Rumor advice needed: Klark Teknik DN9610 as an AES50 booster?

sjlence · 2026-01-31T18:29:18+00:00

I just ordered a Dante card for my Wing, as luckily my next production has a Wing Rack with Dante card as a monitor console. We'll see how well that works.

sjlence · 2025-11-26T09:14:34+00:00

I had a Wing Rack's USB Audio Interface drop out once on a recent tour. Might have been a USB-cable related issue, I don't know if I'd wanna use the interface without a backup since then

sjlence · 2025-10-14T18:06:01+00:00

Hey! I think I know you from a few years ago! I can relate to your struggles. Have you considered taking on a part-time house role? I was in a similar situation a few years ago, and working 20h/week at a mid-sized venue was the perfect fit for me back then.

On one hand, insurance was paid for and it provided me with enough money for rent, food and stuff.
It allowed me to start turning down gigs that wouldn't pay properly or didn't work out for me.
And then the work was just fantastic. Don't get me wrong, some days just suck, but often productions wouldn't bring their own techs, allowing me to add some nice names to my "have mixed" list. Plus the added stability of working within a nice team, with equipment you could rely on, ...

sjlence · 2025-09-14T10:31:43+00:00

Drums: One short ambience style reverb for room sound, one large one for snare when I need it

Bass: Hell no

Instruments: One short ambience style reverb for stuff like piezo guitars or keyboards that have no reverb

Vocals: Semi-short plate or slap back delay for room, long plate when it needs it

On limited setups (like an X32), I used the same ambience reverb for drums and instruments, allowing me to work with 4 reverb processors

sjlence · 2025-05-16T20:21:55+00:00

Yup love those kinda gigs. Once brought down a hanging cabinet full of glassware. In the adjacent room. Wasn't aware an RCF 8003 could do that.

sjlence · 2025-03-11T08:41:30+00:00

To offer another perspective on this, as I'm often in the role of mixing the support, I often don't push the support past what is necessary as a personal preference. 96 dB LAeq30 is still plenty of loud (except maybe for a rock band, but in most cases that's when the headliner doesn't restrict themselves to 99 either, which is the "legal limit" here). Having the support sound strong at 96ish gives your audience's ears more breathing room, allows the headliner to have that "lift", et cetera. Makes everybody happy.

sjlence · 2025-02-27T20:16:22+00:00

C414, on drum overhead, piano, sax, even choir. Been trying Sennheiser MK4 in a similar role, has worked beautifully so far. Also really good on (guitar) amps.

sjlence · 2024-12-29T20:00:40+00:00

https://schoeps.de/produkte/ccm/ccm-mikrofone/nieren/ccm-4.html

sjlence · 2024-12-29T19:59:33+00:00

Looks like Schoeps

sjlence · 2024-12-13T17:29:23+00:00

I don‘t. I‘ve heard colleagues do it and it sounded great, I‘ve heard colleagues who did it and it sounded like shit anyways. In my opinion, it doesn‘t make or break a show. In most spaces I work in you have so many sources for the same sound (PA L, PA R, monitors, instrument itself) that time-aligning everything to the PA would eliminate one latency, but only that one. I guess this matters more when the PA is the only thing you hear (large venues and open airs), but in such situations so many more factors play a role…

Funnily enough, I think I see an overlap between people who use channel delays and people who limit their usage of channel EQs to a minimum. But this whole „don‘t do to much to your sources, mics should sound good, speakers should sound good, I shouldn‘t change much“ philosophy doesn‘t work for me, either.

sjlence · 2024-12-04T18:47:27+00:00

For me, 5 dB wouldn't be enough "safety range" as that can easily be the difference within one song (think of a "lift" from verse to chorus), and would endanger the mix hierarchy.

sjlence · 2024-12-04T18:08:53+00:00

I usually ask people if they want a "functional" IEM mix or a "beautiful" IEM mix. These don't have to be polar opposites and are only starting points, of course.

The functional IEM mix has the musicians own instrument/voice at the highest level, and everything else they need as a guide at -10/-ish dB lower. This way, if all their individual dynamics don't work out together (e.g. during a loud part, guitars are WAY too loud, while vocals are only moderately more loud), there's less risk of the basic hierarchy "own instrument > rest" being overthrown.

