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Rj_4000 « He who works behind the scenes ... »
Published on 11/09/10 at 01:40It is an automatic feedback suppression.
It does nothing else.
Stereo (or dual mono), 24 filters per channel width of 1 / 80th octave minimum
Two modes: static and dynamic (we choose the number of static filters and the number of dynamic filters)
4 widths: 1 / 80, 1 / 20, 1 / 10 or 1/5th octave
4 times to maintain the dynamic filters: Always, 10s, 10m, 60m
Connectors XLR and 1 / 4 "TRS, outputs +4 dBu or-10dBV
Inside, it is necessarily digital. Hence the regret of not being able to insert directly into digital. Why having to go through stages of AD / DA?
Unlike Berhinger, there's no MIDI, so no possibility to backup and reatsurationd es settings. Damage. It could serve as a basis when we return in the same room with the same sound system ...
UTILIZATION
Simple? Well if you want.
Each button has several functions, and unless you have the habit is not easy to remember. As for me, I needed the user manual each time.
Anyway, once resolved before benefits, it is left over. This is the principle and interest ...
Some manipulations, always the same, before the concert to set the static filters, thus eliminating the main larsen (thereby increasing the level) as you would with a graphic EQ, then the rest is useful only live, to remove " accidents ", type the singer who goes to the HP, in the enthusiasm of the atmosphere, micro falls, etc..
SOUND QUALITY
I use the voice returns, as an insert on the Aux on my Yamaha DM1000.
That is important to insert because the device does not work, yet close to the nominal level, so if we want to solve the global level, keep the master fader Aux dbX after. If we put the dbx output before the amp, it should adjust the level on the amp, which is not practical-amps are usually near the stage.
Am I clear?
Sound quality? Well, when it is inserted, you do not hear it. It is the goal, right?
OVERALL OPINION
So, that's the taf.
Pretty good, I think.
But let's be clear: this is the kind of gear, it works well, we should not hear it! Therefore, not easy to get an idea ...
And also: do not expect miracles - miracles do not exist!
So it will not save you work to adjust the sound system, microphones, the position thereof relative to sources, HP and reflections of the room, and finally taking the time to remove larsen patiently here with automatic filters - with verification that the sound does not become a mush - which indicate a need to move / change sth ...
And automatic filters, they are especially useful when the benefits to avoid hiccups: a singer who moves a little too much, which, in the enthusiasm, lets hang the mic, mic falling ...
I used it on two gigs so far.
In the second, with a Neumann KMS105 on a stage big enough and sound levels ... we will say 'important' on stage (group Cover Red Hot, young, who "clap!"), the singer said he had never been "comfortable" level returns scene. And he still made more than 30 concerts this year, back-room coffee festival in front of 1000 people ... So let's say he has some experience.
By listening again to the recording means qq separations of feedback at high frequencies (3 to 1:30) that are automatically deleted by the AFS.
Well, then.
It is still a comfort to have the gear in case of surprise.
And settings pre-concerts are usually less destructive than EQ ...
Too bad he did not I / O Digital I find.
To be continued!
It does nothing else.
Stereo (or dual mono), 24 filters per channel width of 1 / 80th octave minimum
Two modes: static and dynamic (we choose the number of static filters and the number of dynamic filters)
4 widths: 1 / 80, 1 / 20, 1 / 10 or 1/5th octave
4 times to maintain the dynamic filters: Always, 10s, 10m, 60m
Connectors XLR and 1 / 4 "TRS, outputs +4 dBu or-10dBV
Inside, it is necessarily digital. Hence the regret of not being able to insert directly into digital. Why having to go through stages of AD / DA?
Unlike Berhinger, there's no MIDI, so no possibility to backup and reatsurationd es settings. Damage. It could serve as a basis when we return in the same room with the same sound system ...
UTILIZATION
Simple? Well if you want.
Each button has several functions, and unless you have the habit is not easy to remember. As for me, I needed the user manual each time.
Anyway, once resolved before benefits, it is left over. This is the principle and interest ...
Some manipulations, always the same, before the concert to set the static filters, thus eliminating the main larsen (thereby increasing the level) as you would with a graphic EQ, then the rest is useful only live, to remove " accidents ", type the singer who goes to the HP, in the enthusiasm of the atmosphere, micro falls, etc..
SOUND QUALITY
I use the voice returns, as an insert on the Aux on my Yamaha DM1000.
That is important to insert because the device does not work, yet close to the nominal level, so if we want to solve the global level, keep the master fader Aux dbX after. If we put the dbx output before the amp, it should adjust the level on the amp, which is not practical-amps are usually near the stage.
Am I clear?
Sound quality? Well, when it is inserted, you do not hear it. It is the goal, right?
OVERALL OPINION
So, that's the taf.
Pretty good, I think.
But let's be clear: this is the kind of gear, it works well, we should not hear it! Therefore, not easy to get an idea ...
And also: do not expect miracles - miracles do not exist!
So it will not save you work to adjust the sound system, microphones, the position thereof relative to sources, HP and reflections of the room, and finally taking the time to remove larsen patiently here with automatic filters - with verification that the sound does not become a mush - which indicate a need to move / change sth ...
And automatic filters, they are especially useful when the benefits to avoid hiccups: a singer who moves a little too much, which, in the enthusiasm, lets hang the mic, mic falling ...
I used it on two gigs so far.
In the second, with a Neumann KMS105 on a stage big enough and sound levels ... we will say 'important' on stage (group Cover Red Hot, young, who "clap!"), the singer said he had never been "comfortable" level returns scene. And he still made more than 30 concerts this year, back-room coffee festival in front of 1000 people ... So let's say he has some experience.
By listening again to the recording means qq separations of feedback at high frequencies (3 to 1:30) that are automatically deleted by the AFS.
Well, then.
It is still a comfort to have the gear in case of surprise.
And settings pre-concerts are usually less destructive than EQ ...
Too bad he did not I / O Digital I find.
To be continued!