[tjzurlaaa]

Recently I found Isa took most of my ear time from Z1R while I was outside. I might be a big sucker for single DD IEMs. Perpetua could be the ultimate single DD IEM, However, $3k is a price tag too high for me to make a blind buy.

Same I need to demo the fit especially

 

[KuroKitsu]

@Stu Paddasso Anything from Gladiator for Cleo?

CP now has mine along with the Aurelius. Lets see how long it takes to get here.

 

[warrenpchi]

Wow. Great video so far, thanks a ton for posting this, never knew about the actual mix priorities and such as I’m just a listener and not a player. Super interesting. Thanks again.

Thanks for the video. I always wondered how mixing was done with stage in ears and how they sounded to the performers. Very interesting.

Thanks, glad you guys like it! I'm a huge fan of content about both music theory and music production so I'm swimming in stuff like this often... but this was too good not to share.

 

[MichRT]

Evening (or morning to some, afternoon to others) folks,

Long time lurker here, I don’t post often but feel the need to post this. Coming from speakers and headphones, only this year did I discover modern high end IEMs. I typically avoid “chifi” flavors of the month/week since I’ve found my $20 is better spent on something of more value, and do not collect IEMs. Buy Storm.

Campfire Audio is running a Black Friday/Cyber Monday sale this year. I haven’t had a chance to try Campfire stuff, so for the price of only $54 I ordered the Satsuma. Worth a try. I never received an email confirmation but the package arrived today; great! The cable unfortunately is mediocre Sennheiser IE200 tier (which I have on hand) - somewhat stiff, cheap, with a KZ style plastic right angle 3.5mm. The case is nice enough, the tip selection is good, and the IEM is comfy so at this point I’m still optimistic.

Unfortunately once plugged in and music playing l noticed the right channel was very scratchy, like a prominent and loud static sound. I tried a different cable, different source, different tips - same scenario. Bummer. I went to my Campfire Audio account to message support and was only given the option to return. That’s fine; what is not fine is being told that I am responsible to pay return shipping on a product I received today that came broken.

It’s ironic that the label on the box says “Satsuma - Good”. Anyone that spent 1sec in quality control would have known this set was very much not good. The current support experience and overall situation has made it highly unlikely that I will ever consider a Campfire Audio product in the future. Thank heaven this was only $54 - imagine if it was more.

 

[bigbeans]

Thanks, glad you guys like it! I'm a huge fan of content about both music theory and music production so I'm swimming in stuff like this often... but this was too good not to share.

If you are into this field, I would highly recommend this book by Dr Mark Waldrep. I had the privilege of meeting him at THE SHOW a couple of years ago and had my copy signed by him. He also produces and sells excellent albums via his label AIX Records.

https://www.musicandaudioguide.com/

 

[Deezel177]

Just in case any of y'all think your rig is getting too complicated...

‘Great share, Warren! I love Adam’s content, but I seem to have missed this one.

The video pretty much describes my job between 2017-2019, but it’s really interesting to see it approached in a different way. Sungazer’s rig seems to split the instrument and mic signals at the analog level, then send them to each mixer (FOH and monitors) raw. The advantage is that you have absolute, individual control of the signal on each rig, because each mixer is getting their own copy of it.

Whereas, how we do it at church is sorta a digital version of that. All our inputs go into a Yamaha RIO stage box (a giant pre-amp and ADC), which amplifies and converts the signals to digital, then “uploads” them to a local network with our two Yamaha CL5 digital mixers; one for FOH, and one for monitors.

All these devices are linked via RJ45 cables using the Dante protocol. The advantage is stuff like phantom power, phase, gain, etc. is controlled digitally via our mixers, which eliminates the risk of blowing up a device with 48V like Adam described. It also allows us to share processed signals. So, for example, I can add effects to a signal on the FOH mixer, then send it to the monitor rigs instantly. And, because it’s a digital signal, each device can be 100m away, have zero signal loss, and all we’d have to route is a single RJ45 cable. It’s a much more integrated network, but a much costlier one too, of course.

