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Help Needed To Control Xd-v35 System With A H30 Headset Please.


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#1 Music2Party

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Posted 12 December 2013 - 11:45 AM

Having bought a XD-v35 Lavalier system and a tan headset mic off eBay that has proved to be nothing but problems!

I have now got an H30 in Black from Line 6 as it has the correct 6.35mm Jack plug connection.

 

I would like to know please what EQ setting would best control feedback as this seems to be a big problem since leaving Shure for Line6!

I know there is no comparison between a wireless SM58 UHF system and a unidirectional  HS30 headset mic.

But I have also used a Shure WH20 headset system in the past and must say I have not experienced the feedback problems that seem to have happened since I bought my Line 6 XD-V35 wireless system to be honest. I decided to purchase Line 6 wireless microphone system after witnessing the pure clarity of a XD-V30 Handheld system first hand. Of course I then found out the XD-V30 is no longer available so I had to buy the XD-V35? 

 

Any help to my own topic post would be much appreciated thank you.

 

Regards John

Music2Party Eastbourne UK


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#2 RonMarton

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Posted 12 December 2013 - 12:23 PM

I would have thought that the feedback rejection characteristics of the Shure WH20 and Line 6 HS30 were very, very similar, John...

 

…and can tell you that the equalisation and other techniques required for the control of such feedback problems as might remain when using pretty much anyone's version of this kind of cardioid headset mic

  1. Should only ever be necessary in the presence of a truly earsplitting level of loudness, for example from the sort of foldback used in heavy metal performances   …and...
  2. The correct implementation of such feedback-eliminating techniques generally occupies at least an hour of time ahead of the band's "sound check" session.  

Accordingly, it seems highly likely to me that something else is giving you grief.

 

Could it be incorrect orientation of the HS30's capsule ?

 

Correct positioning requires its distinctly larger "front" grille (under its foam windgag) to be facing directly at the performers mouth opening, with the boom adjusted in order for that front grille to be "looking at the teeth" from a position that's immediately adjacent to, but slightly "standing off" to one side of the corner of the mouth.

 

In other words, not right in front, not above, not below, but slightly back, "off to one side" and level with the mouth.

 

Having the capsule "back to front" grille-reversed under its "foamy" will definitely yield the problems you're describing, while other orientations will give rise to various problems such as inconsistent levels and/or "popping" and/or sibilance.


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#3 dboomer

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Posted 12 December 2013 - 12:50 PM

Hi John

 

Unfortunately there are no specific frequencies that universally cause feedback.  It is different for each specific situation.

 

I would suggest rolling off the extreme lows (typically below 100 Hz) for a male voice.  Everything else depends on the mic, the speakers and the specific distances between them, along with the gain that you are trying to get from the system.  Hopefully you don't have the speakers behind the person wearing the headset.  If you do you'll want to move them forward from the mic position.



#4 Music2Party

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Posted 12 December 2013 - 01:48 PM

Thanks again guys for your valuable quick responses. Maybe I am hoping for something to happen that just isn't possible.

I wanted to use my headset mike in front of my speakers to start with and then from behind them after I return from my introductions.

I will admit when I used the Shure wireless UHF with the WH30 headset I was well behind the speakers as I was then using it for backing vocals while playing drums?

I also used Trantec in ear monitor system so monitor speakers were not a problem either. Will it be a case of using my handheld mic and then fitting my headset once I am back behind the speakers again? I will report again after the weekend as all my concerns are founded on other non line 6 mics so I may just be pleasantly surprised I hope. I do hope so as Langhamhotel2013 has bought two XD-V55 HS Tan systems to be used in front of the speakers which are at high level against the walls to be out of the way of dinning tables and guests? After purchasing with a V55HH mic this was used on Tuesday 10th and proved to be great with no feedback problems being in front of the speakers of their Yamaha 600i system. But the headsets have still to be sound checked? My system is a Verse 2kw made up of two 500 watt mono satellite 8 inch speakers connected into a stereo 1000 watt 10 inch sub woofer. this is connected to a Pioneer DJM 5000 mixer using mic 1 to connect my XD-V35 into with a XLR lead. Hopefully that will help any reader in fully understanding my equipment setup.

