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About Brian McConnon
- Birthday 11/30/1999
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Phoenix, AZ
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Man of mystery... 🤔😂 The L-80's work great for a practice setup like this. Miked in stereo and with a little EQ, they sound pretty decent when mixed with the kit and whatever I'm practicing along with. They are waaaay closer to playing real cymbals than rubber, but of course don't quite sound and feel like the full monty.
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I'm mainly using electronics on a practice kit so I can be quiet in the house and still have as close to an acoustic experience as possible. I don't record much, but play live in two bands with acoustic kits that I take out - Gretch and DW. I sometimes use a multipad for electronic sounds, sound FX, or an occasional loop. Here is my practice setup: A Gretch Catalina Club kit with mesh heads and Roland triggers on the toms, and Alesis SE Pro snare and a Roland KT-10 kick pedal. These all trigger custom multilayer kits I built in an Alesis Strike Multipad. I don't like hitting rubber so I use Zildjian L-80 cymbals with a dual capsule Austrian Audio mic (seen above the kit sideways to pick up L and R) and run everything through a mixer and headphones. Feels great, sounds great and I can play anytime day or night and not disturb family and neighbors.
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How so? I can't see it failing from a financial perspective as both companies have strong core businesses and solid reputations. Plenty of acquisitions operate as separate entities. As far as co-product development, who knows? But I'm excited to see what they come up with.
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That's exactly what we're hoping to get to. With drums, 4 horns, guitar, bass and keys the stage volume is high naturally so we want to eliminate wedges to cut it down, not to mention sound-checking that many players takes forever! If we can get everyone on IEMs and roll in 90% there, great! Another question: have you run into any FOH guys that were reluctant or outright refused this method? I've heard some don't want to unpatch/patch their stage snake on multi-band bills.
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Thank you! Really helpful. We've looked at Seismic and were wondering about durability at that price point. How do you find the build quality? I guess if it's in a rack rather than on the floor it's out of harms way. I've read some accounts of loose-fitting XLR connections - have you experienced that? Most importantly, have you lost any channels over the 80-90 gigs?
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Thanks, Craig. The band is using a Soundcraft Ui24R and players control their own monitor mix from their phone. Works great. In small venues with no FOH, a stereo out is fed to the house and mixed from the same Ui24R via an iPad. Pretty much set and forget. I'm trying to make it easy for FOH in larger venues or festival set-ups to patch in and mix the band while the band maintains their familiar monitor setup, hence a splitter snake.
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Fender owned Gretsch Drums, which it sold to DW in 2015 along with Ovation, LP Percussion, Toca, Gibraltar and KAT.
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A question for the “stage” portion of the forum (live sound engineers): Has anyone had any issues using a NON-TRANSORMER-ISOLATED splitter snake to send signals from the stage to both a monitor mixer and FOH mixer? I’m not looking for theory, but real-world experiences in venues or tours that use separate monitor/FOH positions. It seems the internet is full of “potential/theoretical” issues using phantom power with a direct wired split, but I can’t find any actual examples of mixers, mics, or equipment being damaged by doing so. I have found a few cases of ground loop hum, but it seems to be rare and easily fixed with in-line lifts or running both mixers off the same circuit. In my case, the band wants to control their own in-ear monitor mixes and simply provide the venue with a tail for the FOH mix. This is for three reasons: consistency, lower stage volume, and to cut down sound-check time (it’s 7-8 piece band). The cost differential between direct wired and transformer-isolated splitters is substantial and I’m trying to determine if it’s worth the expense.
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https://www.dwdrums.com/roland As a drummer who at times plays acoustic drums, electronic drums, and a hybrid set - I love this!!! What do you think (or hope) they will come out with??? Oh, where the imagination can go... 🤗
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🤯 Gotta post a pic - I must see this of what you speak!!!
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If you're looking for a dry ride cymbal with great definition, check out the Zildjian Uptown Ride. At only 18", I think this one gets overlooked a lot. This thing has got something... different. I love Phil Selway's (Radiohead) cymbal sound and saw he used an 18" Breakbeat Ride on a lot of their recordings and live. The Uptown Ride is based on that model which is now discontinued. Very similar look and sound. It cuts nicely on live gigs and the dry sound works great for the type of music I'm using it for (punk-ska). I also love my 21" Sweet Ride for a more traditional sound, but it's nice to have a different tonal option.
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I've found racks work great for home/studio setups that mainly stay in place. They keep floor clutter down and leave room for mic stands, etc. I don't like racks live, mainly because they aren't easy to transport. Sure there is less to assemble, but you gotta get that thing to the gig. Currently, I use 4 cymbals and one rack tom live - all mounted on just 2 heavy-duty stands. Tom/crash/splash on one to the left of the kick and ride/crash on one to my right. The stands are partially assembles in the rack case and my setup is pretty efficient. If you have more toms, maybe a rack would be better?
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When I was teaching, I had good results with grouping rudiments, beats or techniques that were complimentary to practice in blocks. This way, you don't get bored with one over and over, but have a little variety while working on a group of similar things. Then add the next group that builds on that, then another, then another... May ways to slice this pie.
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I got a conga/perc gig in Mexico this summer.
Brian McConnon replied to Montunoman 2's topic in Hit It!
Very cool!!! Nice playing and looks like a great gig - big stage, nice sound and a lively crowd. Congrats! 🥳 -
Yeah, I can see that. When I think about it, I've sought different cymbals, independent of brand, depending on the music I'm playing at the time.