#16
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Oh, yes they could. Steve
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Still crazy after all these years. |
#17
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The bottom line here is pretty simple. DesertTwang should use the Red Eye into a mixer in the ways in which the two pieces of equipment are designed to be used. Then he or she will be able to judge whether or not the K&K/Red Eye combination is one that works to his or her satisfaction.
In this case, the key is to use each channel of a mixer for just one signal unless before the input some other small mixer is used to properly combine and adjust the signals. Louis |
#18
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I have 3 different K&K guitars and each one sounds noticeably better going through my Redeye twin but I still have to eq them. I'd go back and hook up the Redeye XLR straight to the mixer XLR and take all the variables out of the equation and then judge from there. Also I would plug your guitar straight into the mixer and listen to it and then into the Redeye/mixer and listen to the difference.
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#19
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I have been burned (by my own actions) every time I scrambled to *get* a piece of equipment to use it -- un-tested -- for a gig. In the case of this particular scenario, amplifying an acoustic guitar via a tried-and-tested pre-amp into a PA (often the "house" PA) is usually a pretty safe/solid option as long as one uses the XLR out into a dedicated channel of the PA board. The way this event described by the OP unfolded, it was a recipe for trouble. |
#20
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Desert twang, lots of good suggestions here. I would go: guitar - input on red eye- out via XLR to mixing board. Gain set on red eye will depend. A good starting point would be 1/2 way to 3/4. Treble on red at at 1/2 and add or subtract from there.
Set channel on board EQ flat at midpoint. Turn up gain on mixing board to where signal is clipping and back it off so that it slightly peaks into clipping. I use the redeye for every acoustic gig and I always get a great tone with KK and Fisman under saddle pick ups. The 1/4 out on the redeye is good to send a feed to your stage amp for monitoring while you should also send the XLR to the board. Yes the 1/4 feed will not sound as good as the XLR feed IMO but still should sound ok. Good luck with experimenting before thinking about returning.
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1985 Ovation custom balladeer 1984 Kramer Focus 1000 1985 Fender American standard strat 1993 Gibson Les Paul Standard 2002 Taylor 310CE 2008 Martin OMC16REP 2013 Taylor 816CE 2016 Kindred OM Little Martin travel guitar Taylor GS mini Red eye preamp Fender Hot Rod deluxe Fishman soloamp Bose L1M2 B2 sub Vintage boss pedals Www.strummingtunes.com |
#21
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The effects loop output has a different impedance than the XLR output. Using the XLR output and the line input simultaneously on one channel is a bad idea.
Use the XLR out of the Red Eye into its own channel on the board and you will have a lot better results
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#22
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Deleted. No need to pile on. Sent from my SM-G930V using Tapatalk
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"Lift your head and smile at trouble. You'll find happiness someday." |
#23
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All, thank you so very much for all the great suggestions! They're all very helpful and I will try out these configurations as soon as I'm able.
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"I've always thought of bluegrass players as the Marines of the music world" – (A rock guitar guy I once jammed with) Martin America 1 Martin 000-15sm Recording King Dirty 30s RPS-9 TS Taylor GS Mini Baton Rouge 12-string guitar Martin L1XR Little Martin 1933 Epiphone Olympic 1971 square neck Dobro |
#24
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I really hope that you realize that the MOST important part of all these replies is the fact that you CAN NOT "share" a channel with another instrument without suffering the consequences...
Truth is, if all you know of that Red-Eye is what happened at this gig, then you know NOTHING about the unit... it was used in a fashion for which it was never intended... whoever you "think" actually knows about sound and PA gear in your group, obviously doesn't know enough... I would suggest that YOU take charge of your own sound; learn about the gear you have and how to get the best out of it; learn about signal chains and "gain staging"; learn how to interface your gear with a PA/Mixer to best effect. Don't leave YOUR sound for someone else to sort out, or you will largely be disappointed, and quite often...
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#25
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"I would suggest that YOU take charge of your own sound; learn about the gear you have and how to get the best out of it; learn about signal chains and "gain staging"; learn how to interface your gear with a PA/Mixer to best effect. Don't leave YOUR sound for someone else to sort out, or you will largely be disappointed, and quite often..."
Good piece of advice !
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1985 Ovation custom balladeer 1984 Kramer Focus 1000 1985 Fender American standard strat 1993 Gibson Les Paul Standard 2002 Taylor 310CE 2008 Martin OMC16REP 2013 Taylor 816CE 2016 Kindred OM Little Martin travel guitar Taylor GS mini Red eye preamp Fender Hot Rod deluxe Fishman soloamp Bose L1M2 B2 sub Vintage boss pedals Www.strummingtunes.com |
#26
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Take charge!!!
In other words, find a competent sound technician to help you understand how to catch it in the ratchet and knock it in the sprocket. Learn from a pro and you'll save yourself years...
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Harmony Sovereign H-1203 "You're making the wrong mistakes." ...T. Monk Theory is the post mortem of Music. |
#27
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Daniel, one note of consolation.....
Most people don't know the difference between a good sounding amplified acoustic and a bad one. Unless the happy couple was a pair of audiophile, chances are no one knew the difference. Small consolation, yes; but some. scott |
#28
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I bought the Red Eye fire eye recently , but I also already own the Orchid audio muting DI too . Both require EQing ..... The Orchid is a clean signal , the Red Eye is little bit colored , I prefer the Orchid but it doesn't have effects loop , boost , or treble knob , but it does mute and have an amp and tuner out , you could mute the red eye with a tuner pedal in the effects loop .... I find with the K&K that its bass and mids need cutting and treble boosted a tad , a smiley face eq setting won't work . Smiley face eq works on vocal mics .. but not for acoustic guitar pickups
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#29
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The quality of the PA system matters.
What matters more is having an experienced sound mixer to make you sound good. There's no such thing as a "magic box" -Mike
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#30
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Update: First off, thanks again to each and everyone of you who offered advice on this topic. I read every post with great interest and took a lot away from it.
In the meantime, I took my guitar and the Red-Eye to a Guitar Center and plugged into a PA there (Bose L1), either with the Red-Eye using XLR or going directly from guitar into the PA with a 1/4 inch cable. The difference was night and day. MUCH better sound with the Red-Eye. I then repeated this at home with my own mixer and a pair of studio monitors. Same result, and definitive proof that the way we did it at the wedding was the problem, potentially coupled with a subpar PA system. Now I feel much better and ready to take on the huge learning curve about all this stuff, most of which still is a mystery to me. My biggest take-away from this thread is to take charge of my own sound, keep learning about how this all works, and try out different configurations.
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"I've always thought of bluegrass players as the Marines of the music world" – (A rock guitar guy I once jammed with) Martin America 1 Martin 000-15sm Recording King Dirty 30s RPS-9 TS Taylor GS Mini Baton Rouge 12-string guitar Martin L1XR Little Martin 1933 Epiphone Olympic 1971 square neck Dobro |