u/MisterVovo

Fala pessoal, vou fazer uma reforma e gostaria de recomendações de óculos EPI de qualidade. Eu sempre tive aqueles basicões de menos de R$5, mas eles sempre embaçam, não limpam fácil, etc...

Eu gostaria de comprar um que vá durar o tempo, que seja mais confortável e que não embaçe tão fácil. Estou olhando o modelo Solus 1000 da 3M (~r$110) e outros da carbografite que são mais baratos mas não parecem ser "antirisco".

Vocês têm alguma sugestão? Será que vale a pena pagar esse premium no óculos da 3M?

Aqui em casa a gente tem uma voodoo labs pedal power plus 2 que um cliente esqueceu há 15 anos, eu gosto bastante, mas tá no pedalboard da esposa.

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Ultimamente a gente vêm fazendo um som e eu tô procurando uma fonte isolada pra colocar no meu pedalboard de baixo.

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Só que uma PPP nova ou usada tá custando uma fortuna, e eu não conheço alguma alternativa com melhor custo benefício que surgiu de lá pra cá.

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O que vocês usam/recomendam?

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Eu queria uma isolada de verdade pq já tive problemas com ruído de pedal digital quando a fire lançou a deles (que não era isolada de verdade). Mas isso tem muito tempo também.

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Tem alguma chinesa ou brasileira top?

Hello guys,

I work in a large recording studio with a vast amount of outboard gear from several different time periods. I'm an electronics engineer, so my main job is the Sisyphean task of maintaining all gear in working order and restoring the ones that aren't working. My main priority is the monitoring room.

Our audio engineering likes to use many vintage tape delays and reverbs while mixing all analog, but he is often dissatisfied with the different levels of the effects sends/returns. When working on vintage gear I mostly try to reach the levels defined on service manuals and schematics, however the output impedances and nominal output levels are all over the place.

For example, most vintage delays have input level controls, so the sends are mostly okay, with the exception of a few AKG spring reverbs that are in difficult to reach spaces. These are often noisier than we would like them to be.

But the main issue is that often times some equipment do not have adequate output levels to return to match the send levels at the desk, so he has to use some preamps in order to compensate. This is always the case with the Echorec and the RE-201.

How do you guys usually deal with this? We were looking to a solution like the Radial Engineering boxes to leave kind of "pre-patched" behind the units, but I don't know if they have a specific solution (like a DI-box with 600ohm output). Their product range is honestly overwhelming.

Recently I've been to a festival in the UK and I realized that almost all of the bands seemed to use wireless IEM rigs, even the smaller ones. I also learned that the use of such systems require a license in the UK. Since I come from the global south, and here wedges are going to be the norm for a long while, this got me thinking:

I know that IEMs are the new standard, but coming from a career in audio electronics, I find the whole learning curve (RF bands, usage licenses, digital mixers, compact custom-made rackmount systems) to be very steep and not something most musicians would take in lightly.

So, my questions are:

Do festivals provide any kind of infrastructure? I realized there were multiple different antennas on the stages, so each band likely had set up their own system. Do they rent it? With a technician? On the second stage the lady working the monitoring desk was hired from the festival, she did most acts...

How does it work in your country/scene?

I was looking into the Fnirsi HS-02B, but it seems to use proprietary tips.

Any suggestions?

I plan to launch a brand next year and will need to ship (mostly rackmount and series 500) around the globe.

Since I usually get my own gear second-hand, I was wondering if anyone has some good references or ideas to share. Since Some of the equipment might be on the heavier side 10~20kg (20~40lb) let's say for a 4U or 5U rackmount compressor, with multiple tubes and transformers, I was thinking that assembling crates (such as they often do with art pieces), might be necessary instead of only double-sided cardboard and internal spacers...

What do you think? Have you ever received a piece of gear which the packaging "wowed" you? Lol

Thanks for any and all answers!

Comprei um produto dia 9 de abril. Na compra falava que ia chegar só em maio, tudo certo, não estou com pressa. Hoje fui pesquisar cadê o envio do produto e me deparo com uma contradição:

- O ML falava que a compra seria entrega entre o dia 8 e 11 de maio.

- Hoje entro na plataforma e me falam que preciso cancelar até o dia 7 (sem me enviarem nenhuma notificação):

https://preview.redd.it/k3504uktqjzg1.png?width=452&format=png&auto=webp&s=1c4a2e2247f0e515777e650b8606095812fc220b

Como assim? Que merda é essa? EU que tenho que correr atrás do ML pra avisar que o produto não foi enviado no prazo que eles determinaram? Sendo que foram eles que forçaram essas datas em primeiro lugar pra obrigar a pagar pelo frete mais caro?

Mano essa plataforma consegue cada dia ficar pior...