cheeseweasel

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  • #1249891
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    cheeseweasel
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    Good to see this thread is still alive and kicking, and scaring off new members 🙂

    #1279172
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    cheeseweasel
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    Just PM’d you my email address. If you get in touch I’ll dig a couple of old hire agreements out and ping them over.

    #1279174
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    cheeseweasel
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    avatar58042_1.gif

    #1279004
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    cheeseweasel
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    I always thought it was something to do with this fat Hawaiian dude covering Somewhere over the Rainbow a few years back and spawning a rash of those kind of nauseatingly twee adverts full of whimsical ukelele music and whistling.

    https://www.youtube.com/watch?v=V1bFr2SWP1I

    https://www.youtube.com/watch?v=0FIgDWRCCqA

    #1279015
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    cheeseweasel
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    five-garden-hoses-tangled-together1.jpg

    #1278932
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    cheeseweasel
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    #1278981
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    cheeseweasel
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    I’ve never really been sure why ‘C’ weighting isn’t more commonly used for SPL measurement – it’s certainly more suitable for the types of SPL found in typical listening environments.

    So what’s the conclusion then? That the vocal is louder on the second track? It’s certainly a lot less compressed.

    #1278931
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    cheeseweasel
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    Funnily enough I was using the newer model of this yesterday, the HY03 (they are common in corporate-AV-world for speakers giving presentations over the phone from America etc). Afraid I don’t know as much about them as I should, as they generally ‘just work’ when you plug it into an appropriate phone socket (for me, it’s usually an ethernet line patched into the venue/company’s phone system and converted to RJ11 for connection to the hybrid). Never really had to fuck with the settings on the unit.

    If yours is like the ones I’m used to, it should be as simple as:
    – Plug standard phone handset into ‘handset socket’
    – Connect phone line to ‘line’
    – Power on
    – Pick up handset – you should hear dial tone (if you don’t then something not right and needs sorting before going any further – I’d tend to suspect the line rather than the unit)
    – Connect ‘output’ to a spare channel on desk
    – Connect ‘input’ to a post-fade mix containing everything except the channel you just connected the output to (called a ‘clean-feed’ – prevents the caller from hearing themselves and creating feedback) – or for testing purposes just feed it with an ipod or whatever
    – Pick up handset and call your mobile
    – Answer your phone. You should be able to have a two-way conversation between the two phones
    – Bash the big button on the hybrid to patch the call into the desk

    Sounds like GL is a lot more clued up on these things than I am anyway, but that’s the procedure I use and I’ve never had any issues.

    Incidentally the hybrid didn’t work yesterday, as the phone lines in the room had been unpatched down in some basement room that nobody had security clearance to enter (being a large, well-known corporate bank), and from what I gathered, all of their network switchgear was controlled remotely from a different site in Bangalore. So it didn’t get used.

    #1278832
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    cheeseweasel
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    #1280871
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    cheeseweasel
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    #1165457
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    cheeseweasel
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    #1278120
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    cheeseweasel
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    @General Lighting 562833 wrote:

    Although Behringer gets a bad name and I wouldn’t use much of their earlier kit it for a mobile installation a lot of the bad stuff is from a time when the whole world was swamped with particularly bad electrolytic capacitors due to a Taiwanese “entrepreneur” stealing a fomula for the electrolyte from his former Japanese employers; these elcos got into everything made from around 1999 to 2012. Some US computer companies have had to pay out billions in lawsuits because of them.

    That’s interesting to know.

    People can poo-poo these mixers, but they do find their way around; I was using one a few weeks ago on the front end of an interpretation system that was relaying audio to George Osbourne, the Chinese Premier, several hundred delegates and the BBC for live broadcast. The job only called for a mixer with a single mono input, and the production company clearly had no issue with using the Behringer. It worked fine (although not the most satisfying job I’ve ever done! :wink:).

    Behringer kit is becoming much more accepted than it was a few years ago when they were just producing bad rip-offs of other companies’ designs. And some of the newer stuff is excellent – it seems like every hire company in the country now owns an X32 – been tempted to buy one myself, but can’t really justify owning a desk at the moment.

