Taperssection.com
Gear / Technical Help => Ask The Tapers => Topic started by: barthatronic on May 24, 2004, 03:01:25 AM
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Hello,
After being sent here by some folks at SharingtheGroove.com, I've been browsing this site for the last couple of weeks trying to learn as much as I can in a short amount of time. I'm no audio engineer, but I'm eager to learn what I need do to get the job done right. My favorite band, Guided by Voices, is playing their final shows throughout this year and I'd like to tape as many as possible. I'm sorry to resort to asking questions before thoroughly studying the entire site, but I'm crunched for time and the people on here provide info masterfully. So, here goes...
I've ditched the idea of trying to tape any shows with my old, yet pristine, Sony MZ-1 MD and (after what I've read here) I'm about to purchase a Creative refurbed 20GB JB3 from eBay. I've read the JB3 FAQ (which is excellent) but still feel I need help filling in some gaps. I guess I really need some advice as to what other gear I'll absolutely need. I've been looking for good quality, low cost mics (somewhere around $100? I'm considering powered mics from Giant Squid Audio Lab) but I'd also like to be able to patch in to the soundboard (if possible at venues). I'm looking for simplicity (less gear, but the right gear) and versatility (possible situations to include stealth/SBD/mic stand).
Pardon the pun, but I need sound advice. Your recommendations, purchasing suggestions, and links would be much appreciated. Thanks in advance...
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read this (http://www.soundprofessionals.com/cgi-bin/gold/category.cgi?category=120&item=SP-CMC-2&type=store)
probably the most kick ass mini mics for the price. I can loan you my battery box to power these mics. IMNSHO, these are better than Giant Squids.
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These SPCMC2 mics are fab..I've just made my 40th stealth recording with them in 1 1/2 years. Zero problems.
Please spend the extra (don't forget the battery box w/bass roll off), you won't regret it.
Only thing to note is the mics need careful mounting to make sure they face towards the speakers.
Humbug
UK
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So you both recommend the mics from Sound Professionals over the Giant Squids. There's a significant price difference once you add in the clips, battery box (and not phantom power?) and bass roll-off (which is also recommended, correct?). I'm looking at around $184 vs. $80 before shipping. And I should be looking at cardioids instead of omni, right?
Will I need anything else other than those mics and the JB3? What about ADC? Is it necessary? Any advice on that? How significant is the sound difference? What's the best ADC for the price?
Also, where can I buy the necessary soundboard adapter cables for the best prices? Difference in quality by vendor? What's the most common adapters used? Most of these shows will be in small to mid-sized venues. Any advice on this topic is extremely helpful (I'm thinking I might be able to get soundboard access).
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Few things, if GbV allows taping, get a bigger "non-stealth" rig, its easier. If you ahve to stealth, go with the best mics possible. You don't have the luxury of tons of gadgets in line between the mics and recorder (like preamps, and ADCs, etc.) so get good mics. Personally I feel the mics are the most important part of the rig, being the "ears".
As for ADC (Analog>digital convertor) the AD20 is designed to be portable, though it may not be stealthy (3"x5"x1"). Its probably the smallest, yet excellent quality, ADC out there.
To record AUD cheaply with NJB3:
SPmics>NJB3 (line in) - simple easy.
Add the AD20:
SPmics>AD20>Optical>NJB3 (optical in) - little bit more stuff, just as easy, perhaps better sound, though mic position is MOST crucial. This rig will give worse recordings if in the wrong spot.
To record SBD:
SBD>RCA to 1/8"TRS cable>NJB3. easy simple, just like the AUD.
Good luck!
T
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So you both recommend the mics from Sound Professionals over the Giant Squids. There's a significant price difference once you add in the clips, battery box (and not phantom power?) and bass roll-off (which is also recommended, correct?). I'm looking at around $184 vs. $80 before shipping. And I should be looking at cardioids instead of omni, right?
Will I need anything else other than those mics and the JB3? What about ADC? Is it necessary? Any advice on that? How significant is the sound difference? What's the best ADC for the price?
