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EBS_freak

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Everything posted by EBS_freak

  1. EBS_freak
    I'd hope not. Far too hammered.
  2. EBS_freak
    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.
  3. EBS_freak
    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.
  4. EBS_freak
    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.
  5. EBS_freak
    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.
  6. EBS_freak
    Good to see some quality VanDamme cable deployed there!
  7. EBS_freak
    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.
  8. EBS_freak
    Break out cables = cack.
  9. EBS_freak
    I looks like they are going with a custom cable. Big thumbs down from me.
  10. EBS_freak
    Let them do an inear mix for you - or invest in a split box/split snake. That way, you can take your own desk and be in complete control of you ears mix. It's documented on the first page. Funnily enough - been helping a friend build such a thing - here's the work in progress. One row of the 16 XLRs in a line for FoH and the second for monitor desk. Everything on stage is plugged into the 16 XLR inputs of the MS8000s which then split to the two rows of 16x XLRs. Being isolated splits, one of the desks can be in control of the phantom power and the other desk is than protected from receiving phantom power that would be otherwise present on an unisolated split.
  11. EBS_freak
    Please don't. There's nothing worse than somebody copying your tattoo. I'd be straight in for a cover up.
  12. EBS_freak
    B0llux to it. This is probably relevant somewhere.
  13. EBS_freak
    Will be an app for the mixing desk, not the PM1.
  14. EBS_freak
    And yet “that” bass solo is still the best received moment at a Paul Simon gig.
  15. EBS_freak
    1964 Audio's new pieces look interesting - especially the refresh on their quad driver which is now a hybrid design. https://www.64audio.com/products/a4s 1x dynamic in the low, 1x low mid BA, 1x high mid BA and their tia Tweeter. I doubt that the pricing will come in near the UE6 (as I think it will be priced to fill the gap that their original 4 driver design sat in) - but I'm quite interested to hear it. Should be quite a bass monster.
  16. EBS_freak
    I forgot to follow up on this. So marquee gig happened - quite some time ago as it happens! This one did take a bit of saving. The audio from the PA company was a complete nightmare... so it took a whole load of saving whatever audio we could get from the cameras and whatever we could get our hands on and codge something together. Not the best the audio - but still a whole better than some of the promos that are out there. Anyway, not bad.... it's all experience. From now on, I'm not trusting audio to anybody else. (Yet something else to worry about!)
  17. EBS_freak
    For IEMs, I'm thinking you'd have to go for an ultranet solution. You'd probably want to run those in stereo - but you still have enough inputs for that. Outputs would have to be over an ultra net solution. Analogue splits are possible, but if you start chaining desks, you are introducing further cumulative latency into the game. The only issue that I think you may have, is a sound engineer having the drums come in all on channel. They like to be able separate the kick as an absolute minimum. But you know...
  18. EBS_freak
    I've relooked at the XR18 - If 6 auxes is enough to send to FoH, an XR18 would do you. Theres MIDI implementation for scene change. Vocals, Bass, Stereo keyboards, Stereo Drums - Do you HAVE to be stereo? It's quite rare for a venue to mix in stereo as it can sound pants depending where you stand in the venue. I'm assuming that it's 1x vocal, 1x bass, L, R for keys, LR for drums, LR for backing track - so you are on 8 auxes, XR18 has 6. I know you're probably thinking you can use the main LR on your mixer for another pair of outs, but you'll need that mix bus on your own mixer to set the fx sends for each channel. On the auxes, you'll mix in the returns from those FX units. (So if you are sharing an fx unit between say the vocals and the keys, the keys fx return will be present on your vocal aux channel).
  19. EBS_freak
    This should answer your questions on the interface part and the midi implementation. m32c.pdf
  20. EBS_freak
    S32 is just the preamps. It's the M32C that is doing the mixer part (or the X32) Your inputs and output will be available in the ins and outs on your DAW. (Connected over USB) MIDI I suspect will be via MIDI only - Im not sure you can do MIDI over USB with the X32 - but I've no experience in that area.
  21. EBS_freak
    Midas M32C - C(ore) - 1U brain Midas DL32 or Behringer S32 - 32 input 16 output on XLRs. 3U Or X32 Rack (3U) (or M32 core) with S16/SD8s (read on). All depends where you want your XLRs ins and outs to be. May be useful to have your inputs on stage... but you may want your outputs in one place... or on stage also. Have a look to see how the splits that work for you. Off the top of my head though, you can only split in banks of 8... so you can't just patch in the odd XLR input on one stage box for example, you have to patch them in in banks of 8 Comments on 1. Can use USB connection for individual audio tracks from Mac (so could patch a L/R/Click etc) to individual tracks on X32. If you want to, you could add a Dante card and replace USB with Dante - connection would be then a ethernet from your laptop. Comments on 2. No problem. Midas and Behringer software available for Mac. Note - if you use Dante, you'd need to run two ethernet adapters and configure your routing appropriately. Comments on 3. Should be able to send MIDI information to the X32 - from some quick searching (this isn't what I was sure on), you have control over fader level, pan and mute and unmute states on faders. That should give you access to the automation you need from the DAW. Looks like you can do a scene recall also - so I think you may be good. Comments on 4. Use your XLR outputs on aux busses for what you want to send. These probably want to be post DSP do it sends all your FX to the front of house, as opposed to the normal prefader, pre DSP that normally gets sent. In a dream world, every FoH would have a Dante card. Then you can give them each channel digitally over a single ethernet cable. Comments on 5. Got me beat unless you use stage boxes. Best I can do with all ports in place, or 1 u but with external stage boxes (which may cause it's own cabling nightmares... or not... depending upon what you need to do). Behringer/Midas is the only thing that is coming to mind at the moment. Mackie DL32R is close - but then you have no control over MIDI so... meh.
  22. EBS_freak
    This is quite a difficult ask - as I suspect you want to have this running from a stage without a separate person running the desk. I think I may have an answer but let me check a few things.
  23. EBS_freak
    There we go, one driver type for mid/bass design. And for comparison - UE6 true three way - But remember - dynamics = better at reproducing bass with higher headroom than balanced armature!
  24. EBS_freak
    OK point taken - you're correct. But what that really means, is a driver that doesn't really excel in bass or mid... but it's easier to double them as it takes away complication from designing a more complex crossover. In fact, I've not got one to inspect, but I would wager its a double balanced armature in a single case.
  25. EBS_freak
    Also - just to reiterate. Bass is the hardest thing for an IEM to reproduce. In order to maximise the bass response, it's essential that you have a good seal. If you don't the first thing you'll lose, is the bass. As bass is generally what you pay for when you start adding drivers, it all becomes a bit pointless if the seal is rubbish. As stated in the main posts, its why I'd advise against ambient ports if you want to keep your bass. Whilst vocalists and the like may appreciate some ambience, as a bass player/drummer or somebody that likes bass, I would never recommend making that compromise.
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