Recent content by Søren Steinmetz

Use 50 ohm connectors as the 75 ohm are a bit larger in the center pin = if you later use a 50 ohm connector you might experience bad connection and thus greater risk of signal drops. (been there, lost a lot of my hair due to that, and got yelled at by a Sennheiser engineer for doing it ;) )

Wig/hair line mics sound better, but in my case I usually have to place them on the cheek due to the shallow venue and close proximity to the speakersystem. Simply to get enough gain before feedback.But yeah cheek-mic takes a bit more eq'ing to get the sound usable. :)

Instead of the Qu16, I would recommend the SQ5 after having a chance to finally see it with my own fingers ;)Much much more versatile, and easy worth the extra money (after all you get the possibility for 48 channels, and a build in 32 channel USB soundcard plus you have free patch wich I...

I had a talk with some of Sennheisers people yesterday, and had a chance to briefly look at the G4.There are now two models the 100 and the 300/500 where the last one mainly is dofferent on the handheld side, and I think there was only a minor difference in the firmware. Main difference was...

Doubt it was the SC 24, as that one went out of production in the early 1990'ies ;)It had 4 sends, two pre and two post (could be changed pr send pr channel by moving a jumper inside the console)Apart from the GLD range I find most of their consoles quite fine, although I prefer using Yamaha...

You bent Robbs ear, then I will try to bent Jonas's here in Denmark when we meet at the local smaller convention ;)

The way I am doing it right now is:1: A small mixer like the Behringer Xenyx 802 with 2 mic/mono line and 2 (3) stereo line ins. 2: Headphone output from console monitoring to one stereo line in 3: Direct lineout from a mic by the conductor to a mono in 4: an old radio (we use TyT-6, cheap and...

Aye that is what I experienced as well when testing the TF series. Tested the Roland M5000 at some point, and sadly it has 1-2 sec's change time as well.So far I have not run a show on a QL1/5, only the CL series.I have yet to use any Soundcraft for musicals, but have been told you need to...

I use LS9/32 (and LS9/16) mostly as well.I would love the SG6 at least to go 64 channels. And last I saw the D-live series, it had some latency when changing scenes, making it a no go for me in musicals. (the DCA kinds locked while the GUI changed, not smart for someone often chenging scene...

Don't get me wrong, I am happy if the problems I have seen (and witnessed others have) are a thing of the past.Might even try one out my self for my smaller gigs. ;) (who am I kidding... got too much Y in my blood since early 1980'ies) :p

Must be a new breed of X32's around.What I have met were buggy consoles (like change a DCA assignment and Aux 1-4 goes to +6 on channels 1-8 (DCA was removing channel 26-28 from that DCA) )And the build quality inside was not what would call tour friendly. Cheap pcb, not like M32 with the...

The way our usual venue is build, we have a standard rule: FoH techs (Sound/light) can always call a stop SM/ASM who are both situated backstage can always call a stopThe rest of the crew as well as all actors and musicians can all call a stop, how ever those need to be called to either FoH or...

LS9/32 you say.Use the stereo master for L/R music + sfx Setup all the wl mics to run LCR and tune them all to Center.Then as you run the tests, try perhaps to dial the choir vocals a bit into the L/R as well as the C (perhaps with a bit panning) Been doing the job for me on several...

Been using SG300 since 2010, and later for Dante as well. Of 20+ switches I have had one failing, out of the 16+ running 24/7/365