Chienmortbb Posted June 24 Share Posted June 24 20 minutes ago, Woodinblack said: Yes, you would need a TRRS socket with a microphone on it, which virtually no IEM system will have Not only that but the microphones are electret and need a voltage to operate. Phantom power would be too much, you would need to step it down first to a few volts. Quote Link to comment Share on other sites More sharing options...
EBS_freak Posted June 24 Author Share Posted June 24 I swear nobody reads my posts... https://inear.de/en/products/monitoring/active-ambience-sound/hearmix-pro ^ mic on cable solution. 1 Quote Link to comment Share on other sites More sharing options...
dave_bass5 Posted June 24 Share Posted June 24 I think EBS_freak might know how to get around this issue. Not sure if there is any easy way though….. 😂👍🏻 Quote Link to comment Share on other sites More sharing options...
Jack Posted June 24 Share Posted June 24 12 hours ago, jimmyb625 said: That's a neat little rig. Have you thought about going stereo? (Although I know a lot of places haven't got the facility to give you a stereo mix) I can't help with how the panning might impact of your deaf side, but maybe have more on your "good" side and reduce the volume a bit? Thanks! I actually am running in stereo, I was just abbreviating as I was on my tablet and it's a pain to type. The stereo bus on my mixer is running through a (virtual) stereo eq to balance out the volume and tone difference between my ears (about 10dB down across the whole range and about 15dB down below 250Hz in my right ear). I'm just worried that if I have the volume "correct" in my good ear, then it's secretly 10-15dB louder than it seems in my bad ear. However, I am trying to run the whole thing really quietly anyway, so hopefully it won't be too bad. 18 years and I'm still a medical marvel. No one seems to know why I'm deaf. Quote Link to comment Share on other sites More sharing options...
jimmyb625 Posted June 24 Share Posted June 24 Just a word on the KZ's with the microphone on the cable, be careful with using them anyway, as I've found they can be problematic with some of the TRS sockets in IEM packs (I had problems with both the LD and Sennheiser packs) 1 Quote Link to comment Share on other sites More sharing options...
jimmyb625 Posted June 24 Share Posted June 24 (edited) Stupid double post! Edited June 24 by jimmyb625 Quote Link to comment Share on other sites More sharing options...
Al Krow Posted June 24 Share Posted June 24 1 hour ago, EBS_freak said: I swear nobody reads my posts... https://inear.de/en/products/monitoring/active-ambience-sound/hearmix-pro ^ mic on cable solution. 1 hour ago, dave_bass5 said: I think EBS_freak might know how to get around this issue. Not sure if there is any easy way though….. 😂👍🏻 Nah we all do with keen interest Russ! But your suggestion involves yet another bit of kit to set up and sort, as opposed to replacing something we've already got with relatively low cost - those alternative cable mics were just another few quid on top. Quote Link to comment Share on other sites More sharing options...
Al Krow Posted June 24 Share Posted June 24 2 minutes ago, jimmyb625 said: Just a word on the KZ's with the microphone on the cable, be careful with using them anyway, as I've found they can be problematic with some of the TRS sockets in IEM packs (I had problems with both the LD and Sennheiser packs) You guys are determined to make me feel better about not getting them in the first place, haha! That's really helpful to know, thanks Jimmy! 1 Quote Link to comment Share on other sites More sharing options...
Al Krow Posted June 24 Share Posted June 24 2 hours ago, Chienmortbb said: Not only that but the microphones are electric and need a voltage to operate. Phantom power would be too much, you would need to step it down first to a few volts. Maybe something like: 3.5mm TRRS 4 Pole to TRS 3 Pole male Female Microphone Jack Converter Adapter | eBay + CR2032 battery combined into an ultra small small housing? Not my skillset at all, but I suspect you or @Woodinblack could rustle something up and make into a bespoke BC product? Just a thought! Quote Link to comment Share on other sites More sharing options...
EBS_freak Posted June 24 Author Share Posted June 24 2 hours ago, Al Krow said: Nah we all do with keen interest Russ! But your suggestion involves yet another bit of kit to set up and sort, as opposed to replacing something we've already got with relatively low cost - those alternative cable mics were just another few quid on top. Agreed. There's quite a specialist requirement here - a mic preamp, amplifier, and a means to mix the output from a headphone amp to a new output... Very niche! 2 Quote Link to comment Share on other sites More sharing options...
Al Krow Posted June 24 Share Posted June 24 33 minutes ago, EBS_freak said: Agreed. There's quite a specialist requirement here - a mic preamp, amplifier, and a means to mix the output from a headphone amp to a new output... Very niche! Yeah fair point. The trouble with the Hearmix Pro kit is you're looking at £500+ per band member, which compares to KZ ZAR IEMs at £50 per set, and you'll appreciate why that may be a non starter for many bands, and certainly unlikely to well up any shopping list for most? Obviously it will be a lot cheaper to set up an ambient mic and plug that into the desk, and tailor the ambient sound you want to hear that way? Not going to be in the same league, for sure, but it's then just the cost of a microphone, lead and stand. Quote Link to comment Share on other sites More sharing options...
