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Thread: Bgw amp plus eq for free!

  1. #76
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    I had previously identified (not in this thread) the Digiflex H2R2R-3 RCA cable (called H2 here) as a cable I could live with, however it was replaced by model HE2R2R-3 (called HE here) shown on Digiflex Web site. Therefore had to order HE units, shown in post # 65 here, in absence of H2... Well, what I received from the manufacturer are all H2 models, I'm not disapointed at all this time, in fact I'm glad I received these instead of the HE! I guess they had some H2 units left in stock and sent them.

    One of the pics below shows the back side of the cable's packaging, with two white stickers, top one being the dealer's showing what was ordered, and the bottom one is the manufacturer's model number sticker.

    The previous model (H2) has a different Neutrik Rean connector and a nice rubber boot where the cable enters the connector. The newer HE version has that molded plastic thing on the cable just before connector entry, possibly to reduce cable flexing. Compare cable pic here with pic in post # 65. The Link Audio cable, also shown in post # 65, has that plastic thing too.

    Looks more professional to me, and more like a real Neutrik connector, with rubber boot. Plastic may be cheaper though.

    Anyway, If the rubber boots or cables ever fail then the Digiflex carry a lifetime warranty, so they'd get these back...

    Richard

    P.S. Next time the new E-V PL80C mic.

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  2. #77
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    Digiflex warranty




    In a world of whistles and bells, unfortunately there's not a lot of audio stuff manufacturers taking care of their customers like this. Read the underlined...

    "Digiflex offers the best in quality and workmanship, and we stand behind our words by offering the most comprehensive warranty in the business.

    All our standard cables offer a lifetime warranty, except for the following:

    . Snakes and Custom Products: 5-year limited warranty
    . Power Products: 5-year limited warranty
    . Fiber Optic Products: 1-year limited warranty

    Q: I have a defective cable, what do I do?

    A: If you are a stupendously organized person and can find that receipt from that thing you bought 7 years ago on a rainy Tuesday night because you forgot to bring yours, great! (and please call us, we may have a job for you in the archives...) Go see your dealer with the cable and receipt, and they can exchange it for you, or send it back for repairs. If, like the rest of us normal folk, you washed your receipt or tossed it within minutes of getting home, don't fret, we will still take care of you. As long as we can see that it is one of our cables, we still stand by it. Bring your cable to your dealer, and they will contact us to make the arrangements.

    Q: Do I need to register my cable for the warranty? A: No need, the warranty is part and parcel of the product. Hang on to the receipt to makes things simpler, but there are no bureaucratic hoops or triplicate forms to fill out."

    That's what I call service!

    Richard

  3. #78
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    The e-v pl80c mic




    The E-V PL80C is the newer version of the older PL80 mic shown here recently (Post # 72). Its a little lighter than PL80 since it has a neo magnet, and the mic's color has also changed from sort of beige to satin grey, but same general look is kept.

    The mic's response has been modified, its flatter than it use to be, though not flat, with the typical vocal bump in response being less pronounced than in the past. Therefore expecting a little different sound.

    Bottom end is about the same as before. The vocal response bump that formerly started at 1khz now starts at 2 khz and the top end now extends to about 12 khz. The combination of internal design changes opens the door to some other uses, in addition to vocals. Like micing some instruments in cases where a dynamic microphone may be preferred by the user.

    Some instrument mics have mid/high frequency response shape similar to vocal ones. I think E-V tried to hit two birds with one stone in the new version. Primary use remains vocals, but now has wider use scope.

    Compared to the standard SM-58 vocal and SM-57 instrument mics, the Shure mics have a more pronounced MF bump, folowed by a drop and then a HF bump at about 10 khz with ensuing fall. This is what gives the Shures their distinct clarity and popular sound, but sometimes too much presence or overly bright.

    The E-V is smoother than the two in this regard and I generally tend to prefer somewhat flatter sound than too emphasized one. May sound less "impressive". Although either way some EQ can improve deficiencies.