Also, where can I buy the necessary soundboard adapter cables for the best prices? Difference in quality by vendor? What's the most common adapters used? Most of these shows will be in small to mid-sized venues. Any advice on this topic is extremely helpful (I'm thinking I might be able to get soundboard access).
Like I said, you can borrow my battery box so you don't have to drop another $80 on that. You will be glad you made this choice over the GS mics. And an adc is not necessary, but it can help. Good luck
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You will be glad you made this choice over the GS mics.
I'm not trying to question your knowledge here, but what about the Giant Squid offerings is so bad? I was under the impression that the mics were very similar... Have you worked with both (or heard a compairison)? I was drawn to them after seeing some people on here say good things as well as their very low price.
Only thing to note is the mics need careful mounting to make sure they face towards the speakers.
SPmics>AD20>Optical>NJB3 (optical in) - little bit more stuff, just as easy, perhaps better sound, though mic position is MOST crucial.
So, mic position is much more important with an ADC? In terms of quality, how much better is recording with an ADC than just going straight in from the mics (assuming I'm going with the more expensive mics)? Where can I learn about proper mic positioning? I'm interested in knowing the various ways how people mount their mics and what the best ways are. I've wondered if taping the show ever gets in the way of actually enjoying the show... mounting the rig somewhere safe (?) seems to be a way around that.
I really appreciate the time and help you all have given so far. Thanks for the offer on the battery box too. You guys rock.
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You will be glad you made this choice over the GS mics.
I'm not trying to question your knowledge here, but what about the Giant Squid offerings is so bad? I was under the impression that the mics were very similar... Have you worked with both (or heard a compairison)? I was drawn to them after seeing some people on here say good things as well as their very low price.
ok, lemme rephrase.
My ears tell me that I prefer the SP-CMC-2 sound over the "GSB" sound, is that better? You are free to make your own choices.
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There's a 2003-08-31 Radiohead recording from Auburn, WA. That recording is why I chose the rig I did. I highly recommend the SPcmc2's & B-Box w/rolloff. Check these links if you'd like to sample my wares(dunno how seeded they are).
My Pixies recording from Coachella: http://www.sharingthegroove.org/msgboard/showthread.php?s=&threadid=63583&highlight=coachella
My Radiohead recording from Coachella: http://www.sharingthegroove.org/msgboard/showthread.php?s=&threadid=63264&highlight=coachella
Good luck. And remember, use the line in setting on the Nomad, not the mic in.
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A litlle bit off topic ; i purchased a refurbished Jb3 and try to record as a test some music at home ; but (it may be a silly questions) there is no level when you record.I have gs powered mic.I am interesting in recording wav 48khz but have i missed somethning ;
i am very disapointed.I have look trough the Faq but didint find anything on that point
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Upgrade the Firmware and you will see meters.
Running 1.20.06 and all is OK, although plenty of people here run later upgrades.
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thanks!!! :-)
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To record AUD cheaply with NJB3:
SPmics>NJB3 (line in) - simple easy.
Add the AD20:
SPmics>AD20>Optical>NJB3 (optical in) - little bit more stuff, just as easy, perhaps better sound, though mic position is MOST crucial. This rig will give worse recordings if in the wrong spot.
No battery box? I think you need the battery box for either of the mentioned setups above... but I could be wrong- I have the aforementioned rig, w/AD-20, and I have never tried it w/o the battery box, but I am pretty sure you need it, esp. w/o the ad-20.
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schwill, I hope you understand I'm counting on the expertise of those posting here to make my decisions. I didn't mean to call your preference into question (I've heard a VERY limited amount of samples), I just wondered if you knew some solid facts that should steer me away from the Giant Squid mics. I'm leaning more towards the SP-CMC-2's after reading more. Looks like they're used by many here...
ISI-HMAB-1 --> SP-SPSB-3 --> AD-20 -->NJB3
What is ISI-HMAB-1? And does the AD-20 make a huge difference in quality? I'm still hoping someone can tell me a bit more about ADC and also mic placement/mounting.