    #1278123
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    cheeseweasel
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    Why not try using a long, unbalanced cable (e.g. a very long stereo phono cable from CPC) and see if you find its performance acceptable before forking out on something more complex? I’ve been surprised at the length possible with these cables; after all, most classroom/boardroom AV setups use long, unbalanced lines for PC sound input into an amplifier without major interference problems.

    If that doesn’t work, how about a pair of cheap phono-to-CAT 5 baluns to send the audio down a standard network cable as a balanced line? PSG08179 – PRO SIGNAL – CAT 5 BALUN, AUDIO | CPC

    #1263060
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    cheeseweasel
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    So I’ve just finished prepping a whole stack of walk-up music for an award show I’m mixing in a few days and was reminded of this thread, as it’s really hit home just how much louder today’s music is, compared to that made only 10 or so years ago.

    For those not interested in watching award shows (I would generally include myself in that group), it is usual for each winner, presenter, sponsor etc to walk up to the stage accompanied by music (often pre-recorded pop music, whatever is in the top 10 at the time). The sound engineer replays this on cue from whoever is calling the show. It’s important that all tracks play at the same perceived level of loudness for the audience, so I trim the gain for each track to bring them roughly in line with each other. Amongst the cheesy, over-compressed pop, I’ve managed to sneak in a couple of bangers (e.g. Walk This Land by EZ-Rollers), and I’ve had to bring most of the modern pop music down fully 8 or 9dB to make it sound as loud. Bear in mind that an increase of 10dB is generally equated to a perceived doubling of loudness, and you can see how much louder things have actually become!

    #1280870
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    cheeseweasel
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    [SOUNDCLOUD]https://soundcloud.com/forddnb/asa-joe-ford-real-talk[/SOUNDCLOUD]

    [SOUNDCLOUD]https://soundcloud.com/electrocado/seizure-salad[/SOUNDCLOUD]

    #1165455
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    cheeseweasel
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    [SOUNDCLOUD]https://soundcloud.com/forddnb/asa-joe-ford-real-talk[/SOUNDCLOUD]

    [SOUNDCLOUD]https://soundcloud.com/electrocado/seizure-salad[/SOUNDCLOUD]

    #1280869
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    cheeseweasel
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    #1165454
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    cheeseweasel
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    #1249890
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    cheeseweasel
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    Funny as this was a couple of years back, maybe it’s time to retire this thread, given that it seems to scare off some of the new members that the site probably needs right now? Would also save GL from having to explain the joke every time someone posts!

    #1277711
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    cheeseweasel
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    Nice! Might even have a stab at that myself.

    #1277493
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    cheeseweasel
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    Wezelstep

    #1277492
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    cheeseweasel
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    Shitecore, sounds like sped up Scooter in Dutch. :yakk:

    #1077107
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    cheeseweasel
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    I can’t believe this tune is now over ten years old. Still one of my absolute favourites…

    http://www.youtube.com/watch?v=78dMQr8qA_g

    #1277271
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    cheeseweasel
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    I’ve used the DC448 plenty of times but not seen this install version before. It looks like a nice piece of kit, and I’m surprised it’s so much cheaper than the 448, which on paper looks pretty similar (and they do both appear to have PEQ on the inputs). I guess maybe the DP448 is such an industry-standard piece of kit that it can command the higher price? I would also imagine the DC1048 is not quite as ruggedly built as their more expensive touring range (the DC448 is built like a tank), being intended for the install market so might not take kindly to being bumped around, but as I said, I have no actual experience with it. Out of interest, how much is the DC1048?

    The phoenix connectors are a minor pain in the arse but if the unit is going to stay in the same amp rack then a couple of hours spent with a soldering iron making up a few custom cables and a suitable I/O patch panel would be all that’s needed to integrate it into your rig.

    If you’re looking to spend around the £1000 mark, have you checked out Xilica processors? Their XP4080 is around £800 and is 4-in/8-out. We use a couple for bi-amped monitor racks (running 4x bi-amp wedge mixes each) and I’ve been quite impressed (well they sound pretty good to me and they still work!).

    #1280868
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    cheeseweasel
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    [SOUNDCLOUD]https://soundcloud.com/ltnghtmx/jamie-xx-untitled-unreleased[/SOUNDCLOUD]

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