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SteinbergerHack

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Posts posted by SteinbergerHack

  1. Do you really have to have wireless? Since this is for a guitar rack and your talking a theater pit why not use a cat 5 cable and adapter?

     

    Not sure how that works with an Android phone....? Hmmm.....

     

    I was reading on Keyboard Corner a guy uses the XR12 to plug all his multiple keyboards into. He has it set and never touches it. He plugs it into his powered speakers for monitoring and provides two XLR lines to the FOH. Seems to me for a guitar rack that's really all you need. A black box for providing multiple ins and outs that wouldn't need ANY adjustments during the gig.

     

    The config is basically what you describe - but the usage isn't.

     

    Pit gigs involve a bunch of different instruments - typical might be steel-string, nylon-string, electric, and a mandolin, often with very fast swaps. I have to mute the channels for the unused acoustic instruments when they aren't being played so that they don't ring/resonate/feedback, then turn 'em on just before the appropriate cues. Other than that, yes, there is very little "adjustment" going on during the show.

  2. I don't know. Set a router on the top of your rack. Plug it in and connect the cat cable. Not that hard.

     

    Have you ever worked in a theater pit?

     

    Let me be clear. There is not room in my rack and I do not want to have to add more junk to carry and connect. I would rather go back to basic analog than carry more crap. The whole point of this addition was to make my setup smaller, lighter and simpler. It's smaller and lighter, but it doesn't work and is not simpler.

     

    As far as a wifi analyzer it looks for other "Routers" in your area and the channels they are using. If there is 3 routers in the club your working in and they are all on channel 3 as an example then if your close to one of them and it has more power than the wifi in your mixer it will interfere with your communication. Just find a free or low use channel and change your router to that channel. Take a look at WIFI Analyzer. Its a free android app.

     

    I don't play clubs exclusively, and the problem isn't other routers.

     

    Imagine a Broadway-sized theater. Empty and during tech rehearsal, everything works fine. 10 minutes before the house opens, it works fine. 10 minutes after the house opens and a few hundred people are seated, it fails and will not recover. My X32 works fine in the same environment, so it is not a characteristic of routed concoles in general - this one just doesn't work properly in a live performamce environment.

     

    Once the house opens, I have very limited time to tune, set and prep. I don't have time to screw around with the gear during performance - it needs to work, period. Playing around with a WiFi scanner isn't part of the program - and shouldn't be necessary to begin with.

     

    I'm sticking with not suitable for pro use.

  3.  

    That's probably ideal for the kind of stuff you are doing - especially the show gigs where you are in the pit. That way you get to hear what you need and everybody else can get as much, or as little, guitar as they want through the foldback

     

    Absolutely! With a 9-piece horn band, it is very easy to get stage volume out of control - and then nobody is happy, because nobody can hear what they want to.

  4. That's a better choice. Sometimes the old analog world is indeed better.

     

    :D

     

    I've slowly abandoned all of my tube amps and gone digital. My main amp is a Yamaha DG80 which has served me well and required zero maintenance in the twenty years that I have had it - but I would not be able to troubleshoot or repair it in the middle of a gig. That being said, Yamaha does have a well deserved reputation for reliability.

     

    On the other hand, my Twin Reverb stopped working one night in the middle of a set. A puff of smoke came out of one of the input jacks. With a screwdriver and a spare fuse I was able to get the amp up and running while the band played one song without me. The problem was a short circuit in one of the 6L6 output tubes which physically blew up the corresponding screen resistor. It was obvious, when I slid the chassis part way out of the cabinet, which tube it was. I removed the bad tube and one from the other side of the push-pull circuit, replaced the fuse, slid the chassis back into the cabinet and was ready for the next song.

     

    I like the portability and versatility of the modern amplifiers but the old Twin served me well despite the maintenance required and the cost of replacing the tubes every year or two.

     

    Agree with everything you said here.