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[quote And does the AD-20 make a huge difference in quality? I'm still hoping someone can tell me a bit more about ADC and also mic placement/mounting.
You know, I struggled with the whole "to AD or not to AD" for a while, and even recently posted a "Do I REALLY need an AD" thread here...and while I made many many many great tapes with the SP mics (SP-CMC 12)->Batt Box, I will admit that when I picked up an AD, it really did make a lot of difference in the quality of the recording.
That being said, I personally think that for starters, you should dump as much money into your mics as you're comfortable with, make sure you get a Batt box so that the mics are able to handle LOUD bands (i.e., GBV) without distorting, and run it LINE IN to a JB3 (Great choice in redcording device, BTW). Then, after you have a few shows under your belt, decide for yourself if an AD is for you.
RE: Placement, if you do decide to pick up the SP mics, I have a "posable" T Bar from Soundprofessionals that I don't use any more really, so you could borrow that and mount your mics in what they call an "AB" configuration, which will give you adequate stereo seperation and let you see how your mics sound (and if you go with the SP mics, you'll be amazed. They're GREAT for the price). Again, I think for starters you should keep it simple...that's how I "started" (I'm learning every day), and it worked for me. Good luck.
TB
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Wow, I just priced out ADCs and they're not cheap. I'm thinking I need to start small and see if I can get the hang of this.
What is the going opinion on SBD recordings vs. mic recordings? In a smaller club, will there be loss of some instruments (like drums or bass) which may not be through the board? What about crowd noise? I read some post here that said the best bootlegs are often combinations of SBD + audience mic...
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And thanks again to those who've helped me here and via private messages as well. I hope I have some good recordings to share in the near future.
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Yes - you will not only lose some instruments on a SBD recording in a small place, but some may even be cranked up to the point where everything is out of whack... The SBD+AUD mix is better if you can swing it, but you wouldn't be able to do that with a JB3...you'd have to do it after the fact.
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If you'll be at Gabe's in Iowa, I wouldn't even consider a SBD (last time I was there all they had was a 1/4" mono out from the board). You'll get a much better sounding recording going straight audience.
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What about the High Dive in Champaign, IL? Anybody know about their policies, setup, SBD situation? I'm not sure how big a club it is...
I'm going to be at the Dayton show too (which will be my first attempt at recording). I've never heard of this club they're performing at: The Foundry (I went to school in Dayton in the early 90s). Anybody know any details about that venue?
I received my JB3 from the Creative Labs auction on eBay. All seems in order. The JB3 is in perfect condition even though it's in factory packaging and has been refurbed. I'm going to check what firmware it's running. What's the best?
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I recommend the SP mics over the GS mics because I feel you will have the urge to upgrade less quickly, which I am guessing is a factor here. And for twice the price, I do honestly think, atleast to my ears, that the sound warrents the purchase. Hopefully others can back me up to make your mind more at ease.
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What about the High Dive in Champaign, IL? Anybody know about their policies, setup, SBD situation? I'm not sure how big a club it is...
Sorry, no idea. If at all possible, just bring mics so that you're not worrying about a SBD patch all day pre-show (which I used to do...taping anxiety is such an unforgiving bitch). And I'll back up Schwill and many others on this board....if you throw down for the SP mics, you won't regret it.
I received my JB3 from the Creative Labs auction on eBay. All seems in order. The JB3 is in perfect condition even though it's in factory packaging and has been refurbed. I'm going to check what firmware it's running. What's the best?
I run 1.32.01, and it works just fine for me. I get levels running line in and optical in.
+T for jumping in and getting some of this GBV on tape! It'll be nice to have someone with something more than a hand held single point mic and a mini disc in the crowd to capture the event. Have fun!
TB, off to tape Acid Mothers Temple in a few hours......
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I'm convinced about the mic choice. Seems it's a common thread (no pun intended) on these forums about those mics for multi-purpose usage. Going to scrape together the disposable income and take the plunge. I'm hoping that whole "upgrade" bug doesn't hit me too soon after. Thanks again for the help. So WITH clips and WITH battery box and WITH Bass roll-off, right?
