leoroberts
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My main instrument is: probably needing new strings
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Post by leoroberts on Jan 28, 2014 18:37:40 GMT
unit... feedback busting.... the Tobin ... headway.. gain ... Rivera (... input setting on active... ...gain ...) circuitry .. selectively apply EQ to one channel .... natural placement mic EQ ... pickup ... blending of just bass and top frequencies....notch filter ... individual channel. ... nasty frequency ... channel ... global eq ... Feeback .... blended signal ... mic blend in the mix, ... notch in this way. any whooshing sound you get on the amp is the sound of this thread going right over my head
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Post by andyhowell on Jan 28, 2014 18:40:41 GMT
circuitry .. selectively apply EQ to one channel .... natural placement mic EQ ... pickup ... blending of just bass and top frequencies....notch filter ... individual channel. ... nasty frequency ... channel ... global eq ... Feeback .... blended signal ... mic blend in the mix, ... notch in this way. any whooshing sound you get on the amp is the sound of this thread going right over my head Leo — chill. It was aimed at Robbie. Basically, this is me over-excited because I've got some complicated new toys to play with over the next couple of days!
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Post by jonnymosco on Jan 28, 2014 18:59:19 GMT
The EB-1 mentioned, is that the EDB-1? I can't find a reference to the EB-1.
I'll message you Robbie. I do use a condenser mic, so sounds ideal (took the Highlander out of the Sobell as it died and never replaced it - also use the condenser on the nylon strung guitars).
Andy, I've just got an old Trace amp, but also play through a Yamaha Stagepas P.A. So you'll soon be selling your old Headway then too?
Jonny
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Post by Deleted on Jan 28, 2014 20:11:52 GMT
Jonny, its the old 2 channel one- the EDB1. here 'tis: Robbie
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Post by jonnymosco on Jan 28, 2014 21:18:20 GMT
Thanks for the photo - helpful. I have the Acoustic Mag review and comparing the pics - the only difference visually seems to be an on/off switch for the XLR and an iPod socket - is that right?
Jonny
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Post by jonnymosco on Jan 28, 2014 21:22:34 GMT
It's some sort of ergonomic guitar, something like a shoulder or back problem has stopped him playing trad acoustic guitars I think I read somewhere – google should help if you're interested I'll look into that paganskins, thanks - didn't know Mr Legg had had problems; odd though, that as a demo of the DI and amp it just sounds pretty poor. Jonny
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andrewjw
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Post by andrewjw on Jan 28, 2014 21:26:28 GMT
Jonny, its the old 2 channel one- the EDB1. here 'tis: Robbie This is the same model that I own...along with my Tonebone PZ Pre. The dimensions of the top face of the unit are around 9.5 X 13.5 cm....lots of small knobs and switches packed into a relatively small space...ok for the "music room" but deffo fiddly for a "live" unit IMHO. A few more cm each way would make the unit much more gig friendly...
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Post by andyhowell on Jan 29, 2014 9:52:56 GMT
The dimensions of the top face of the unit are around 9.5 X 13.5 cm....lots of small knobs and switches packed into a relatively small space...ok for the "music room" but deffo fiddly for a "live" unit IMHO. A few more cm each way would make the unit much more gig friendly... That is true a little extra size might help but there are other times when the compact nature is probably valued. I don't find the control that fiddly but this is something that requires thoughtful set up once at a venue (although it has never taken me more than 15 minutes to get a good sound). The new EDB-1 (the mini) is much more of a plug in and off we go kind of thing ...
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ocarolan
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Post by ocarolan on Jan 29, 2014 9:58:21 GMT
Fiddly controls are a pain gig-wise. The Headway doesn't look too bad, but I have a Baggs PADI with v fiddly controls that I like once set correctly, but wouldn't use it in a variety of venues if quick set up were needed - not even v intuitive. I keep it, though, on carefully established "default" settings in the setup I use every week in church, then into a small mixer also preset (the whole lot is on a shelf clamped to my mic stand) so all we do is plug in and we're away.