     

    I am really on the fence on the amp itself. I generally carry either a Bogner XTC or Marshall 3203 to gigs, run through a Two Notes Torpedo Live cabinet emulator, so it's a bit of a hybrid analog/digital system. I still carry the tube head, but not the cabinet. I hate dealing with the weight and size of the tube heads, but I just haven't found any digital amp that I like the sound of, aside from the Kemper.....and it's a bit on the expensive side. :eekphil:

     

     

    One thing I have found, though, is that doing away with the cabinet has given me much better control over stage volume. Running all my stuff through a wedge monitor aimed directly at me from downstage makes the guitar nearly inaudible to the rest of the group aside from whatever they want in their monitors, unlike an open-back amp that bleeds all over the stage. It also lets me dial in my sound on the exact same feed that the FOH tech gets. If I need more volume or wider coverage (outdoor stages), I just add a second wedge coming from the side or upstage. This also lets me run my acoustic instruments and vocal mic through the same monitor cabinet, which cleans up the stage and generally makes life easier.....which is where the XR12 was supposed to come in.

  5. As all mentioned' date=' the commodity 2,4 receiver built into these units (UI, XR, etc) is not robust enough to rely on and going to an external router helps to resolve this issue. The other thing you could try is using a wifi analyzer to determine if one of the 2.4 channels is less crowded then switch to the lower use channel on the mixer. [/quote']

     

    As I noted above, an external router isn't an option - I have no space available, and I have no interest in adding more more cables and junk to have to deal with. The reason I got the XR12 in the first place was to try to simplify my rig, and it has ended up making it more complex - a move in the wrong direction.

     

    Second, I have no way of analyzing the EMI patterns before the gig; this should be obvious, as the seats don't have the patrons in place until the house opens and everyone is seated - and by then it's too late to be diagnosing and making changes. Once the downbeat hits, I need my rig to operate without need for any sort of extra effort until the curtain closes at the end of the show. A mixer needs to act like a mixer without any other input required; while I am fully capable of managing the tech involved, I don't have the time or attention to devote to tweaking during a show. This sort of fiddling around with gear might be acceptable for a crappy neighborhood bar gig, but not for a paying theater job. The cues come at you fast in this sort of show; you don't get second chances, nor can you call a pause while you sort something out..

     

    Bottom line, I am going back to my position that this thing just isn't suitable for live use in a professional setting.

  6. Actually people are complaining about the Souncraft UI & QSC Touch mixers wifi too. It isn't just an issue with Behringer. The mixer does its job well.

     

    From my perspective, the mixer isn't doing it's job well at all. I'm in the middle of a show and suddenly I can't turn on a muted channel? Regardless of the reason or any excuses for the manufacturer's reasons, it's an embarassment, and unacceptable in a professional setting. If I can't rely on a piece of gear to do the job properly 100% of the time, it simply is not suitable for the task.

     

    The X32 Rack has a backup system - the front panel works to make changes when nothing else does. The XR12 has no backup.

  7. My suggestion would be a small wi-fi/ethernet router. You could have a small computer with ethernet as a backup in case you can't connect your phone via wi-fi.

     

    That way, if you have an issue you won't waste your time and/or get stressed troubleshooting just before the show.

     

    I'm about ready to just give up on it and go back to a small analog rackmount mixer.

     

    More stuff to carry around is moving in the wrong direction - my intent with it was to carry fewer cables and less weight. There's no space in my rack case for a router, and having to carry a laptop/tablet and power supply into every club and pit to be able to change a level or two is just nonsense.

     

    I think that this is a case where the newer tech just isn't better. I can tolerate that stuff for a mains console because the benefits outweight the difficulty, but not for a guitar rig mixer.

     

    • Like 1
  8. It's not that the mixer's internal Wi-FI is bad' date=' it's all the crap in the 2.4 band mucking things up. 5GHz is a must anywhere but at home.[/quote']

     

    Then why does a standard Wal-Mart router work fine? It seems to be an issue of not having enough memory allocated to manage a large number of devices requesting discovery info..... :idk:

  9.  