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So WITH clips and WITH battery box and WITH Bass roll-off, right?
def yes to battery box with bass roll-off. clips are up to you!
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I'm hoping that whole "upgrade" bug doesn't hit me too soon after.
(In my best Jerry Seinfeld) "Good Luck with all that...."
Seriously, though, upgrades are all up to you. Get as far "into" it as you want. The setup you're talking about will yield many great tapes, so.....
So WITH clips and WITH battery box and WITH Bass roll-off, right?
The SP mics I used had clips on them, but I never used em. Many a true stealth taper will tell you to eschew clips. I'd save the scratch. You Will definitely want bass rolloff, though. You'll be happier you did once you listen back to the opening bass lines of "A Salty Salute".....
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OK, without the clips, what's the best mounting option? I just want to be totally prepared and the first show I need to capture is next weekend...
Going to try to practice on a show locally this week... if I can get the mics in time.
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well, SP should ship your mics with some little windscreens that the mics themselves will fit into. You can either duct tape the mics to a pole, drink rail or a sober buddy. Barring that, I have a pose-able T bar that I got from SP back in the day that I could let you use for the gigs. It is a 5/8 thread, and screws into the top of most regular mic stands.
On the cheap side, you could make a stand yourself, or just nab a regular old mic stand used from a music store (or are there any in the loaner program?)....not trying to make you too ghetto, but....I'm assuming you don't want to throw down bucks on a Bogen stand...
Shoot me a PM and I'll hook you up if ya want.
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I'm really interested in the T-bar... got a link to the description? How much success have you had with that "ghetto" set up? Doesn't really sound so bad to me.
I'm wondering about placement still and some issues with setup. Do you all just leave your gear somewhere near the soundboard and then go about business as usual? Where is the best place to setup the mics (a sweet spot or "taper's section") and what can you do to ensure safety and quality? I'm wondering what others have done/do...
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What settings for the bass roll-off? The Sound Professionals battery box with bass roll-off has user selectable settings of: 69Hz, 95Hz, 107Hz, 160Hz, 195Hz and 888Hz. What's the right setting to use? Will it differ in different sized clubs or depend on where you record from?
I'm still hoping some one will post information about mic placement and/or set up. Is there a good online resource to check for more info on this?
Thanks again...
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I used 69 and 95 when I had them.
I wear all the gear on me. Mics are in a hat. They run up my back to a backwards baseball cap. I have a small slit in the sweat ban and the mics run along that. I keep them even on both sides, but depending on how far away from the music source I am, I change the angle of the mics relative to facing forward accordingly. If I'm really close to the source I move the mics more towards the back of my head so there is a wider angle of pick-up. However, for Primus the other night I was pretty far away so I ran them mor straight forward. I would keep the battery box in one pocket and the recorder in another. Unfortunately, you shouldn't move your head to much with this setup, but it is the cheapest :)
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I used 69 and 95 when I had them.
would you run 95 for primus--shwilly?
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I used 69 and 95 when I had them.
would you run 95 for primus--shwilly?
I didn't run any roll-off for primus. The bass thumps and I love it :)
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I ordered the SP mics today (with mini battery pack and bass roll-off). I'm looking forward to trying them out this weekend in Dayton at the GbV show. Thanks to all who helped so much...
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gl/hf!
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+T for you, good luck taping.
Are you stealthing or using a stand?
With the CMC2s + SP battery box I generally use 95-160Hz bass roll off, depending on how bassy the performance is / how close I am to stage (most of the time its 107Hz), the only time I use 16Hz (no bass roll off) is for acoustic shows.
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Looks like I'll have to go stealth. On good info, I've heard this show will be NO AUDIO/NO VIDEO allowed. This complicates things as I'm not sure how to "stealth". I'll figure it out, I guess. I'll need the luck.
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Looks like I'll have to go stealth. On good info, I've heard this show will be NO AUDIO/NO VIDEO allowed. This complicates things as I'm not sure how to "stealth". I'll figure it out, I guess. I'll need the luck.