Cheers.


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#5 RonMarton

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Posted 12 December 2013 - 03:06 PM

Music2Party, on 13 Dec 2013 - 08:48 AM, said:

...But the headsets have still to be sound checked?...


There's a specific technical term we Sound Supervisors use for someone who attempts any gig without first conducting a thorough "walk test" and "sound check" of all their equipment, all of their facilities and all of their control systems, John...

It's known as a "f###ing idiot". :lol:
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#6 Sheriton

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Posted 13 December 2013 - 02:30 AM

Hi John,

 

A little bit of background on the specifics of what causes feedback may be useful here. It happens when the loop gain of the system (acoustic sound -> mic -> PA -> acoustic sound -> mic etc) is greater than unity. Mics and particularly speakers can have very uneven frequency responses with many peaks and troughs. The first frequency to feed back will be the one with the greatest loop gain which will tend to coincide with the biggest peak on either the mic or speaker's response. In the unfortunate situation of both the mic and speaker having a "helpful" presence peak around 4 - 6 KHz, that's guaranteed to be the area that will cause problems.

 

Several potential solutions.

1. Relative positions of mics and speakers. In an ideal world, mics would always stay out of the coverage pattern of speakers. I think we've already established that this may not always be possible though.

 

2. It tends to be the case that better (generally more expensive) equipment has a smoother frequency response with fewer peaks. As an example, the panto I was doing last week was in a venue with a very nice KV2 PA. When actors (with the Pulse headset mics I linked to elsewhere) came down in to the auditorium, they could stand directly in front of one of the speakers and still achieve enough volume to be heard over 300 screaming kids without any feedback. It still makes me a little nervous whenever they do that but having always spent quite some time EQing both mics and speakers, I can be confident of having very few problems there.

 

3. EQ. Not so much the broad three band EQ on a DJ mixer but either a 31 band graphic or a full parametric. These will let you hone in on the the exact frequencies causing problems and surgically reduce them without affecting the rest of your sound. Part of the essential sound check process is to deliberately induce feedback in order to determine which frequencies it will happen on so that they can be reduced. High passing any mics as high as possible will prevent any very low feedback and there will generally be one or two frequencies in the low kHz range that also need taming. Familiarity with the equipment you regularly use will eventually mean that you know exactly where you're likely to have problems and will be able to identify frequencies by ear and quickly remove them.

(There are devices out there that claim to automatically identify and remove feedback; some of them can do reasonable job but none of them are "one button" solutions that can magically fix everything. At best they need careful setting up during soundcheck and locking down to prevent further unnecessary changes; at worst they can suck all life out of the sound by incorrectly identifying wanted sounds and removing them.)

The added benefit of a well EQed system without unpleasant peaks in its response is that it will sound a lot nicer to listen to as well as being less likely to feed back.


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#7 Music2Party

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Posted 13 December 2013 - 02:45 AM

Yes Ron and in the amateur band world and again with many know it all djs there many f###ing idiots who can be easily heard from howling feedback lol.

Having re visited all your post responses to my questions I do now think I have fallen into the trap of being penny wise and pound foolish as I have really given myself a load of grief by not buying the XD-V55 HS System instead of the XD-V35 with an uncommon 6.35mm jack plug connection!

 

As I said I will know if this HS30 will work with the XD-V35 in RF1 mode along side my wireless router which is 4ft away controlling the DMX with an iPad after setup and sound check and walk test at 15.30pm so all keep your fingers crossed that I don't have to replace all my line 6 equipment and start again!

 

There is an old saying that maybe I should have stuck too? If it ain't broke don't try to fix it! By changing to Line6 and a headset I have really given myself a lot of grief!!

Cheers John


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#8 RonMarton

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Posted 13 December 2013 - 11:47 AM

...I have really given myself a load of grief by not buying the XD-V55 HS System instead of the XD-V35 with an uncommon 6.35mm jack plug connection!...

 

...that just happens to be THE oldest (and among the most commonly found) audio connection on stages around the world, John !  ;)

 

...As I said I will know if this HS30 will work with the XD-V35 in RF1 mode along side my wireless router which is 4ft away controlling the DMX with an iPad...