    Did you see Giannis last night? The guy's out of control...and predictable. You can tell he hasn't been playing as long as the rest of them. He's got so much size and talent thought that he's still better than anyone else on the team.

     

    Not just better than anyone else on the team....in the NBA. When he is on, he is unstoppable - Jordan-esque ability.

     

    Next year, adding Zion Williams into the mix will make things very interesting.

  10. It will be interesting. No one has taken the Bucks seriously, it seems, but they are frighteningly good.

     

    Indeed. They went 4-0 and 4-1 in the first two playoff rounds, and are up 2-1 in the third. Brutally good.

     

    That said, I would not suggest that nobody has taken them seriously. They had the best regular season record in the league, and you don't get there by luck.

     

     

     

     

  11.  

    I'm glad you used the words "rough" and "functionally" here. It would be more accurate to say that Steve Vai is the equivalent of Paganini but in a highly degraded cultural context. :0

     

     

    Really? I would say not!

     

    https://www.encyclopedia.com/history/news-wires-white-papers-and-books/niccolo-paganini

     

    Paganini consciously cultivated an eccentric image, which combined with his almost “demonic” ability to play the violin to make him famous. As his renown spread, box-office receipts from his concerts grew. He wore his wavy blackhair long and invariably performed in a black coat, long trousers, and a colored waistcoat.

    [...]

    As the virtuoso pianist and composer Franz Liszt (1811–1886) later observed, “The excitement he created was so unusual, the magic that he practiced upon the imagination of his hearers so powerful, that they would not be satisfied with a natural explanation. Old tales of witches and ghost stories came into their minds; they attempted to explain the miracle of his playing by delving into his past, to interpret the wonder of his genius in a supernatural way; they even hinted that he had devoted his spirit to the Evil One, and that the fourth string of his violin was made from his wife’s intestines, which he himself had cut out.” Paganini’s sinister reputation was further secured in 1816, when he was accused of impregnating a woman half his age and then trying to convince her to abort the fetus. Paganini claimed he was innocent and being framed because he was rich and famous, but nonetheless he was fined and sentenced to a brief term in prison.

    [...]

    In 1833 he returned to Italy, and in 1836—suffering from ill health and exhaustion—he ceased performing altogether. He then embarked on an entertainment business venture in Paris, the Casino Paganini, where he and his partners hoped to combine gambling, musical performances, and dancing in one venue.

     

    Which one were you suggesting operated in a "degraded cultural context", again? Paganini sounds like the prototypical rockstar to me....:idk:

  12. If you had wasted your college education on a music degree, then you'd understand!

     

    I got the first two years of a music degree, and qualified for a minor but didn't request it on my diploma.

     

    FWIW, in my current playing, I ride the border between the two. Both my horn bands and my theater gigs have some degreed players who have studied performance, and many of them (not all, but most) cannot improvise to save their lives. We also have "untrained" players who always think in terms of making music, rather than in terms of following the chart/score. Players with both are rare and incredibly valuable.

     

    Anecdote - about a year ago I was directing a theater gig, and I gave the instruction that we would do a playoff based on one of the "rock" numbers from the show, play the head, then two verses through with soloists each 12 bars, then the last 4 bars of the score as an "outro". The drums, bass, guitar and keyboard played it perfectly as described without even looking at the score; the concertmaster (lead violin), asked me if I would chart the playoff so that the string section could follow it. Different ways of approaching music - not good or bad, just different.

  13. That music has become like classical music where we go to the symphony to hear the works of the masters being performed, as written, by highly skilled musicians.

     

    I have always failed to see the difference between "classical" and pop music as the stark line that so many people seem to envision. From my perspective, the only substantive differences are the "born on" date and the fact that the only old music that we still losten to is the 10% that isn't garbage.

