#61
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Why Do Many Amp-Type Products Seem To Be Missing One Or Two Key Features?
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You're correct, those effect features are also missing. I tend not to need compression, so it's easy for me to forget it. I guess that needs to be added to the list. I use the gate and compression when I am using the TouchMix, but only because it's there. :-) I would also add that if you have a quality font end, and don't need their mixers, or speaker networking functions, the Line 6 products are not that much more compelling than lower cost quality speakers. It does have excellent onboard DSP that switches automatically depending on the physical positioning, and feedback control. So maybe that's worth it? Sent from my iPhone using Tapatalk Pro
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"Lift your head and smile at trouble. You'll find happiness someday." Last edited by martingitdave; 05-22-2017 at 07:31 AM. |
#62
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Also the Fletcher Munson curve is also why for the most part a 2 band low and high, EQ is sufficient ( unless one need to notch/subtract a particular bad mid frequency) but unfortunately most eq on mixers have no Q control and the preset Q is usually too broad to be of much real use for surgical subtractive EQ'ing
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Enjoy the Journey.... Kev... KevWind at Soundcloud KevWind at YouYube https://www.youtube.com/playlist?lis...EZxkPKyieOTgRD System : Studio system Avid Carbon interface , PT Ultimate 2023.12 -Mid 2020 iMac 27" 3.8GHz 8-core i7 10th Gen ,, Ventura 13.2.1 Mobile MBP M1 Pro , PT Ultimate 2023.12 Sonoma 14.4 Last edited by KevWind; 05-22-2017 at 10:09 AM. |
#63
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I was playing through a cute little amp a few years ago in a music store. I think it was a Trace Elliot. I had started to talk myself into it. It was small enough to be very portable, had a lot of nice features. I pictured using it for small gigs and then taking a line out when I needed more and using the amp as my mixer/monitor. I was getting excited....then I realized there was no DI out! Always one or two things missing! Matt |
#64
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Cuki
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Martin 00-18V Goldplus + internal mic (2003) Martin OM-28V + HFN + internal mic (1999) Eastman E6OM (2019) Trance Audio Amulet Yamaha FGX-412 (1998) Gibson Les Paul Standard 1958 Reissue (2013) Fender Stratocaster American Vintage 1954 (2014) http://acousticir.free.fr/ |
#65
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I have been a player in this thread and the one I started along the same lines. Open - Road - Matt and I are in agreement on this... No system that does it all.
Question... What systems have 'outs' for each channel separately. This is a big requirement for gigging yet I rarely see it, not even on mixers. P. S. Someone should send this thread to all the sound system builders.
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Martin D-28 '67 Cole Clark Fat Lady 2 Taylor Doyle Dykes Custom Alvarez Fender Strat '69 Gibson 1942 Banner LG-2 Vintage Sunburst Gibson SJ-200 Taylor Myrtlewood 12 string Emerald X20 Godin Montreal w/piezo |
#66
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That's funny you all mention those features
1) separate outputs 2) Trace audio 3) Compressor (shape button) That's the TA-100 (last gen)
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Martin 00-18V Goldplus + internal mic (2003) Martin OM-28V + HFN + internal mic (1999) Eastman E6OM (2019) Trance Audio Amulet Yamaha FGX-412 (1998) Gibson Les Paul Standard 1958 Reissue (2013) Fender Stratocaster American Vintage 1954 (2014) http://acousticir.free.fr/ |
#67
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Fishman loudbox artist
has separate DI outs
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Martin 00-18V Goldplus + internal mic (2003) Martin OM-28V + HFN + internal mic (1999) Eastman E6OM (2019) Trance Audio Amulet Yamaha FGX-412 (1998) Gibson Les Paul Standard 1958 Reissue (2013) Fender Stratocaster American Vintage 1954 (2014) http://acousticir.free.fr/ |
#68
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The reference or connection to Fletcher Munson is not a direct reason or use of per se, but more of an observation of a possible indirect or perhaps incidental, cause and effect connection . Taking note of the fact that much of the room noise is in the range of the Fletcher Munson curves or ( equal loudness contour ,as it is called now) as is a fair amount of the music (particularly as far as the intelligibility of the vocal ) . So it could be said that the room noise particularly within the Fletcher Munson curves the range that listeners are most sensitive to, serves to mask some of the music and intelligibility. Then given the room noise is more or less fixed in volume. So that by a slight raising of overall dynamic level of the music while (hopefully) still not getting into distorting (something helped to be accomplished by compression) and not necessarily just increasing the system master volume. Your are now giving a slightly better overall dynamic music signal to room noise ratio to the listener, and makes the sound a bit more forward to the listener without a significant noticeable jump in volume, as if you were to simply turn the master volume up. And the advantage to that is you are getting this more forward sound, without simply turning the volume up on your system which almost always results in the audience also increasing their volume.