EBS_freak Posted June 24 Author Share Posted June 24 (edited) I reckon I have a workable MacGyver solution for under 200 quid. Downside? Mono. I'll keep hunting. The downside of that integrated phone mic - probably not capable of coping with high spl... which shouldn't be a problem as we are all on silent stage... right? Edited June 24 by EBS_freak Quote Link to comment Share on other sites More sharing options...
Chienmortbb Posted June 25 Share Posted June 25 15 hours ago, EBS_freak said: we are all on silent stage... right? I woke up from that dream to find the dinosaurs still in the majority. Quote Link to comment Share on other sites More sharing options...
Gunsfreddy2003 Posted June 25 Share Posted June 25 On 06/01/2024 at 11:18, warwickhunt said: The guitarist who does sound in our band has never understood why I take one feed straight from my preamp pedal into my Rolls PM351 and take an Aux from the desk for the rest of the band... it hasn't happened yet but on the day my feed from the desk goes shonky, I'll still have a nice bass signal. I've been looking at the Rolls PM351 for a while and thinking that it would make a very easy IEM system. Your own bass signal in one channel, rest of the band on another channel and then a mic to pic up ambient noise which you can dial up and down as needed like I do when I can use my ME-1 with one of my bands. Does it work well like this? Quote Link to comment Share on other sites More sharing options...
warwickhunt Posted June 25 Share Posted June 25 19 minutes ago, Gunsfreddy2003 said: I've been looking at the Rolls PM351 for a while and thinking that it would make a very easy IEM system. Your own bass signal in one channel, rest of the band on another channel and then a mic to pic up ambient noise which you can dial up and down as needed like I do when I can use my ME-1 with one of my bands. Does it work well like this? Exactly how I have it set up (+/- ambient mic as needed). Some might consider it an unnecessary link in the chain but it gives 'me' absolute control of what I hear without being tied to what the rest of the band want/get from an Aux feed from PA/engineer. I did a gig recently where (despite sending a tech spec) I turned up to find the PA/engineer couldn't give me the feed I needed in the time constraints; with the PM351 I at least had a work around. I can either take a cable to my IE (I use a thin phono type lead on a 5m run) or plug my Lekato wireless into the headphone output: as the Rolls is on my pedalboard it is literally at my feet so no worries with signal over distance/obstacles etc. Quote Link to comment Share on other sites More sharing options...
Gunsfreddy2003 Posted June 25 Share Posted June 25 6 minutes ago, warwickhunt said: Exactly how I have it set up (+/- ambient mic as needed). Some might consider it an unnecessary link in the chain but it gives 'me' absolute control of what I hear without being tied to what the rest of the band want/get from an Aux feed from PA/engineer. I did a gig recently where (despite sending a tech spec) I turned up to find the PA/engineer couldn't give me the feed I needed in the time constraints; with the PM351 I at least had a work around. I can either take a cable to my IE (I use a thin phono type lead on a 5m run) or plug my Lekato wireless into the headphone output: as the Rolls is on my pedalboard it is literally at my feet so no worries with signal over distance/obstacles etc. Makes total sense to me. We use the ME-1 in one band and that is brilliant and I have nothing but great things to say about it but in the other band we are playing different venues with different soundcrew all the time and the wedge mix can be with excellent or terrible. I'd prefer to try and control a bit more myself. Do you just run DI out from amp or pedalboard into one input, FOH mix into another and then ambient mic into the 3rd? Quote Link to comment Share on other sites More sharing options...
warwickhunt Posted June 25 Share Posted June 25 1 minute ago, Gunsfreddy2003 said: Do you just run DI out from amp or pedalboard into one input, FOH mix into another and then ambient mic into the 3rd? My Radial Tonebone preamp pedal (not using backline) sends a DI to PA/FOH, with the preamp pedal main out to 'Inst in' on Rolls. I get an Aux send from the PA back to the 'Line in' which I have the rest of the band (no bass as I have control of that on the 'Inst in'). The 'Mic in' is for use as an ambient mic feed but this isn't always needed or is likely sacrificed if it is a bish/bosh turn around. Quote Link to comment Share on other sites More sharing options...
BlueMoon Posted June 25 Share Posted June 25 The Rolls is a great little unit; I always worried that there is no limiter though. Quote Link to comment Share on other sites More sharing options...
EBS_freak Posted June 25 Author Share Posted June 25 These are new to me - quite new to the market. I'll drop them here for you to look at - https://inearz.com/collections/helyes Quote Link to comment Share on other sites More sharing options...