Its not so hard - can you practice beforehand on a local band?
I recommend:
-lots of 'dry runs' to familiarise yourself with the equipment.
-check connections are tight (and stay that way), and that you have levels in both channels.
-I mount the mics on a stiff collar, facing towards the speakers, however this is up to you, do whatever you are comfy with. IMO people do not spot those tiny mics, particularly if you wear lots of black clothing.
I run mic leads down inside of T-shirt to battery box (clipped on waist), and battery box lead to Nomad in jacket pocket.
-Set the Nomad to no EAX, no remote, low volume, no gain required. Turn off the backlight, it'll suck juice.
-Take the following: Mini maglite
-Optional: mirror to check mic position (I kid you not), friends to block you either side, earplugs.
-Don't let the Nomad overheat, ventilate it a little.
Good luck!
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I really appreciate the tips Humbug. Good information to know.
Just an aside and maybe a warning for those who wait until the last minute... a bit of frustration on my end: If you order stuff from Sound Professionals, don't expect them to ship it until the next day. Apparently any order received after 10AM Eastern time is too late to go out that day, even if it's just a few minutes after 10AM. I'm still waiting on my FedEx 2-Day shipment from them that didn't go out until the day after I ordered (and after talking to them on the phone too). I wish I would have been warned about the shipping delay... I would have overnighted it. Shit.
Gotta leave for the show with no mics in tow (this time). Sad day for me... maybe Radio Shack will have something I can use... bleh.
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On the subject of the jukebox3... be sure to enable the button lock feature while you are recording! (tap the power button once to bring up the button lock menu... when locked tap the power button twice to bring up the backlight). All this info plus more is on the jb3 FAQs here.
And like the idiot I am, I didn't read the FAQs properly until AFTER I fucked up my first recording... :-p
best regards,
stephen
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Okay, so I blew off a meeting and fucked up my work day, but I waited for the mics to arrive. I'm glad I did. Those mics rock. I can't believe it.
I had to sneak all my stuff into the show even though the security was light, the club was not taper (or fan, for that matter) friendly. Standing halfway between the stage and the soundboard (which looked like a "sweet" spot), I wore the mics on my shoulders clipped to my backpack straps (which worked rather well, in fact), aimed a bit up and out. The main problem with that was that I only had access to the JB3 at the beginning of the show. But the recording turned out so much better than I could have imagined.
If only I had anticipated 4 encores (!) and a 3.5 hour show, I might have thought to stop recording half way through the show and start it up again. Maybe next time.
Thanks for all the help everyone. It's awesome that I've been able to do this based on the help from this web site (and the users and links from it) alone. AMAZING. You all totally rock.
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+T for the 1st show!
Get the extra battery & your record time woes will be covered my friend.
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You know, my battery didn't give up (I only have one now) on me until PLAYING the recording the next day. Great battery mileage, truly. However, you can only record 2:59:59 at a time and that's what I did. I need to break it up a bit next time.
Also, just for info, I used the bass roll-off at 95Hz. Seems to have worked well, although I have nothing to comare it to.
I also followed all of Humbug's advice for stealthing... great tips. I used gaffer's tape to secure the cables together just in case. Wore dark clothes. Ventilated the JB3. Turned off all the unnecessary features/functions. Worked great.
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another satisfied customer!
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+3 hours? Wow! Long set.
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Although I've asked more than my share of questions here (and I'm truly amazed at the help and quick response I've received), I've got a couple more and they're still FILE UNDER: FIRST TIMER.
Anyway, now that I've got my GbV recording (alas, the first of a limited to 2004 show collection), what can I do with it? I've listened to it completely now and it seems a bit bass heavy (maybe a higher bass roll-off setting would have helped?). Some of that is because of the venue I'm sure, but I'm wondering if I can fix any of that using software. What do you usually use? How do you decide to break it up (make tracks)? Do you include the whole recording (including drunken rambling and piss breaks)? What are the next steps to follow? Any other tips or tricks? Suggestions or links would be greatly appreciated.