An additional component of our system is the Aviom personal monitor mixer:

It’s basically a mini-mixer that allows each performer to fine-tune their IEM mixes. So, we rarely have musicians wave at the monitor engineer to ask for more bass, or more snare, or more vocals, etc., because they can make those changes themselves on their Aviom’s. The best part is that Aviom makes digital modules that slot directly into our CL5 mixers, so we don’t have to add any more third-party devices or converters into the mix.

The only disadvantage to our system is that the learning curve is kinda steep. We have to teach every new performer how to use these Aviom’s - how to change channels, what channels have what sounds, etc. - and we also have to teach any new engineer how to work within the network; how to isolate changes to only your copy of the signal, how to access the Aviom UI on the CL5, etc.

But, yeah, it’s really cool to see more interest in our field of work, and we only hope to better this system once we move to our new building in a year or two.

BTW, speaking of the Yamaha CL5, here are a couple photos I took of them last night with a special guest:

​

I may or may not be coming out of retirement for a little moment soon.

I'm not sure we've ever done a survey like this before, but...top 10 desert island albums. Compliations and greatest hits albums are admissable.

I still haven’t forgotten this. I’ll contribute soon.

 

[Rockwell75]

However, $3k is a price tag too high for me to make a blind buy.

Definitely hear you there. They go for ~$1900 or so on the used market and if you're the sort of person who appreciates a good single DD experience-- and arguably the best available right now, they are well worth it imho. Probably not the best option for folks who value treble extension and resolution above all, but if you love great mids, bass and timbre they are damn nice. The staging is perhaps the most surprising feature-- it's quite wide and deep for a single DD.

 

[warrenpchi]

If you are into this field, I would highly recommend this book by Dr Mark Waldrep. I had the privilege of meeting him at THE SHOW a couple of years ago and had my copy signed by him. He also produces and sells excellent albums via his label AIX Records.

https://www.musicandaudioguide.com/

Yup, Mark is a wealth of knowledge for sure.

 

[darveniza]

Radio Paradise is one of the best radio stations I've used. It's free, has no commercials, and streams in FLAC (via the app - although there are still FLAC stream links floating about that you can use in Foobar and the like). You have the choice of the main channel, rock, mellow and global channels. Thoroughly recommend if you've not already discovered it. One of its best features, actually, is that it lets you buffer cache up to several hours ahead, so if you're planning to go underground or through areas with no access to WiFi, then as long as you've loaded it up a little prior to leaving then you don't have to be concerned about your session being interrupted.




P.S. 'Grats on your FW acquisition, @RonaldS86. For all those that describe its default colour as 'piss yellow', then ya'll need to drink more water. Lots more I can't get over the packaging, though, the branding just doesn't seem appropriately commensurate to the luxury of the IEM itself. Whoever said they'd more be expecting a cake to reside within was hilariously on point.

Was unaware, Thanks for posting

 

[yaps66]

Just in case any of y'all think your rig is getting too complicated...

Thanks for sharing! Enjoyed the video and the learning points! Bad sound engineers or just those that don't listen to you! Sigh!

 

[warrenpchi]

‘Great share, Warren! I love Adam’s content, but I seem to have missed this one.

The video pretty much describes my job between 2017-2019, but it’s really interesting to see it approached in a different way. Sungazer’s rig seems to split the instrument and mic signals at the analog level, then send them to each mixer (FOH and monitors) raw. The advantage is that you have absolute, individual control of the signal on each rig, because each mixer is getting their own copy of it.

Whereas, how we do it at church is sorta a digital version of that. All our inputs go into a Yamaha RIO stage box (a giant pre-amp and ADC), which amplifies and converts the signals to digital, then “uploads” them to a local network with our two Yamaha CL5 digital mixers; one for FOH, and one for monitors.

