Product Reviews

Line 6 Relay G50 Instrument Wireless - Review

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Line 6 Relay G50 instrument wireless review. (GearTechs.com)

by Kirk Eberhard

The Relay G50 Wireless Guitar System is a recent offering from digital instrument pioneers Line 6. Operating on the FCC/DTV compliant 2.4 GHz band and utilizing a 24-bit ADA conversion system, the G50 boasts 10-20KHz bandwidth and 120 db dynamic range. Since I don't own expensive scopes and test gear, I'll leave the validation of these specs to someone with a more scientific bent and instead give a hands-on, rubber-meets-road type of review. I tested the Relay G50 in a variety of venues and locales, and it delivered flawless performance with outstanding fidelity and remarkable battery life. At a street price of just under $400.00, it's an unqualified winner.

First Impressions...

When I first received the Relay G50 I plugged the transmitter into my Jazz bass, and gave it a shakedown run through a favorite hi-fi practice amp. The system passed the unadulterated sound of my beloved bass with no audible noise or phasing. In spite of the proximity of my Wi-Fi connected laptop, nothing I did generated anything like interference or static, so I headed out my back door for a stroll around the yard. Putting over 100' between me and the receiver did not cause any unwanted sounds or diminish the clarity and dynamics of the audio signal. Of course, there were only the usual household EMF fields and Wi-Fi networks that might present potential interference, but this superb performance would later be confirmed on many stages, from 500-seat nightclubs to 2,500-seat theaters and huge outdoor festival stages. Furthermore, the Relay G50 has seen duty in several different cities and states without a single rizz, pop, or dropout, so my concerns about the effects of high data traffic over the widely-used 2.4 GHz band were put to rest.

Features and Details...

The Relay G50 transmitter and receiver are both quite solid and substantial, and inspire immediate confidence...

Read more: Line 6 Relay G50 Instrument Wireless - Review

 

Electro-Voice RE320 Reviewed

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by Mike Sessler, Coast Hills Community Church

The ElectroVoice RE20 has been from it's introduction a favorite of broadcasters and announcers. Somewhere along the line, someone stuck it in front of a bass cabinet and discovered it rocks as a bass mic. Then someone else put it in a kick drum and found it works wonders there, too. In fact, the RE20 is great on a lot of things. And while it's not super-expensive (at least by premium microphone standards), at $400-ish, it's not a budget mic either.

EV realized there was a market for a more cost-conscious version of the RE20. In January, 2011 at NAMM in Anaheim, they introduced the RE320. Priced at $299.

When I saw it at NAMM, I knew I had to try it. I've used the RE20 in the past, and always liked it. But I have a hard time justifying the price tag when I have so many other things that need attention.

The week before Easter, a box arrived; it was my demo RE320. We were re-setting the stage anyway, so I pulled the PR-48 out of the kick and stuck the RE320 in. I think it was the second or third kick during line check that I knew this mic was not going back.

I've tried a lot of different mics in the kick, and have only really ever been happy with one; the Heil PR-40. I'd love a PR-40, but at $325, it's a tougher sell. The PR-48 was okay, but I never felt we could get it positioned to give us both the punch and the clarity I wanted from the kick. We could get one or the other, but not both.

When I arrived at Coast, we had the "classic" combination of a Beta 91 inside and a Beta 52 in the hole. I know a lot of guys who like the dual mic technique in the kick, and I respect that. My preference however, is to use one. There are a lot of reasons for that which I won't detail here. But know that it's preference thing and I don't think dual mic'ing is wrong. I'd just rather not.

Read more: Electro-Voice RE320 Reviewed

   

Heil PR22UT - pro audio's best kept secret

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Quietly about a year ago, Heil Sound did something remarkable.  Not so much in a technical way, but in a practical way. 

The microphone business is tough.  Certain models have dominated the music scene for years, and it's darn hard for people to change their habits.  At the time, the Heil PR22 microphone was selling for $165, and was quickly increased to $182. 

When the world's most popular microphones sell for $99.95 (and there are 3-4 good ones right at that price point), I had to admit that I was disappointed.  $99.95 is a magic price point.  Pastors and tech directors don't need approval to spend $99.95, $99.95 seems like the "right" price for a mic, and the list goes on.  $99.95 just works in the same way that gasoline at $3.999 is somehow cheaper than gas at $4.00. 

So what did Heil Sound do?  The people there decided to package the PR22 without the fancy carrying case and without the extra black and extra gold windscreens and called it the PR22UT.

UT stands for utility.  It has a nickel colored windscreen and comes in a simple vinyl bag with a mic clip.  The price?

Read more: Heil PR22UT - pro audio's best kept secret

   

EV LiveX vs. QSC K-Series Shootout

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by Mike Sessler, ChurchTechArts.org

Speaker shootout

Our setup for speaker testing


One of the most interesting (at least to me) announcements at NAMM was EV’s new line of self- and un-powered speakers, the LiveX. They were a direct shot at QSC’s K-Series, and come in at a compelling price point; roughly $200 a box less than a comparable K-speaker. Based on the demo we heard in their small demo room, I was very interested. This was a timely announcement as we are in the process of upgrading our PA in our student room. The existing JBL Eons are just not doing it, and it’s time to make a change. Though we were told the speakers were in stock and ready to ship, that turned out to be marketing-speak. It took a few months of wrangling, but the truck finally delivered two palates of speakers to my dock. It was an exciting day.

Since the K-series is sort of the new standard in this category, it seemed fitting to compare the LiveX to those.

Read more: EV LiveX vs. QSC K-Series Shootout

   

Control StudioLive mixers with multiple iPads!

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With their new free iPad app, "front of house" can be anywhere in your church!  Up to 10 praise band musicians can control their own monitor mixes.  

Introducing StudioLive Remote, the free iPad app that works with any PreSonus digital mixer.  It gives you hands-on control of channel levels, mutes, panning, EQ and more for multiple channels at once.  Click for a closeup Fat Channel view.  Tweak monitor mix levels, panning and processing.  Adjust the graphic EQ's, well...graphically.  

Combine Studio Live Remote with Capture (2-click multitrack recording program), VSL, plus Studio One artist DAW, and your church has the most versatile, affordable live mixing/recording solution ever.  

Get the whole story here. 

And then get a StudioLive.  We've got them in stock for immediate shipment!

Imagine allowing your sound technicians and your individual musicians to have control of your StudioLive anywhere in the room. Think of it as a "free" personal monitor mixer with no wires required. 

   

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