Yeah, my post was related to the one above yours, I was writing (On the phone with german autocorrect đ¤Ş) while you postedâŚ
Exzessive stage ânoiseâ is the key to sound bad on the front. At least on small to mid sized stages.
Yeah, my post was related to the one above yours, I was writing (On the phone with german autocorrect đ¤Ş) while you postedâŚ
Exzessive stage ânoiseâ is the key to sound bad on the front. At least on small to mid sized stages.
Well, you can figure it out - just read the patent đ
Not necessarily, eq and volume are linked in my experience. For instance, making a guitar cut through the mix is generally more a matter of eq-ing (mids) than a matter of volume.
Many artists demanding tube amps and pedals use IEM with more latency than a Kemper has. Not only that but I would challenge you to notice the latency in the Kemper compared to the tube amp profiled. Standing 5' from your tube amp has more latency.
of course the Kemper on its own is negligible. But it simply adds up with every A/D/A conversion (desk, wireless (if its not analog), speaker managementâŚ) I always wondered why a digital standard interface was never established. Would save latency and costs for good converters.
One point might be latency, which is an inherent issue of digital gear.
Display MoreThis first !
My band doesn't have a sound guy.
I fed up with this in particular cause on stage i'm' always disappointed or i can't hear myself with monitors.... (I know conditions differ from rehearsal).
I've asked the band to adjust the mix table during a rehearsal instead of playing....
we used to let all in the middle and push the output
Only vocals and guitars are on the table.
The bassist knows nothing and thinks i do it too. But i know some stuffs with modelers (that he thinks are bullshit comparing to traditionnal rigs) and i've done some inquieries before....But of course, i needed some other knowledges (didn't find the solo button cause it was named otherwise on the table PFL
)....
We have been able to improve the result but at the end, a singer needed more volume so the bassist increased the gain pot
.
Who knows how to setup a mix table can understand what i mean
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It was a game in which every one wanted to push or turn a button
We've bought PA speakers, passive ones cause the table is active....(The other thing is that the drummer's best friend runs a music store). So we have "good advices"....At first, we were told to take 2x15" (for one speaker) ; 45Kg (99Lbs), we play for audiences with 200/250 persons max...
I asked who will carry those fantastics speakers and if they've read the datasheet ? At the end we've bought 1x15" (*2
) passive speakers ; 26Kgs (57 Lbs) and it's always too heavy for my back and take too much space in my car....
Following our needs, i would have gone on a totally different configuration ; leighter as possible ; a digital mixer, two 12" or 10" speakers for FOH (eventually a sub) and could do settings with a tab....
The drummer is the the president of the music club and the rehearsal room is managed by him too.
We've got another equipment installing to play there. I've noticed that the mix table knows the same settings, lowcut button is not pushed /100Hz, all the buttons at noon, no Frequencies settings, no gain settings, Pan at noon
I play with my Kabinet
All that to say, choose a sound's band referent who will be interested in working on it and who will be in charge to do all the settings...Choose your equipment following your needs....
Well, for your problems during rehersal, I would suggest to buy a cheap digital console, we use a cheap Beringer XR18. It has 6 busses, so everyone can dial in his/her monitor sound to their liking. Of course these have many possibilities to tweak (or âmistweakâ), but if you run pretty basic, it should work - a good singer wonât sound bad, even with a flat eq.
But this would require to reherse with headphone, as we do it.
FWIW, I always think that bands spend too little on their FOH speaker system. It's a shame since this has the most effect on how good you sound to the audience.
I would suppose that the biggest effect has the quality of the foh engineer
I personally use Yamaha DSR112 tops as well as DSR118 subs . Great Sound and really loud. Our band owns TW-Audio, which is a local german pro-audio brand.
Maybe your mix is set to zero?
I bought this one years ago :
https://www.thomann.de/gb/sommer_cablâŚUiOjJ9&reload=1
The definition is excellent but the angled jack broke a year after and was useless....
There are other solutions with sommer cables and other jacks..... I don't advice this one of course
I only use Neutrik plugs, not one has let me down.
hi,
I use a lot of Sommer cables. Very good quality, just one failed two times, spirit black zilk I think. I can definetly recommend Sommer.
they also make some pretty nice multi core cables. With up to 8 pairs plus power and/or ethernet in one cable. We use these together with Harting plugs for the backline. Set up in no timeâŚ
thanks for all the comments, everyone.
Anyone used Sommer SC-SPIRIT LLX LOW LOSS Instrument Cable cable?
(thats just the cable, not a ready-to-go lead)
hi,
I use a lot of Sommer cables. Very good quality, just one failed two times, spirit black zilk I think. I can definetly recommend Sommer.
Same thing as carrying another pedal: My main goal was to not carry any more gear than the device itself, but for now seems the most reasonable one to be honest! That Dunlop Mini Volume pedal wouldn't be that much to carry.
maby a simple on/off switch can also do the job.
Maybe use a volume pedal for the boost. This would free up the morph for the second reverb. You can set the desired values with the pedal range. Or use a switch, that puls down a resistor.
While this is likely to be true, it is not always the case. Patents are overturned quite frequently and are not always bullet proof. Sometimes the threat of a law suit which can come with large legal fees along many other related expenses, subpeona of documentation, proof of prior art, threats of triple damges, etc... can influence the outcome. It is not always what you might think and not always fair.
yes, my statement was a bit theoretical. Of course this can still go to court and lead to some kind of negation. Also depends on which court/Country đ¤ˇâŚ
He even mentioned a patent on his own in the Video. Which he wouldnât have gotten granted, if there was any infringement of another patent
Hi Markus,
ja, wir fahren auch durch Rheinland, Eifel und Westerwald. Eher KÜlner Sßden⌠In Dßsseldorf selber spielen wir eher selten. Eigentlich fast nur auf der Brauhaussitzung im Schumacher. Aber klar, Alt-Schuss sagt mir was. Wir sind nur ne kleine Cover Truppe (50-60 Gigs in der Session).
GruĂ,
Andreas
Jo, siehst du ja quasi Ăźberall. Einzige Ausnahme, die mir gerade einfällt, ist Flo Peil von Kasalla. Bisher hatte ich gar keine Probleme. Hatte vorher ein pod500 (ich weiĂ, andere Liga), bei dem mir regelmäĂig die FuĂschalter verreckt. Mit dem Kemper bisher alles ok, in mittlerweile sechs Jahren (ok, mit kleiner Corona Pause ). Wo spielst du denn, wenn man fragen darf?
Hi Markus,
nein, musst du nicht. Ich bin auch im Fastelovend unterwegs und mache das regelmäĂig mit meinem Toaster. Hab ne usv dran, damit er beim rein fahren schon mal booten kann. Da es beim Toaster kein Problem ist, schätze ich dass der Stage dir das auch verzeiht.
GruĂ,
Andreas