    I usually tend to prefer cardio polar pattern due to their much lower sensitivity to sounds coming from the back caused by the "null" in the polar response at 180°, which is easy to benefit from. The PL80C is a supercardio with two "nulls" at around 120° and 240°, making things a little more complex to manage considering there's still some mic sensitivity to sounds coming from the back of the mic at 180° or so. However, to get the rest, polar pattern is basically where I chose to compromise a little.

    TV shows with a band and singer(s) often illustrate the issue: one stage monitor cab directed at the cardio 180° null behind the singer's mic, or two stage monitor cabs angled towards the 120° and 240° supercardio nulls behind the singer's mic. Purpose is the same: performer hearing him/herself on the monitor(s) with least impact on sounds picked-up by the mic, while minimizing feedback possibilities. That's when they don't use in-ear monitoring...

    Richard


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  4. #79
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    Mixers' evolution

    The first pic, already shown here (post # 18), is that of my first Mackie mixer MS-1202 purchased in 1992, it was given to a member here. If my memory serves me well, the first Mackie Designs mixer was the CR-1604 and the MS-1202 was the next one. Then a whole lot followed afterwards since they not only released other models, but also improved those previously launched, as can be seen when comparing the first pic with 2nd and 3rd pictures showing the MS-1202 VLZ bought in 1996, which I kept. After that version, the changes were minor or cosmetic: e.g. VLZ Pro (XRD mic preamp), VLZ 3 (XRD2 mic preamp) and VLZ 4 (Onyx mic preamp). Mackies were difficult to beat in terms of mixer logic, channel assignments, connectors, flexibility, quality.

    Sadly, in 2003 Greg Mackie had to sell his majority shareholder interest in the company, an investment Capital Partners thing got it, folks here know what that means, so things did changed a lot: manufacturing moved to China, quality went down cost being king, warranty dropped from 3 years to one year, etc. A simple comparison of the knobs on the front panel between a VLZ and a VLZ 3 or better with a VLZ 4 is pretty revealing. Neutrik connectors also appear to be gone. From VLZ 3 versions and on its less interesting...

    As a side note, In the Aug. 9, 2018 announcement appointing a new Canadian distributor for Mackie the underlined words got my attention: "With ADI now handling Canadian distribution, the Canadian market will benefit from local inventory, great margins, quick shipments and stable Canadian pricing."

    However, the "great margins" were removed from the same phrase now elsewhere on their Web site. The announcement might have been for dealers, whereas the other page mostly for the public. No wonder the margins were said to be great on Mackies with low-cost China production. I never bought a third Mackie...

    Instead went for a more quality Allen & Heath mixer seen in posts # 30 & # 45. Found a vertically aligned and clear mixer pic of the Allen as fourth picture here. I already commented in posts # 31 "Choosing the mixer" & # 45 the likes and dislikes I have with the Allen & Heath Z-14. Globally, not as cleverly designed as older Mackies, but better made than recent ones.

    With the added features I can use the 1202 VLZ as a stand alone or even as a submixer to the Allen. The VLZ has two sets of main outputs (1/4" and XLR), with the XLRs having main output level choice of +4db or mic level, giving flexibility in order to connect in the Allen mixer as a submixer.

    The better VLZ includes many items the original 1202 didn't have, like a HPF on mic inputs, Aux 1 Master control and pre/post fader switch, 3-band EQ, Muted channel sent to Alt 3/4 outputs, channel Solo for pre-listening or adjustment, Source assignments, Control Room outputs and gain, etc.

    Then the VLZ is a more complete small mixer, on which they also corrected an unusual thing from the first version. From left to right, the 1202 has Master gain then the Phones gain to the right side of it, not great. On the vast majority of mixers the Master gain control(s) are located to the far right. So Mackie switched the location of Main and Phones gain knobs on the 1202 VLZ to a more logical position with Main at far right. Dealing with two 1202 configured differently on this aspect was prone to using the wrong knob, somewhat of a hassle...

    Richard

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