. I had a guy turn his nose up at it so I said to him, set your EQ on your channel strip flat, turn your gain down from where you'd have a 58... then come back and tell me you don't think it beats crap out of a 58. I think everybody sees Heil as broadcast mics. To be honest, their dynamic PR40 will beat most low end condenser mics in the studio. Very underrated mics. In fact, the PR35 sounds ace on pretty much everything you want to throw at it! I was wondering the exact system he was using to see if he could change the capsule on the wireless transmitter. With a lot of the Shure stuff, it's only the real top end stuff that has the removal capsules. I'm investing in more ULXDs I think... and they will be having the Heil capsules put on them.

PS, any self respecting vocalist must have one of these - [url="http://www.rebelmicstands.com"]http://www.rebelmicstands.com[/url]