Keith
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andrewjw
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Post by andrewjw on Jan 29, 2014 10:43:00 GMT
The dimensions of the top face of the unit are around 9.5 X 13.5 cm....lots of small knobs and switches packed into a relatively small space...ok for the "music room" but deffo fiddly for a "live" unit IMHO. A few more cm each way would make the unit much more gig friendly... That is true a little extra size might help but there are other times when the compact nature is probably valued. I don't find the control that fiddly but this is something that requires thoughtful set up once at a venue (although it has never taken me more than 15 minutes to get a good sound). The new EDB-1 (the mini) is much more of a plug in and off we go kind of thing ... Yes...I agree that small is sometimes useful...particularly if you use a mic stand mount for the pre amp. If the mute control was a bit larger and situated away from the other controls then I think the small size would be less of an issue....having a fiddly mute adjacent to the master vol control doesn't seem like the best place to me.
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Post by andyhowell on Jan 29, 2014 15:44:26 GMT
Yes...I agree that small is sometimes useful...particularly if you use a mic stand mount for the pre amp. If the mute control was a bit larger and situated away from the other controls then I think the small size would be less of an issue....having a fiddly mute adjacent to the master vol control doesn't seem like the best place to me. The layout on the new device is a little different, the mute is still next to the master if in a different place. Personally, I've not had a problem with it. The sonic abilities of the new device are significantly different/better — especially using an UST. The ability to use EQ on specific channels also creates some interesting options, but more set up options at a sound check I guess!
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ocarolan
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Post by ocarolan on Jan 29, 2014 16:26:37 GMT
Can't beat having some kind of footswitchable mute, even if it's only via a tuner pedal or something.
Lately, when using more than one instrument, in order to enable instant(ish) changes without any knob twiddling, I've gone over to a separate preamp for each to set up the sound spot on, then the preamp outputs go into a Morley passive 3 into one footswitch, with the one output going to whatever I'm using, PA or combo or whatever. The instruments are then individually switch-off-able. The one I'm using will be switched on, then to change is just a couple of toe-taps on the pedal with no no lead switching etc. Seems to work well, and is excellent when switchover time needs be be kept to a minimum. I also have a footswitch to kill my PA instantly too if necessary, which is handy as, obviously, it mutes any voacl mics as well as the instruments.
Keith
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Post by andyhowell on Jan 29, 2014 19:34:42 GMT
Sounds as if you have thought that through Keith :-)
You can easily add a foot switch to the Headway.
You make a good point about killing the whole PA, one of the most useful things you can do when using a PA.
I realise I need some more instruments so that I can develop something similar :-)
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Post by huckleberry on Feb 4, 2014 18:37:19 GMT
My K&K XLR Pure preamp is something I wouldn't be without, whatever else I'm playing through. Keith Me neither... or, actually I am, because I can't find it after a recent house move, I'm trying to build and test the show/gig demo rig for Wolfram Slides and really don't want to use anything else with my PWM equipped demo guitar. The K&K Pure XLR is really well matched to the Pure Western series - it makes a huge difference vs running straight into a mixer (it's not just the EQ etc. , I think the input impedance is properly matched too).
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Post by martin130161 on Feb 5, 2014 11:18:12 GMT
Hi Jonny... Can't really add much to the DI box debate - sorry! - since for the last 20 years, the only gear I've ever (occasionally) had to provide myself has been a 50-watt or (depending on the venue) a 100-watt Trace Elliott which, I know now, are probably likely to pop up on 'Bargain Hunters' or 'Cash In The Attic' one of these days! However, as far as Adrian Legg's odd-looking guitar goes, I believe it was made for him by a guy called Bill Puplett, who used to work at Chandler Guitars in London, and who has been name-checked by a veritable 'who's who' of guitarists over the years... Cheers, Martin
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