 

Crikey, mate…    :rolleyes:

 

Whatever transpires, I'd strongly urge you to invest a few quid in a longer USB cable for your router that will allow it to be at least three times further away from any wireless mic receivers you may choose to operate, regardless of their band or brand.

 

In terms of simple physics, it's absolute MADNESS to put a known source of RF radiation adjacent to receivers that are trying to pick up signals from further away. (You might like to do an internet search for the term "Inverse Square Law" to see the reasoning behind this.)

 

...There is an old saying that maybe I should have stuck to? If it ain't broke don't try to fix it! ...

 

:lol: On that basis, me old mucker, nothing would ever improve...

 

...but yes...

 

...I do both agree with and truly feel for what you're saying, in that genuine "pioneering" and "early adopting"are often best left to folks with pockets far deeper than ours ! :) 

 

...By changing to Line6 and a headset I have really given myself a lot of grief!!...

 

…But, once sorted, you've also given yourself the only genuine "state of the art and highest quality" wireless path for audio signals that folks like us can actually afford.

 

Now, keep that party vibe coming ! :)  


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#9 Music2Party

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Posted 13 December 2013 - 05:42 PM

Thanks Ron I will google that you spoke about and read it when I have time I promise? Regarding my DMX system the router is used to control a ethernet to DMX interface and both are housed inside an ali case. The DMX XLR plugs into my DMX lighting rig wiring and the router connects to a special DMX network called ArtNet.

The Luminair program on my iPad connects wirelessly to the ArtNet DMX channel allowing me to remotely control my lighting.

I has never interfered with any wireless mic system and I am happy to report that now includes the Line6 XD-V35 System, the HS30 was found to be very flat and lifeless but I think this is more down to eq settings and more time needed, which today was not available as they had staying guests to get fed before the christmas party started? But the Line 6 headset didn't cause feedback and with the belt pack set to RF1 it worked along side the router and nothing was slowed down or interfered with at all. So I am now going to send the cheap eBay headset back for a full refund, and please please forget I left the link as they are best left alone? :wacko:

All I have to do now is get my voice to sound a little better and maybe a touch more volume and I will be more than happy :D

To explain when speaking my voice sounds a little muffled and not clear through the speakers? Went back and picked up the hand mic and it sounded so such better and the guests started to answer my questions rather than having blank looks on their faces lol :huh:

Cheers all off to bed now :)


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#10 RonMarton

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Posted 13 December 2013 - 09:32 PM

With any luck, that promising "introductory session" will mean that this post will reach you after you've enjoyed a well-earned sleep, John...

 

…As it's been my experience that uncertainties like these can often rob true "performers" of their vital "shuteye" time.

 

...the HS30 was found to be very flat and lifeless but I think this is more down to eq settings and more time needed...

 

...I would suggest rolling off the extreme lows (typically below 100 Hz) for a male voice...

 

Not having the more comprehensive eq controls of a sound desk suggests to me that it's likely you'll need to find a very quick "tweak", should I be correct in thinking that both handheld and headset must "share" the Pioneer's simple but very effective "High, Mid and Low" controls.

 

To that end, I reckon that the main "clarity" issue we're facing here is most likely to have arisen from the handheld effectively having a midrange and/or upper-midrange "presence" boost compared to the "flatter" (if sometimes less "flat-tering") response of the headset's capsule.

 

Also, you'll easily be able to demonstrate for yourself the "bass boost" that arises from what's called "proximity effect" by bringing the handheld right up to your lips and then backing it away by as little as a centimetre or half an inch as you speak.

 

When properly positioned, any headset mic's capsule will nearly always tend to exhibit more of this proximity effect-induced bass (always being much closer) than a handheld, so one non-electronic form of equalisation (which, in essence, is just a fancy term for "making equal" or "matching") that's readily available is our variation to the "working" distance of each mic.

 

Should that not prove to be a total solution, I'd always heartily recommend (as Don's suggested) having more "work" being done by "cut" rather than "boost" through your (albeit simple) equaliser, because every bit of boost takes us closer to speaker-destroying distortion should a "burst" of unexpected loudness catch us out.

