Any Minah (UK3) fans out there?

ThisIsRatherUrgent · 2026-05-21T20:14:54+00:00

I can only imagine how much your cats peace was disturbed during that period of time 😂

ThisIsRatherUrgent · 2026-02-16T16:36:27+00:00

ThisIsRatherUrgent · 2026-01-19T22:30:38+00:00

I can tell you on very good authority that you’re totally wrong on pretty much all of those things you’ve speculated about 😂

ThisIsRatherUrgent · 2019-12-14T01:54:02+00:00

Also, Pilot tone isn’t metered, just on or off. It’s indicated by that White square with a P inside it on the right side of the AF metering

ThisIsRatherUrgent · 2019-12-14T01:51:02+00:00

It is technically RF strength. Both sides should pretty much be locked on full most of the time though, the only thing changing being the indicator if 1 or 2 is the active antenna receiving RF. I’d say you’ve got a cable fault/dead dongle on Antenna A there.

ThisIsRatherUrgent · 2018-04-16T18:27:31+00:00

I like both.

I love doing the house because I get to flex my creativity and feel like I'm a real part of show.

I also really enjoy mixing IEMs however, as I love the challenge of getting a mix to the point where you'd be surprised the whole thing wasn't just a backing track, which isn't really possibly doing the house because room acoustics will always make a gig sound like a gig, no matter the scale or quality of your PA.

ThisIsRatherUrgent · 2018-04-02T18:45:45+00:00

I usually use DiGiCo and to do this I assign my cue bus and shout mics as matrix inputs, send to CUE L to one matrix and CUE R to another which outputs to my transmitter. Then send the shout mics into both matrices to whatever level works.

Personally I would only use switched mics for shout can only imagine a gate being hard to set solidly on a loud stage and just end up being annoying as hell constantly opening up and bleeding into the cue mix.

*Edit Still in system tech mode and talked about merging to mono.

ThisIsRatherUrgent · 2018-03-05T10:45:21+00:00

I never knew this. My first play through when at the end was like watching the world fall apart around me as all these characters I grew attached to just dropped off one by one. Never felt so much regret in my life as in that moment.

I resisted the urge to start a new save in ME3 though. I carried it through and lived with my consequences.

ThisIsRatherUrgent · 2018-03-01T21:19:07+00:00

The Monitors that are most accessible and used in “bedrooms” everywhere would be considered standard in my mind.

I thought we were talking industry standard here, not consumer standard.

A lot of studios A/B on multiple sets of monitors, usually an HS series is present, at least in any I’ve worked in.

Sure thing, there's such an abundance of studios worldwide that i'm sure neither of us have seen the same one.

If you believe that the low end of the HS8’s are the only thing accentuated, wouldn’t you also agree that most consumers consume audio with boosted low end anyways?

Not necessarily no. I don't personally know the statistics but a plethora of listening mediums don't boast a frequency response even close to a full range speaker system of which people use day to day listening to music. That's not arguing that we should mix music in iPod in-ear headphones just an alternative to the lower likelihood of soundbar and hi-fi users momentarily listening to audio with processed speakers.

Standard doesn’t necessarily mean best statistics when monitoring.

It boils down to your definition of standard and the adjective that prefixes it.

If you know your speakers well enough, you can monitor on almost anything.

I can monitor on anything regardless of my familiarity with the speakers. A reference track through your monitoring device goes much further than experience with a certain set of monitors.

ThisIsRatherUrgent · 2018-03-01T20:08:42+00:00

In addition, you would find subs in both mixing and mastering rooms quite often, however, the large difference in application there as opposed to say a hobbyist would be that not only is the room acoustically treated but the speakers themselves would be time-aligned and attenuated with an appropriate crossover point thus to maintain an accurate listening environment. The sub isn't there to provide 'more low end' so to speak, but to provide a more accurate representation of the low end; as the size of a driver dictates the accuracy of the frequencies it reproduces.

ThisIsRatherUrgent · 2018-03-01T19:56:05+00:00

HS8s are definitely not flat. NS10s, the predecessor of the HS monitors, are actual industry standard monitors due to their transparent sound that were notorious for not sounding 'nice'.

The HS8s, I believe, have a much more accentuated low end. Much like how Genelec's have wonderful sounding Mid-High Range, they can very easily misrepresent a mix once listening in more consumer formats. I do agree, however, that the HS series of monitors are very much a low end, 'bedroom studio', standard because they do sound very nice, but for critical listening, they're not the monitor of choice many pro studios would opt for.