​

All these devices are linked via RJ45 cables using the Dante protocol. The advantage is stuff like phantom power, phase, gain, etc. is controlled digitally via our mixers, which eliminates the risk of blowing up a device with 48V like Adam described. It also allows us to share processed signals. So, for example, I can add effects to a signal on the FOH mixer, then send it to the monitor rigs instantly. And, because it’s a digital signal, each device can be 100m away, have zero signal loss, and all we’d have to route is a single RJ45 cable. It’s a much more integrated network, but a much costlier one too, of course.

An additional component of our system is the Aviom personal monitor mixer:

​

It’s basically a mini-mixer that allows each performer to fine-tune their IEM mixes. So, we rarely have musicians wave at the monitor engineer to ask for more bass, or more snare, or more vocals, etc., because they can make those changes themselves on their Aviom’s. The best part is that Aviom makes digital modules that slot directly into our CL5 mixers, so we don’t have to add any more third-party devices or converters into the mix.

The only disadvantage to our system is that the learning curve is kinda steep. We have to teach every new performer how to use these Aviom’s - how to change channels, what channels have what sounds, etc. - and we also have to teach any new engineer how to work within the network; how to isolate changes to only your copy of the signal, how to access the Aviom UI on the CL5, etc.

But, yeah, it’s really cool to see more interest in our field of work, and we only hope to better this system once we move to our new building in a year or two.

Yeah, they made a few decisions where I was puzzled at first. But every time I reminded myself that they were making a road rig, it all made sense. Oddly enough, the most interesting part of that whole thing was how the drummer wanted his own (more granular) click. Drummers.

BTW, speaking of the Yamaha CL5, here are a couple photos I took of them last night with a special guest:





I may or may not be coming out of retirement for a little moment soon.

If there was any one thing I've heard this year, that's worth coming out of retirement for, THAT would be it!

 

[Deezel177]

Yeah, they made a few decisions where I was puzzled at first. But every time I reminded myself that they were making a road rig, it all made sense. Oddly enough, the most interesting part of that whole thing was how the drummer wanted his own (more granular) click. Drummers.



If there was any one thing I've heard this year, that's worth coming out of retirement for, THAT would be it!

To be fair, Sungazer play fairly complex music, time-wise; odd signatures, metric modulations and what-not. So, having a more granular click for the drummer to keep time is very understandable. As a drummer myself, I can only sympathize.

 

[wolfstar76]

Definitely hear you there. They go for ~$1900 or so on the used market and if you're the sort of person who appreciates a good single DD experience-- and arguably the best available right now, they are well worth it imho. Probably not the best option for folks who value treble extension and resolution above all, but if you love great mids, bass and timbre they are damn nice. The staging is perhaps the most surprising feature-- it's quite wide and deep for a single DD.

Sounds exactly what I want, will keep an eye on classified.

 

[salwani8888]

Hello Watercoolers, thinking to add a planar IEM to my collection. Considering Supermoon & FIBAE 5. Had LCD i4 before but didn’t like it much with non-iDevices. My genres of preference are quite vast, except metal. Which one of Supermoon and FIBAE 5 do you suggest? How do they compare against each other? TIA.

you could throw Madoo 821 into the mix. Similar to Supermoon apparently, though I haven't compared myself. 821 has a unique mid/treble presentation that is very clean/clear. Bass is present, but the standout is the mids/treble presentation. Fib 5 is good, but between the two, I would gravitate to the Madoo. To me, its faster, cleaner, more detailed than Fib5.

 

[Wildcatsare1]

Oh man, the IE900. I received it from Sennheiser a few days ago. It's now waiting to be picked up tomorrow for return shipment. Honestly, I could barely stand it for 2 minutes and I had to take it out immediately: pronounced bass, thin, restrained mids and pronounced trebles, it was intolerable for my ears, the spikes almost hurt! What the hell was Sennheiser thinking here? Even the Momentus True Wireless 3 were better tuned!

Same here, they lasted about two minutes in my ears, they were listed for sale in 4!