I'm thinking that I'll post it to SharingtheGroove.com after I'm done. Any other good places to offer it up for trade?
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good stuff, welocome to the recording werld, its quite phun leaving w/ a GREAT uncut copy too!!
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Although I've asked more than my share of questions here (and I'm truly amazed at the help and quick response I've received), I've got a couple more and they're still FILE UNDER: FIRST TIMER.
Anyway, now that I've got my GbV recording (alas, the first of a limited to 2004 show collection), what can I do with it? I've listened to it completely now and it seems a bit bass heavy (maybe a higher bass roll-off setting would have helped?). Some of that is because of the venue I'm sure, but I'm wondering if I can fix any of that using software. What do you usually use? How do you decide to break it up (make tracks)? Do you include the whole recording (including drunken rambling and piss breaks)? What are the next steps to follow? Any other tips or tricks? Suggestions or links would be greatly appreciated.
I'm thinking that I'll post it to SharingtheGroove.com after I'm done. Any other good places to offer it up for trade?
Glad to hear it came out OK.
I use Cooledit 2000 (whats it called now?) for general editing, but there are several programs that will do the job. I usually cut off the beginning of the track, starting the recording when the band come on stage. Mostly all I do is fade-ins and fade-outs, and boosting the volume. You can use a bass filter, but be cautious with its use as it is more likely to make the recording worse than better. Lots of experimentation is recommended.
Tracking: Suggest you only use CD Wave:
http://www.homepages.hetnet.nl/~mjmlooijmans/cdwave/
Suggest you track the show with cue points just before the music starts for each song.
Bit Torrenting: Sharingthegroove is OK (I use it), but the majority of users are leeching sods. bt.etree is better for bands that allow taping (most of the bands I record don't).
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Thanks for the help. I'm looking for software to use with my Mac. Any suggestions? (Please don't start in on some kind of anti-mac flaming...)
Also, how can I give credit to those who have helped me? The whole tickets thing is great, but how/when do you use it?
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I just got the okay from GbV's touring manager to record the next 2 live shows, so now I'm thinking I need a stand. Some of you have mentioned using a "t-bar" type stand with these mics. What's the best place to get this? Any other reccomendations on stands? I'm wondering if there's ever any problems with putting stands up; specifically, other audience members messing with your shit. Tips?
There's a possibility that I'll have soundboard access as well. I'm trying to figure out which cables I'll need. I may just call the club and see.
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I just got the okay from GbV's touring manager to record the next 2 live shows, so now I'm thinking I need a stand. Some of you have mentioned using a "t-bar" type stand with these mics. What's the best place to get this? Any other reccomendations on stands? I'm wondering if there's ever any problems with putting stands up; specifically, other audience members messing with your shit. Tips?
I believe there are a few stands for sale in the Yard Sale right now. Make sure you bring Duct tape to adhere your stand to the floor (I should listen to my own advice sometimes...forgot my roll of tape at last sunday's GBV show :P)
There's a possibility that I'll have soundboard access as well. I'm trying to figure out which cables I'll need. I may just call the club and see.
http://www.taperssection.com/yabbse/index.php?topic=20335.0
This should cover your cable needs, although I'd make sure you have enough adapters to handle anything. 1/4" ->RCA is always good, as are RCA->1/8". Good luck!
One more link. I read this way back when I first started, and it still holds true, I think. From the invaluable "Bands That Allow Taping" page....
http://btat.wagnerone.com/cgi-bin/forum/ikonboard.cgi?s=4d41637986bd85343f10088f9578d75a;act=ST;f=1;t=1;r=1;&#top
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What about my questions about stand etiquette? Anyone have issues with that? Is there a good way to set this up where you still get great sound and also don't piss off other show goers?
Thanks for the tip about the duct tape. Good to know. I read those tips about soundboards and entry (someone sent me there before) and they're valuable as well. I'm going to call in to the venue, per that advice, next week just to check things out.