     

    For example, I see Paganini as the rough equivalent of a Steve Vai or Miles Davis; Mozart is a bit like a Michael Jackson. How are Strauss' waltzes functionally different from modern dance music, or a Mussourgsky work terribly different from a Steely Dan album?

     

    On second thought, there is a third difference - the performers. "Classically trained" players focus on very precise execution of existing works, while most people who perform contemporary material focus on stylistic authenticity and creativity/improvisation. The truly top players can do both, but most of us are specialists in one or the other.

     

    In short, the stuff that still gets covered by high level players 20 years or more after release is generally just the best of breed from a given period, and this is completely independent of when it was written.

     

    JMO, YMMV.

    • Like 3
  14. I'm on a half acre in a semi-rural area. Just close enough that I can get into the city fairly fast (an hour or two, depending on exactly where I need to go, and the traffic) but away from a lot of the noise, traffic and light pollution. And a half acre lot (with all of the neighbors having similar or larger sized lots) is big enough that it puts me far enough away from the neighbors that the inverse square law works in my favor... I can blast away as much as I want, whenever I want, and not disturb anyone.

     

    With 30 acres, I doubt anyone would hear you, even if you had Deep Purple playing a house party at your place... ;)

     

    Well, the neighbors might be able to hear it, but it wouldn't be anywhere near as bad as a dog barking next door in an average subdivision.

     

    In general, I don't worry much about what anyone else thinks - we can do as we like and when we like it. It's not for everyone, as the maintenance isn't minor, but there are a lot of advantages.

    • Like 1
  15. I already have the guitars I want for the most part.

     

    The most coveted music-related thing you could have where I live is a space where you can keep all your gear and play it as loud as you want, whenever you want.

     

    I solved that by living on a 30- acre farm. Screw the city - I drive in every day to work, and am happy every time I leave it behind.

    • Like 2
  16.  

    Yeah, bridge single coil almost useless. But position 2 is pretty much what a strat is for..or position 4.

     

    With you on that - those two positions are the iconic strat sound that you can't get from other configurations. Honestly, I find that I'm either using bridge-only HB, neck-only HB, or one of those two in single-coil. I rarely ever use a single-coil by itself, nor do I use mixed HBs. JMO, YMMV, etc.

    • Like 1
  17.  

    Back in those days (early 70s) my friends and I would peel the Made In Japan stickers off our copies.

     

    Now I seek out Japanese guitars - it's one of those "if I knew then what I know now" situations.

     

    Yes. I have a Japanese-built Westone (Pantera?) from the early 80s that I bought new, sold, then bought back a year later. Through-neck, HSH pickups, pull-pots to select about any configuration, and plays incredibly smoothly. I did a LOT of performing and recording with that guitar over the years, and it's going out with me tonight to a club gig. It's the one that almost got away.

     

    When I bought it, it was a hideous metal-flake blue burst - it looked exactly like this:

     

    [ATTACH=JSON]{"data-align":"none","data-size":"full","data-attachmentid":32511624}[/ATTACH]

     

    Now, it is a hideous yellow-green neon finish that was really trendy in the late 80s. C'est la vie.

    • Like 1
  18. Hard to say which was the worst loss - there have been a few.

     

    Probably my first Les Paul - an early 70s clownburst Deluxe. I got it when I was 16, then let it go when I was 19, because I started playing with a band that had an endorsement deal. Not smart. :facepalm:

     

    A very close second was the '60s Epiphone Casino that I traded to get the LP. :facepalm: :facepalm: I worked for two years delivering newspapers to get that guitar.

     

    I've never had a pedal that I missed after it was gone, and there's only one amp that got away that I would like to play through again today....but given the collection I have now it's probably more about nostalgia for the gigs I played with it than actual good sound.

     

    Now, the best sounding amp I ever got to play through was probably the house amp at a theme park gig I had for a year - an old Super Reverb that was just magical. I tried to buy it from them....no chance. It probably went in the dumpster when they stopped using live music.:facepalm:

    • Like 1
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