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Dr88s

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About Dr88s

  • Birthday 11/30/1999

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    Montreal, Canada

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  1. I have a stage 2 EX (73) but I’m GASsing for a Numa Piano X for it’s action, portability, and USB audio interface to bring in iPad apps etc. (I’m in Canada too, if you ever do decide to sell FYI).
  2. I could foresee having much more control over the sound engineers if this was a regular touring band, but I’m for the most part a hobbyist. Most of my gigs out are one offs for various fundraisers. I’m getting known in my community as a guy who can join bands being cobbled together for a single show here and there and get the job done. Thus, it’s a different sound crew each time with no consistency from gig to gig. As you said, I can’t really understand how things possibly change once the monitoring mix is already set to a satisfactory level.
  3. it varies, of course. Sometimes they are in restaurants/bars in which case there are bare bones systems, other times in much larger venues where many professional acts will perform when they come to town. In the latter type of place, there is actually a completely separate monitoring board and tech sitting sidestage, whereas the FOH main mixing desk is way out where the crowd sits. I would presume that having a dedicated monitoring tech would deal with all of these issues, but, wouldn’t you know it, same types of problems, even in the professional venues.
  4. This is entirely possible!
  5. So this is EXACTLY what I’m doing, just with a Shure pack instead of the rolls. The issue is the sound engineers for some reason don’t just “set and forget”. First five songs are great. But then suddenly the electric guitar disappears from the mix altogether with the others heard just fine. I guess the difference is that you are getting the feed intended for the main PA and not a specialized stage mix.
  6. I just want to hear what I’m playing and where we are in the song. The rest is bonus. Currently I sum my KL out outputs with a Y-cable and I’m sure I’m giving myself all sorts of phasing issues. It doesn’t bother me. If I can hear my notes and I can hear vocals bass and guitar enough to make sure that the song is proceeding as intended I’m happy enough. Bandmates always complain about their wedge mixes too but at least when I’m getting a decent monitor feed I have no complaints. The in-ears are awesome and a game changer… when they work.
  7. I have these for practices. I should throw them on stage just in case I need them.
  8. I’d like to achieve minimal SPL that will work. Other band members don’t seem to have a problem with the levels put out by the wedges but I find them uncomfortably loud and don’t want to compromise my long term hearing. I’ve seen some bands on Sufism media post and their drummers are on e-drums and their sound is pristine. The drummer sets the volume of the room in my experience.
  9. Great if you have that opportunity. I can ask but I doubt it’s available. Last night’s was a show at a place that doesn’t usually host live music. The sound engineers had a lower end analog mixer. Individual control would be a nonstarter.
  10. My bad. The other P4HW *input*. There are two inputs with a thumb wheel that sets the relative balance between inputs. I’ll try edit the post for clarity. As for the rest, yes, I’m 99.999% the issues are solely on the mix/monitor engineers. I can fix that as these aren’t my people. I’m just looking for ways to work around what seem like inevitable mistakes.
  11. @Dave KeysI never would have thought of using a Zoom recorder as a mixer with built in mics. Cool idea. Maybe I should just buy a condenser mic to add to my mix that I could turn up if things from the FOH monitor feed go south.
  12. Last year I tried using IEMs on a live gig and swore to myself I’d never go back to wedges. Wedges never gave me a fraction of the clarity I could hear in-ears. The issue is, I play a lot of one-off shows with different bands, none of whom have a dedicated ‘sound guy’. The bands either hire the venue’s guy or a third party, who somehow can’t seem to keep something or other from messing up over the course of the show. They all seem comfortable in providing me a feed over XLR to go into my Shure P4HW wired bodypack just as they’d connect one to a wedge. The other P4HW XLR input is fed from a monitor send of my Key Largo giving me control of how much ‘me’ I hear. When it functions, it’s truly incredible. But so far, at some point every single show, their monitor feed either cuts out completely to me (my local feed stays intact indicating it’s not the bodypack), individual instruments drop out of the mix, etc. If that was to happen using a wedge, I could still rely on some stage noise to follow along, but with my good fitting and well isolating ear monitors, the stage noise is largely gone and I’m dead in the water playing without hearing the rest of the band or at least some of my bandmates. So far I’m 0/3 going a full show without something going very wrong. Last night the ears cut out completely 2/3 of the way through the show and the sound guys had no idea why. I ended up playing without ears right next to the punishingly loud cymbals. At a show in December, my electric guitarist disappeared entirely from the mix and I completely missed the predetermined cues as to when he was finished his improvised solo. I don’t want to go back to a wedge but IEMs aren’t working either. Any advice short of bringing my own sound people (not an option)? Buy a set of monitors with an ambient port I can open in an ‘emergency’ to get back some stage noise? Have any of you ever faced this before?
  13. This is above my pay grade! I’m curious if this would only manifest as occasional dropped midi notes without any other noticeable effect.
  14. No brick on mine. Just a figure-8 connector to wall. I presume the brick was internalized. I’m not sure if that could cause interference. It’s otherwise fine.
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