Gunsfreddy2003 Posted June 25 Share Posted June 25 5 hours ago, warwickhunt said: My Radial Tonebone preamp pedal (not using backline) sends a DI to PA/FOH, with the preamp pedal main out to 'Inst in' on Rolls. I get an Aux send from the PA back to the 'Line in' which I have the rest of the band (no bass as I have control of that on the 'Inst in'). The 'Mic in' is for use as an ambient mic feed but this isn't always needed or is likely sacrificed if it is a bish/bosh turn around. I use a Radial TB too, but would still have to run backline as rest of the band are not on IEM’s yet. So, if I use DI from amp head to FOH and DI from TB into my Porter & Davies board/amp could I run the main jack output from the TB into the jack input of the Rolls and then take the jack output from the Rolls to the jack input on my amp? Quote Link to comment Share on other sites More sharing options...
Muzz Posted June 26 Share Posted June 26 Had a bit of a breakthrough with the inears/ambient thing a few weeks ago; I was looking at the miked(sp?) kit, and realised there's two mics(sp?) just sitting there in the breeze - the drum overheads. We generally play small stages/corners/cubbyholes*, and the drummer has the overheads quite high up, so I upped them in the mix and got a deal of ambient from them... *Even last week's Beer Festival gig with full stage and 'big PA', by the time I got there the stage was full with the percussionist's setup and the singist/BL/Geetard's humongous pedal/monitor - I'd brought my backline (QSC 12.2), but there was no room even for that - so I was still wedged in... Quote Link to comment Share on other sites More sharing options...
Greg Edwards69 Posted June 26 Share Posted June 26 (edited) 1 hour ago, Muzz said: Had a bit of a breakthrough with the inears/ambient thing a few weeks ago; I was looking at the miked(sp?) kit, and realised there's two mics(sp?) just sitting there in the breeze - the drum overheads. We generally play small stages/corners/cubbyholes*, and the drummer has the overheads quite high up, so I upped them in the mix and got a deal of ambient from them... We started doing the same thing a few months ago. We don't generally play venues that require a full mic'd drum kit, so for the last few years we had only been sticking a mic in front of the bass drum. But our drummer had been saying he's been struggling to hear the rest of the drums properly. So we plonked an overhead above the floor tom side pointing toward the middle. What a difference in the IEMs that made! And if need be, we can add a little into the FOH mix too. Our drummer is somewhat a professional. He's a grade 8 full-time drum teacher and used to be in a couple of touring originals bands - he's quite discerning and likes to get things "just right". He's said this is the best drum sound he's had in his ears, ever. FWIW, he's also mentioned a few times that in many venues, he's noticed drums are unnecessarily mic'd where they needn't be. So many times you'll see a bass drum mic, a couple of overheads and a snare/hi-hat mic, but nothing on the floor tom. The snare rarely needs any help in modest venues, and the bigger the drum - the more help they need. Not unlike bass guitars needing more powerful amps and cabs than our skinny stringed brethren. Edited June 26 by Greg Edwards69 1 Quote Link to comment Share on other sites More sharing options...
Jack Posted June 26 Share Posted June 26 Tell me about it. Our drummer (otherwise a very restrained, softly-spoken, low-ego, plays-quietly type) insists on micing every drum at every gig. I mean, I don't mind, they're his mics and it's his time, but in The Spanner and Mallet to an audience of 4 people and 3 teeth I've not got any of them turned on. Maybe a bit of kick but even that's to make the drum sound bigger, not louder. Quote Link to comment Share on other sites More sharing options...
dave_bass5 Posted June 26 Share Posted June 26 (edited) 1 hour ago, Muzz said: Had a bit of a breakthrough with the inears/ambient thing a few weeks ago; I was looking at the miked(sp?) kit, and realised there's two mics(sp?) just sitting there in the breeze - the drum overheads. We generally play small stages/corners/cubbyholes*, and the drummer has the overheads quite high up, so I upped them in the mix and got a deal of ambient from them... I do that as well. Along with the vocal mics I find I get enough in my IEM's that I don't need a separate ambient mic any more. My two guitarists are at opposite sides of the stage, and both have mics, so I get a nice close mic'ed spread (stereo IEMS). Most of my 'ambient' comes from the drummers mic though so I have him in the middle. Edited June 26 by dave_bass5 Quote Link to comment Share on other sites More sharing options...
Buddster Posted June 26 Share Posted June 26 1 hour ago, Greg Edwards69 said: So we plonked an overhead above the floor tom side pointing toward the middle Try this https://jonstinson.com/the-glynn-johns-three-mic-drum-recording-setup/ Have used it many times, live and studio and works very well. For live the mics will probably be closer than in picture. Quote Link to comment Share on other sites More sharing options...
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