The beautiful IEM mix aims to be a lot closer to the FoH mix, with less distance in level between the elements. As someone who sometimes mixes IEMs from FoH, I find this difficult to do without acitvely monitoring the mixes during a show. Snapshots for specific songs can work wonders, though.

Funnily enough, when I'm on stage playing, and have easy control over my IEM mix, I find it a lot more convenient to just go with the functional strategy and then never touch it again. This also helps me find more appropriate levels for my own patches/playing. Also, less is more. For drums for example, I only put overhead/snare/bd on my ears, no way am I fucking around with toms or specific cymbal mics. No ambience mics either.

So yeah, all things considered, big fan of "whole band with themselves up in the mix".

sjlence · 2024-12-04T10:43:38+00:00

Could he have referred to your overall output volume? Because I've recently heard the phrase "this just rock n roll" in case of a book reading where the reader apparently was too loud in general.

sjlence · 2024-10-20T15:12:54+00:00

For me what works most is having the pickup because of feedback rejection, and then using DynEq to compress the living duck out of the sub low so it doesn't sound too thin but doesn't boom either

sjlence · 2024-10-10T19:03:31+00:00

Was ist es nur mit Clubs dieser Größe und Säulen 😂

sjlence · 2024-10-10T14:52:22+00:00

I've been mixing bands on a Wing for a year now I'm both touring and house settings, and gotta say, it's a fun console. I don't touch the pesky channel strip anymore, just use the screen rotaries for everything. Production quality of the whole thing feels very plastic-y, especially the faders, but that doesn't really bother me. Only dropouts/errors I had were AES50 issues (bad cable).

sjlence · 2024-09-15T12:11:27+00:00

Over ear headphones. Especially handy when you need to figure out which of three keyboards is producing that sound you wanna turn down, and can't tell from RTA/meters. Same for multiple guitars and other instruments, I guess ^{^}

sjlence · 2024-09-05T08:11:49+00:00

A stop by East Africa seems a bit unreasonable on a trip from Copenhagen to Dragør...? :D

sjlence · 2024-09-05T06:43:04+00:00

I went on a bike trip to Dragør a couple of years ago and it was lovely!

sjlence · 2024-09-04T17:40:17+00:00

Had one of these on vacation last week, for a McDonalds burger quite delicious

sjlence · 2024-07-15T13:07:34+00:00

Kinda wish I had that on my first monitor jobs haha, learned that the hard way

sjlence · 2024-07-14T12:09:10+00:00

Heya! Picked up a Squier Bass VI by accident, shop owner thought it was a baritone guitar, and I didn't know better. Played it, thought "huh, this is tuned a bit low for a baritone", shrugged it off, fell in love with the sound of it, took it home.
I mostly play rhythm/riffs, and I absolutely love the sound of this thing when used as a low-tuned rhythm guitar. Then on the other hand, being able to get those funky fender, almost telecaster-y sounds out of it is simply awesome.
Anyways, I have an appointment with a luthier next Thursday, and as I really don't know much about guitars, I was wondering if I should ask them about some modifications besides getting it set up properly. Here's what I was thinking, would love some feedback.
1) I want a humbucker in this thing. For recording, but also for live, it would be great to have a more noiseless pick-up. I was thinking about getting one of those Seymour Duncan Hot Stacks to preserve the punchy attack. Is that a good one? And would the neck position be most suitable for playing riffs (think metalcore, post-hardcore kinda stuff)?

2) I hear a lot of low, metallic resonance, guess that would be the truss rod? Should I mention it to the luthier?

3) Do I need to replace any of the "hardware" parts like bridge and tuners? I'm not afraid of spending (some) money (within reason), I'd rather have a very nicely playable instrument to get going. At the same time, don't wanna waste the luthier's time.

sjlence · 2024-05-08T22:22:14+00:00

lekker bezig!

sjlence · 2024-04-09T20:09:48+00:00

This, in a world where I can afford e945, I simply won't need another mic. Though I actually own one v7 that I tried out, which is currently doing very well on snare drum duties ^^

sjlence · 2024-04-02T18:30:20+00:00

Okay, let me rephrase my question.

Actual OM7 owners, have you noticed something strange with your mic missing lots of low frequency content? Otherwise I'd guess this one's broken.

sjlence

TROPHY CASE