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Posts posted by SteinbergerHack

  1. As I said in another thread on this subject, pretty soon you won't be able to use a snare backbeat on 2 and 4 or a I IV V chord progression without risking a lawsuit...


    I think we need to return to the idea of a jury of our peers - at least on something like copyright infringement lawsuits. The juries should be comprised of musically educated people. The general public - the average folks who wind up on copyright infringement juries - apparently totally lack the basic understanding of musical fundamentals to the point where they really don't seem to be able to make knowledgeable, intelligent and fair decisions on what is, and what isn't legal in terms of copyrights and infringement anymore.


    The lawyers in these cases work very hard to prevent anyone with any useful understanding of the subject from being seated as a juror.


    I was tossed from an auto liability jury once when they discovered that I had the training and experience to drive race cars. The contention from the lawyer was that I might discount expert witness testimony and apply my own knowledge instead. :idk:

  2. You’ll get no disagreement from me. It’s just that I don’t think telling anyone this will make a difference.


    I saw this decline in pay begin as soon as the “weekend warrior” and “dad band” thing started happening in the 90s. All these older guys who never played professionally suddenly now had the money to buy expensive gear and got together with their friends to pay for fun. It was no problem for them to play for less so they did. And the venues were happy to them. And the quality went down as well, but the venues didn’t care as long as the bands brought their friends out.


    Then people started valuing “live music” less as the quality declined.


    Downward spiral and so here we are.


    Well, that pretty much sums it up. This is what largely drove me out of "band" work and into theatrical music. I work with pros and semi-pros, everyone gets paid, we play for more than 50 people at a shot, and the audience and promoters give a rip about a quality product.


    Yeah, I still do some band gigs, but since we refuse to work for nothing (or close to it), we don't play as often as a similar band would have when I was in my 20s.

  3. . There is the X32 Rack as I'm sure you know that has accessible controls on front but it is a step up in price.

    I already have one. Too deep for the rack space I have available, and it lives in my PA rack, not my instrument rack. You are correct, though, that it would work for the intended purpose, just at way more cost, size, weight and complexity than a simple analog rack unit.


    I realize it would be a Hot Swap and you may have to ask the FOH to mute your send for a moment but it may get you through until you picked up a analog sub mixer.


    Absolutely not an option. The FOH guy sits in the tech bridge, I'm in the pit, and there is only one break in the show (intermission), during which everyone is full-bore setting for act 2.


    These are live theater shows, not bar gigs in a "dad band". Everything - EVERYTHING - happens in sync with a predefined set of cues. The entire 2-1/12 or 3 hour show will run within 1 minute of the same length every single night - there is no room for mistakes, miscues, or special requests. If I came in with a request like that, it would be the last theater gig I would play in this area.


    Have you ever been to a broadway show?


    first, I would send all instruments directly to the main mixer. Get rid of the submixer.


    Not an option. Have you ever worked musical theater? I only have one send to the FOH console for all of my instruments, and I have to control my own monitor mix.


    Next, if you have an X32 as your main mixer, just use a tablet or phone to control the mix or submix directly through the.X32.


    Even if I had access to the FOH mixer, I still couldn't do this. The channel setup starts with 20 wireless mics, then the stage mics, pit instrumentation, FX cues, etc. I am allocated one channel for guitar/string toys, period.


    Last, the wireless router is the issue with the XR12. The reason the X32 works well is that it is using an external wireless router....it doesn't matter where it was purchased from. A router purchased at Walmart is not good or bad because of where it was bought.


    True, but the bigger issue is that there is a usable front panel on the X32. Ease-of-use is marginal, but it gives a way to fix something if the WiFi goes out.


    For people doing Solo or duo work, tht XR12 is a fine solution with a decent router. Far superior to an analog mixer IMHO.


    Maybe for an open mic night or equivalent playing for 30 people, sure. I am now of the opinion that it simply is not suitable as a professional use device for mid-size and large venues, though.


    If the first thing you say is that it needs an external router, why did they put one inside it that doesn't work? IMO, it would be better to leave it out of the product than have a feature that doesn't function in a performance environment. I would not have bought it knowing that the router didn't work - I would have stuck with a simple 8 channel rack analog, because they are reliable.



  5. Your original post is below.

    I've been mixing more than 32 years


    So have I - since the early 80s.


    . If you don't feel ready to move to digital at least you found out without spending a lot more money.


    You didn't notice that I also have an X32? :facepalm:


    Taking the time to learn how to properly use WIFI


    I know how to use WiFi. I've been developing communicating products in my day gig as an electrical engineer since 1990 - and I have a handful of patents to show for it.


    Don't blame the user for a product that doesn't work properly.

  6. 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.

  7. 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.


    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.

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




    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.

  10. 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.

  11. 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.

  12. 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
  13. 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:


    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.

  15. 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.






    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!




    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:

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