EBS_freak

@dave_bass5 - not sure who else is interested anymore but we been back at the footage, thought you'd be interesting in taking a look! So... more content from the private festival. Watch out for the extreme closeup!

Made a few edits to the previous post to make more sense - can see you are reading Dave so you may miss the changes.

The audio was a massive, massive pain in the backside. I had to convince the somebody to run everything we had through RX to try and get some sort of track separation so the thing could be remixed. Im still not happy with the sound of it at all... but done is better than it just being shelved, especially when it's more than what most bands would put out. Anyway, all these issues combined with a FoH guy that wants to saturate everything with FX it was a complete nightmare. Still, sorted that now as the band now captures everything raw before it gets to the desk. Everything is still (like ever) a big learning curve. Im happy with progress and just looking forward to getting out there and shooting some more stuff. Im getting quite good at getting the cameras looking great - I've got some tools to assist (like using false colour to get the skin exposure correct) - and of course, it makes blown highlights stand out like a sore thumb, so I can deal with it. Hopefully, if you look at some of the items in shot that would normally blow out (e.g. the par cans behind the band), you can see there's still colour in there. To me, it makes a massive difference than just seeing pure white. The only light which is blown (I think) is the key light that was put at the front to actually illuminate the players (that's the one seen on the dance floor shot - you'll be amazed at how many people that record bands don't actually light the subjects! Cant do much about it as the dynamic range between the shadows and the light is massive... but at least the light is meant to be white!) So yeah, I'm pretty pleased - especially since I had nowhere near the space I had at the festivals. Obviously it's still not as good as if I had an individual person on each camera but considering it's just me out there, it's pretty good I think. Again, probably better than what most are putting out (without blowing my own trumpet too much). There's another recording going on this weekend but illness in my household means I won't be there. Andy (singer) is just going with static cams - but it will at least give us a maiden voyage with the new sound setup to learn from that.

I felt the same. I also felt a bit uneasy about his negative slant about learning stuff from Youtube. Not so long ago he was saying how he wished that Youtube was available at a resource when he was a kid as there is so much good stuff out there for free. It felt he was being a bit "UK politics" in that particular approach. There's a whole abundance of GREAT resources out there without having to sign up to SBLs. SBLs just puts a bit more structure around it.

Their main market is the rock market in Europe (quite bizarre as their initial wave of success was from the R&B market). They never really got the class D amp thing to work over here that well, despite the Reidmar being a killer range of amps... and the HD, TD and Fafner lines were never a cheap proposition... neither are their Neoline or Proline cabs. My personal take on the Reidmar is that they aren't quite small enough enough to have the same appeal as their competitors - and they are notable cheaper in construction. They were also late to the party, MarkBass took a big section of the the market and EBS were never interested in that market for a long time. If you look at their strategy now, they have branched out their pedals and lower priced goods. My take on it is that they have moved into Far East production for the lions share of their equipment - purely to remain competitive in the market. At the end of the day, their goal is shifting boxes... and it's probably easier to shift lots of lower value items with high profit margins, rather than products built in Sweden where the costs are so much higher. From what I understand, the heavy weight (e.g. the Classic and 802) still sell well in Europe... but us folk in the UK aren't interested in heavyweight any more.

@Gunsfreddy2003- the analogue split has been completed and tested and I've added a pic to the main thread. I'll include it here too. Just be mindful, when building up a solution like this, you are introducing a lot of cables so take that into account!

Sounds good then. Not surprised he'll make them given the prices he charges!

Pete Cornish is typically somebody that builds your rigs, or custom rigs that you can’t buy off the shelf. If you’re handy with a soldering iron, what the OP is asking for is fairly standard.

Oh man, contacting Pete Cornish for this? Try Lynx or designacable. just out of interest - which wireless system is it that you are using?