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Enjoy the Journey.... Kev... KevWind at Soundcloud KevWind at YouYube https://www.youtube.com/playlist?lis...EZxkPKyieOTgRD System : Studio system Avid Carbon interface , PT Ultimate 2023.12 -Mid 2020 iMac 27" 3.8GHz 8-core i7 10th Gen ,, Ventura 13.2.1 Mobile MBP M1 Pro , PT Ultimate 2023.12 Sonoma 14.4 Last edited by KevWind; 05-22-2017 at 01:47 PM. |
#69
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As for the Fishman amp, I'm not sure anyone else does better than Fishman with inputs and outputs. It seems like most of their products have a main mix DI out and balanced outputs for each channel. I wish they had pole mounts or even mic stand mounts for the smaller amps. I had an old Loudbox 100 a while back. I made a little wooden tray with a speaker stand adapter that got the amp up to a good height. I've seen some Fishman amps with a little kickstand so you can tilt them back at least a little. Not enough to use as a monitor but it's a step toward the right direction. Matt |
#70
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I recessed a top hat for a pole in my previous loud box mini. It worked great. Hard to reach he controls though. Sent from my iPhone using Tapatalk Pro
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"Lift your head and smile at trouble. You'll find happiness someday." |
#71
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Were you in danger of hitting anything important? Those seem like nice little amps and having the option to put one on a stand would be even better. Matt |
#72
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Martin 00-18V Goldplus + internal mic (2003) Martin OM-28V + HFN + internal mic (1999) Eastman E6OM (2019) Trance Audio Amulet Yamaha FGX-412 (1998) Gibson Les Paul Standard 1958 Reissue (2013) Fender Stratocaster American Vintage 1954 (2014) http://acousticir.free.fr/ |
#73
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Wow, you found that faster than I did!! :-) Sent from my iPhone using Tapatalk Pro
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"Lift your head and smile at trouble. You'll find happiness someday." |
#74
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I use a Pearl drum accessories table for my small amps. Its fully adjustable in height, stable and breaks down. Its large enough to hold almost any acoustic amp....18" deep X 24" wide, felt on top, sturdy tripod stand.
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Martin D-28 '67 Cole Clark Fat Lady 2 Taylor Doyle Dykes Custom Alvarez Fender Strat '69 Gibson 1942 Banner LG-2 Vintage Sunburst Gibson SJ-200 Taylor Myrtlewood 12 string Emerald X20 Godin Montreal w/piezo |
#75
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Basically you increase gain on whispers and limit the gain on howl: and translate your dynamic range just above/around the noise floor. Can you confirm? Cuki
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Martin 00-18V Goldplus + internal mic (2003) Martin OM-28V + HFN + internal mic (1999) Eastman E6OM (2019) Trance Audio Amulet Yamaha FGX-412 (1998) Gibson Les Paul Standard 1958 Reissue (2013) Fender Stratocaster American Vintage 1954 (2014) http://acousticir.free.fr/ Last edited by Cuki79; 05-22-2017 at 02:59 PM. |