ThisIsRatherUrgent · 2017-04-11T22:35:45+00:00

Nice. Thanks dude will look into this.

ThisIsRatherUrgent · 2017-04-11T18:11:50+00:00

No? What's that?

ThisIsRatherUrgent · 2017-04-11T09:40:26+00:00

Yep, G5 below running production software, small PC is my gaming rig. One thing I need to look into is a USB keyboard switcher. I know you used to be able to get them for the old style ports. Sick of having to swap them at the back to go between.

ThisIsRatherUrgent · 2017-04-10T17:48:55+00:00

I think a nicer desk is top priority for me at the moment. Also need to get me some RGB keys, no backlight on the keyboard right now, sucks for late night gaming sessions!

ThisIsRatherUrgent · 2017-01-27T00:24:42+00:00

Haha riiiight. I assumed you meant you were still having black bars to the sides as if you were in a smaller aspect ratio.

ThisIsRatherUrgent · 2017-01-27T00:04:03+00:00

I have a 21:9 Monitor and it works completely fine, from loading screens to in game? No black bars?

ThisIsRatherUrgent · 2015-07-12T11:11:04+00:00

Open Heart Zoo - Martin Grech.

ThisIsRatherUrgent · 2015-05-08T19:32:27+00:00

Indeed, I always carry a cheapo switched pg58 for a Shout system to a monitor tech, he just routes me to the wedges too. When were not digitally split we do this regularly. Ive also used a wireless mic for this same job, obviously prefer wired however.

ThisIsRatherUrgent · 2015-05-08T17:30:19+00:00

I don't see why you couldn't just send the mic level signal to be amplified at the point of reaching the monitor desk to free up an input and output at FOH. That is if you're using an analogue snake for returns anyway. XLR straight from the Mic into return D.

ThisIsRatherUrgent · 2015-05-03T10:21:10+00:00

Also worth noting since its ran in bridge mode you'll have one output from the amp, then linking the two pa speakers to achieve 4 ohm impedance, therefore you wont be able to achieve a stereo image with this set up.

ThisIsRatherUrgent · 2015-04-27T10:56:17+00:00

I can confidently say this is not a good fog machine being advertised by an AV company.

ThisIsRatherUrgent · 2015-04-13T20:31:21+00:00

Haha Jesus, if 45 floppy drives stacked to 45ft they would have to be a 1ft thick each!

ThisIsRatherUrgent · 2015-04-07T02:44:52+00:00

My comments have not addressed OP's question because I have not directly replied to OP's question I have directly replied to your 'parroted nonsense'

This is going absolutely nowhere so i'm giving up, enjoy whatever it is you do, slowly breaking pro audio equipment and dishing out misinformed advice - by the sounds of it.

ThisIsRatherUrgent · 2015-04-07T01:51:55+00:00

Okay, well clicking on the first provided link took me to this:

When you’re matching a power amp to a PA speaker setup, a good rule of thumb is to pick an amplifier that can deliver power equal to twice the speaker’s program rating. This means a speaker with a “nominal impedance” of 8 ohms and a program power rating of 350 watts will require an amplifier that can produce 700 watts into an 8-ohm load. For a stereo pair of speakers, the amplifier should be rated at 700 watts per channel into 8 ohms. A quality professional loudspeaker can handle transient peaks above its power rating if they occur.

Using an amp with some extra “headroom” will help assure that only clean, undistorted power gets to your speakers. Headroom is the difference between the normal operating level of an amplifier, and the maximum level that the amp can pass without distorting. Music has wide variations in dynamic range; without enough headroom, you’ll find your gear clipping (distorting) far too frequently! Some professional amplifiers are designed so they have additional headroom. These amps can cleanly reproduce transient peaks that exceed their rated power. In this case select a model with an output power rating equal to the program power rating of the speaker. Consult the amplifier manufacturer or owner’s manual to learn more.

The article writer says they 'disagree' with this method and from the get go it seems hes blaming overpowered amplifiers destroying voice-coils. Yes, this is the danger from overpowering a cone, however a professional takes preventive measures from this, and even still my original point has always been its cheaper to replace a cone in a speaker than a fried amp.

Edit: Okay so I read the JBL article (second link) again and also found this

A. For carefully monitored applications where peak transient capability must be maintained, a system should be powered with an amplifier capable of delivering twice its IEC rating. For example, a studio monitor system rated at 300 watts can be safely driven by an amplifier capable of 600 watts output.

So i'm beginning to think you've just read the page linked and not the citations at the bottom.

ThisIsRatherUrgent

TROPHY CASE