 

For this job, that probably means either an easy to remember (hence easily re-set) mid and top "cut" whenever the handheld's "in play", …or the application of (possibly surprising amounts of) bass cut (rather than mid or high boost) along with a tad more gain, whenever the headset's being used.

 

That second option may be even easier to remember and re-set, should the Pioneer console's electronics form part of the overall solution that sounds best to your ears.

 

I'd also like to re-emphasise the definite need to cable so as to reduce any existing RF radiation that's near radio mic receivers to the absolute minimum that's practical, as I still fear that your success yesterday may have been fortuitous, ...with your radio mics having been "on the verge" of dropping out the moment yet another source of RF happened to "walk in".     


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#11 Music2Party

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Posted 14 December 2013 - 03:17 AM

Hi Ron & Don yes I am now well rested and ready for tonight's Christmas Party working with a band that do two 45 minute shows with a raffle in between before we close the party until 1 am. In answer to your questions no each mic channel has its own 3 band EQ. Please use this link to download a PDF of the manual as it is always difficult trying to guess what someones equipment functions do and advice them somewhat in the dark? http://pioneerdj.com...=DJM-5000&t=man Please forgive me for not thinking of supplying this sooner.

 

Ron may I ask a question that is puzzling me from your post about not having any wifi that near to a wireless mic source? My reason for asking this is we have witnessed wifi sound mixing use on two occasions so far? The first was at a 65th Birthday party at a posh castle when we were the support act to Mike Pinders Searchers and the sound engineer was controlling the sound levels of the wireless mics, wired mics and instruments and drums remotely at the back of the room with an iPad and during sound checks the actual mixer sliders could be seen to move on their own from him controlling it from his iPad software? He told me the wifi interface produced midi commands which were sent remotely to the mixer at the stage! The second time was at a concert we went too when again the sound and lighting guys were at the back of the theatre and there was no multi core cable as again there was computer screens and everything was sent remotely to the stage area and artists by wifi? Oh how I wish we had this when I was pro in the late 60s? No more running out multi core big cables and making sure they didn't get in the way or trip anyone up? Plus me the poor drummer no mics for me I just had to hit the drums hard to be heard over the AC30s and the PA no wonder I am a bit deaf? Those were the days!

Cheers for now John 


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#12 RonMarton

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Posted 14 December 2013 - 05:28 AM

As you'll have divined by now, John...

 

Your DJM-5000 is indeed far more comprehensive than the Pioneer controllers I had in mind, so that makes it far easier to apply individual processing to whichever you've selected to be your "main" or "talk over" mic, (I'm guessing probably your headworn, for "hands free" operation at the console) …in order to obtain a better "match" to the "Mic 2" that's connected via the DJM's rear panel input.

 

It should be a breeze to then, whenever your show requires it, just "grab and go" with your handheld.

 

...may I ask a question that is puzzling me from your post about not having any wifi that near to a wireless mic source?...

 

It's not "any WiFi" that I'm on about, nor is it the "wireless mic source"

 

It's the demonstrable insanity of locating active sources of potentially interfering radiation such as routers, tablets and laptops within a yard or two of our receivers and/or their receiving antennae, knowing that halving the distance from those sources of interference to our receivers multiplies the bombardment of those receivers by a factor of four.

 

That's the effect of the "inverse square law" that applies to ALL forms of radiation.

 

That law also tells us that a quarter of the distance increases the strength of that potential interference, as "seen by" our receivers to sixteen times what it would have been at the original distance, which is why a few quid spent on a cable that puts your WiFi router a couple of yards away will prove itself to be a very wise investment indeed.

 

I'd be surprised if that's not exactly what the other acts you've mentioned will have done.