The problem you are going to have, is that badge companies generally want to be producing stuff where the volumes are in the 1000s, not one offs. What sort of style are you looking for? If you are looking for the more traditional style badges, there's a few small operations doing such things on etsy - Vintage Fender combo style https://www.etsy.com/uk/listing/654799247/fender-style-custom-brass-or-aluminium?ga_order=most_relevant&ga_search_type=all&ga_view_type=gallery&ga_search_query=custom+amp+badge&ref=sr_gallery-1-2&organic_search_click=1&cns=1 Fender speaker cloth mount style https://www.etsy.com/uk/listing/1003504820/custom-stainless-steel-guitar-amp-badge?ga_order=most_relevant&ga_search_type=all&ga_view_type=gallery&ga_search_query=custom+amp+badge&ref=sr_gallery-1-3&organic_search_click=1 Marshall lettering style https://www.etsy.com/uk/listing/1074101144/personalised-amplifier-badge?ga_order=most_relevant&ga_search_type=all&ga_view_type=gallery&ga_search_query=custom+amp+badge&ref=sr_gallery-1-1&organic_search_click=1&frs=1&sts=1 Plexi style https://www.etsy.com/uk/listing/663394399/custom-marshall-style-plexi-guitar-amp?ga_order=most_relevant&ga_search_type=all&ga_view_type=gallery&ga_search_query=custom+amp+badge&ref=sr_gallery-1-6&organic_search_click=1 Random things https://www.etsy.com/uk/listing/650406962/custom-metal-ampguitar-badges?ga_order=most_relevant&ga_search_type=all&ga_view_type=gallery&ga_search_query=custom+amp+badge&ref=sr_gallery-1-35&organic_search_click=1

Go IEM and all those problems disappear. And your ears will thank you.

Have a read of this - It combines pretty much everything you'd want to know into the several first posts. From what you are describing, it sounds like there's not enough headroom in the lows to really push that bass through. Try cutting the volume on everything and building a mix around the bass - e.g. start with the bass and then bring everything in around that. It could be that your ears are full of wax - getting your ears syringed would solve this. I would always recommend investing in a decent multidriver IEM - typically a quad (treble, mid, bass, bass) or as a minimum, the UE6 with its dynamic drivers (instead of balanced armatures) in the lows/mids. However, before you do this, you may want to spend a bit of money on something like some KZ10s - because if they don't fix the bass response problem, it's not your IEMs which are at fault.

6 pages in and nobody has mentioned what a red hot jazzer he is.

I'd say that they will pay the right money for the people that can do as they are reasonably asked.

Kermit's bleached a55hole?

I'd hope not. Far too hammered.

I'd probably argue that the attention that you'd read something as somebody that is hired in a professional capacity as opposed to a weekend warrior is vastly different. If you f**k up in a professional capacity, then the word spreads and you'll find yourself finding less professional work. They say 6 degrees of separation. In the professional music world, I reckon its more like 2.

Maybe But their band. Their rules. There’s probably a load of decent software engineers that could work for Google but won’t - because Google want their pound of flesh.

The rest of the post was to set expectation and the pecking order. I would wager the person posting is the guy that has their name on the contracts and needs to establish a team of reliable players. Im not saying that the post is good or bad, just offering up a view as to why it’s been posted like that.

This sounds like somebody that is sick of being d1cked around by musicians that can’t/won’t follow simple instructions. Chances are, the poster has sunk a lot of cash into the project and is sick of people being unreliable. At least they are sifting early. If you aren’t the person for the job, move on. If you take offence, move on. If you understand the motives that lie behind this, it actually sounds like a good prospect - somebody that likes to run a tight ship. Tight ships are largely successful and get the gigs that others complain they don’t get.

Good to see some quality VanDamme cable deployed there!

Probably not. DL16S runs on master fader 5 which is a ground up rewrite and been plagued with bugs since it’s release. The XR18 is defo more feature rich than the Mackies - however the Mackies interface is far more accessible than the Behringer one. I still run a pair on Dante connected DL32Rs - but on MF4 - and they are solid. However, I don’t think The 16S supports MF4 (MF5 was introduced with the new range of mixers). Like the XR18, the Mackie inbuilt WiFi is rubbish too. Id probably recommend the 1608 if you want to go Mackie - and run MF4 on it! Or look at the RCF M18 which has a more simple interface than the Behringer also. But first of all, check out mixing station as above. You may prefer that app.

Break out cables = cack.

I looks like they are going with a custom cable. Big thumbs down from me.