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What about my questions about stand etiquette? Anyone have issues with that? Is there a good way to set this up where you still get great sound and also don't piss off other show goers?
If you're going to "piss" anyone off with a stand, it'll be the staff at the place you're taping. They're the ones who do the most moving on the floor, in my experience. Just be as discrete as you can. If the venue allows taping, chances are they've seen a stand or two in the crowd. With smaller venues, it's best to do a quick walkthrough to see if you can locate some sort of "image" center for the sound, and set up there. See what sounds the best to your ears given the set-up of the PA, the room dynamics, where it'll be easy to tuck and protect your gear, etc...If all else fails, just tuck your stand as close against the soundbard as you can (making sure that's cool with the soundguy/gal, of course). Duct tape the bastard down and get ready to do a little blocking against people who think your stand is a crutch to help them maneuver in the crowd.
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I believe there are a few stands for sale in the Yard Sale right now.
What would you recommend? I can't seem to only search for stands in that area... what brand/style is best?
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well, I love my Bogen stand. They're available in a multitude of heights from sonicsense.com. Barring that, I taped for years using a basic "onstage" mic stand, available at any music retailer. Heavy as a bastard, but it did double as a club a couple times when I taped rock shows in Chicago :P
Re: the yardsale, this should work quite nicely...great price too.
http://www.taperssection.com/yabbse/index.php?topic=20318.0
Basically, don't get too worked up about a stand. Seeing as how you need one sooner rather than later, I'd just get what works.
Re: T Bar, I used this one from SProfessionals for a long time as well. I still have it, actually. It's meant to accept the exact kind of mics you just bought (using the windscreens that came with your mics). 5/8" thread screws onto most every stand you can buy.
http://www.soundprofessionals.com/cgi-bin/gold/category.cgi?category=360&item=SP-DTS-12&type=store
So. There you go. More money to spend....But, you'll be really happy once you elevate those mics up above the heads of the masses. It cuts chatter/broken beer bottle sounds down by 85%, at least.
If they don't play "Weed King" this last tour I'm gonna go up and kick Pollard in the nuts.
EDIT: Oh, and the "tickets" thing is explained in the archives. You can't give em or take em till you have 50 posts. It's kind of fun, though.
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Thanks again Tony.
And thanks to all who gave me a hand. I guess I should let this thread die... it was so helpful, I really appreciate it.
See you at the show.
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Re: T Bar, I used this one from SProfessionals for a long time as well. I still have it, actually. It's meant to accept the exact kind of mics you just bought (using the windscreens that came with your mics). 5/8" thread screws onto most every stand you can buy.
http://www.soundprofessionals.com/cgi-bin/gold/category.cgi?category=360&item=SP-DTS-12&type=store
Just a posterity post... that linked t-bar is not the correct part. The SP-DTS-12 is essentially just 5 pieces -- the t-bar and a threaded bolt with adapter on each end. There is no picture at Sound Professionals (although it looks a lot like the bottom part of the SP-DTS-11 listing). It also has a label that says "St. Louis Stage Hardware".
I believe this is the correct t-bar for the SP mics (the posable bar TonyB mentions early in this thread):
http://www.soundprofessionals.com/cgi-bin/gold/item/SP-GNA-1
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This is correct. I, unfortunately, and completely wrong. I'm learning to deal with it. :P
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This is correct. I, unfortunately, and completely wrong. I'm learning to deal with it. :P
Tony, you've been an awesome help (regardless of this one flub ;) ). I couldn't have done it as easily without your advice. Thanks again. See you at the GbV shows...
p.s. There's new stuff on SharingtheGroove right now. Not my stuff yet, but stuff you might want (did you ever hear Homosexual Flypaper?).
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i have just read this thread and am considering buying jb3, spcmc 4's and the batt box. could you post on here when you post ur show to stg so i could get an idea of quality
cheers
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could you post on here when you post ur show to stg so i could get an idea of quality
Sure thing. I'm hoping to get them up before the end of the month. I'll post back when it's up... Probably the High Dive in Champaign, IL first.
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thanx man