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#13 Music2Party

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Posted 14 December 2013 - 07:07 AM

I have some good news eBay have sent me a free return postage label so I have just returned from posting off my poor quality headset. eBay customer protection department have said as soon as they have tracked my parcel and it has been received and signed for they will issue a full refund including my original postage as they agree I have not received a satisfactory item or an acceptable time span by this eBay business seller! :)  I have goggled "inverse square law"  for radiation and had a quick look :rolleyes: but found it a bit much for my old brain so have bookmarked to study at a later date! But can confirm the Mike Pinders sound engineer had the router and interface in an aluminium case which was sat on the table next to the mixer, plugged  in the mains board and the interface plugged into the large mixer with a midi cable? Which is why I decided you make and use mine in the same way? If I moved my case it could only be behind me as we mostly don't have the luxury of a stage area and therefore if a case was to the side it would be touched by a member of the audience I am pretty sure?  I am sorry to report that some people even think it is funny to switch your main power supply off :angry: so we now cover it in gaffa tape to make it is not easy to do so quickly and move away!

 

I found these two links for feedback destroyers? Are they any good for me? Or should I save my money towards upgrading to a XD-V55HS System instead?

http://www.gak.co.uk...CFQkEwwodSEwAzQ This is New

 

http://www.ebay.co.u...=item33886b6c73 S/Hand on eBay

 

Thanks again for all your help in view of what you said about making sure the headset capsule should be facing the right way towards your mouth?

to night I am going to remove the windshield as it is not easy by feel to know I have this capsule positioned correctly?

Cheers John :D  


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#14 dboomer

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Posted 14 December 2013 - 11:12 AM

I couldn't recommend either of those units. Since your mixer seems somewhat limited I have to ask if you even have insert points in which to connect a feedback manager? I would recommend getting a Sabine FBX Solo ( the one that works at mic level) and connect your wireless directly into it and then on to your mixer.

You might also take a look at the other Line 6 live sound products. Both the mixer and speakers have built in feedback managers that
are more advanced than the Sabine units ( Which up until now were the best on the market).

#15 RonMarton

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Posted 14 December 2013 - 12:53 PM

...I am sorry to report that some people even think it is funny to switch your main power supply off  :angry: so we now cover it in gaffa tape to make it is not easy to do so quickly and move away!...

 

Sadly, John...

 

Many of us have had brushes with this sort of "humour", generally (but not exclusively) where alcohol and/or drugs have been involved.

 

...the Mike Pinders sound engineer had the router and interface in an aluminium case which was sat on the table next to the mixer, plugged  in the mains board and the interface plugged into the large mixer with a midi cable? Which is why I decided you make and use mine in the same way? If I moved my case it could only be behind me...

 

Please believe me, John, when I say that every millimetre of extra distance between your router and your receivers is "gold".

 

Receivers where they've always been and the router up behind you, or vice versa, …or, indeed any other spaced arrangement that yields a quick and practical rig and de-rig will prove to be worthwhile in terms of taming the dreaded drop-out, regardless of the risks others may be prepared to run.

 

...I found these two links for feedback destroyers?...

 

Aside from Don Boomer's reservations, (and even though some folk may possibly have differing views on one or more of them) I would add that I'd be very surprised to hear that you found your existing set-up inadequate to the extent that you felt feedback problems justified the added expense, complication and time required for rigging, "tuning" and de-rigging that are an inevitable consequence of more "outboard" gear of the type you're considering.

 

To my mind, it would need to be shatteringly loud and/or the rig really incompetently arranged for feedback to be insurmountable using the gear you now have.

 

...I am going to remove the windshield as it is not easy by feel to know I have this capsule positioned correctly...

 

Just make certain you put it back on !  :lol:

 

The asymmetrical nature of the capsule means that (as you've said) we can usually "feel" for correct orientation through the urethane foam …and that foam not only prevents potentially woofer-destroying "pops" and "booms", but also shields your sensitive capsule from a whole world of potential damage from shock and moisture.

 

Giving it (along with your handheld's "popper stopper" and removable windscreen) the occasional rinse with 1 part Eucalyptus Oil B.P. to (roughly) 10 parts water, followed by an overnight "drip dry", is a "cheap trick" that not only "feels nice", but also helps insure your "tool of trade" voice against throat infections.


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#16 Music2Party

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Posted 15 December 2013 - 06:50 AM

Well after completing the HS30 headset XD-V35 System sound check and cutting EQ levels and increasing volume I have to say it sounded pretty good and I was well satisfied! Then when used in a room full of 130 party revelers all chit chatting  to each other and I had to get my announcements to heard above it my preset volume level was not enough any more, so again I went back to my old friend the Sennheiser Hand Held that I was able to up the volume to make myself heard easily without any feedback worries! Then after returning to behind my console to start to cue up music videos to play next, I decided to put my headset on again and just tweak the volume up by the tiniest amount pushed the mic on button on the mixer after switching on the belt pack and yes you've guessed it the dreaded feedback was immediately heard instead of lovely music! So that was it I switched it off, took off the headset & belt pack and Sue packed it all back into the aluminium case before I had a chance to throw it on the floor in frustration :angry:  Well that's it make me an offer if you want a XD-V35 Lavaliere System as new complete with a HS30 headset please let me know. I now have the chance to try a XD-V55HS before buying by asking the owner of the Langham who if you remember has two new ones. If that proves to behave in the same way for me, then a goose neck mic stand and my wired SM58 spare mic will do for me as some you win and some you lose in life!

I know the XD-V75 is the better system but that price is out of our range, so it will be a XD-V55HS if successful when tested or I am afraid to say my Line6 usage days will be over! Sorry this is no reflection on Line6! Could be my equipment, my setup inexperience and the fact that I don't have the luxury of long setup and sound check times as in the Wedding, Party and Corporate functions we are booked and perform in everything is rush rush rush and wing it :D  which has never been a problem until we bought a XD-V35 System -_-

Cheers all now we have a well earned break until Thursday John :D


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#17 Sheriton

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Posted 16 December 2013 - 02:36 AM

It's perhaps worth bearing in mind that the bulk of a radio mic system is simply a replacement for a wire. Most analogue systems use a compander that reduces and then restores the dynamic range - the L6 does none of that and consequently sounds better than a lot of other systems. There's also a slight latency involved due to its digital nature which can in many cases help reduce feedback.

The significant variable here is not the radio system but the microphone - you've discovered through your own experimentation just how much difference the different mics make. I think it's a little unfair to blame the Line6 system as I don't think that's the cause of your troubles. Any other radio system with that same type of headset mic would, I suspect, cause you similar issues.

I think (and I'm sure Don will clarify here) that the differences between the V35, 55 and 75 are mainly facilities (more frequencies, mic models, etc) and not sound quality or other variables that would affect performance in your scenario.


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#18 VicKlonin

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Posted 06 March 2014 - 04:33 PM

Ron I mean no disrespect to you or your knowledge but the (HS70T Headset Mic) that Line 6 supply for the XDV75 BP Receiver / Transmitter is absolutely of no use.

 

First off it is an Omni-directional condenser mic. As soon as I touch the mic level on my mixer it produces feedback at the most minimal level. Never mind Heavy Metal. Try just a voice and an acoustic guitar! I have 4 mixers, a Mackie 1604, Alese Firewire 16, Behringer X32, and a PreSonus 24.4.2. The results are the same regardless of which mixer I plug in to.

 

 

I purchased 2 of the XDV75-HHTX with the handheld mic's and they are fantastic. I can literally walk in front of my Bose front end and incur no feedback and the sound quality is excellent.

 

 

I purchased a Crown CM311 AESH cardioid hoping this would solve my problem but this mic has very low output and is only slightly better than the mic that comes with the XDV75 but, still nowhere in the ballpark. So far I have invested over a $1,000.00 and I still can't use it due to feedback. I called Line 6 and they simply implied that I was off my rocker and that the headset mic mic that came with the XDV75 was fantastic and, they get nothing but rave reviews on the mic. I can assure you that my experience as a sound engineer is pretty complete considering I do sound in Alberta for an outdoor concert called the South County Fair every year for an audience of about 3,000 people daily.

 

 

I have put this unit aside and do not use it due to the feedback issues and hope that one day Line 6 will recognize that they have an serious issue with this unit. It would probably work fine if it were to be used by a Television news person or a weather man with the purpose of recording or transmitting the voice but not in amplifying it in the same environment.

 

Cheers


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#19 dboomer

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Posted 06 March 2014 - 07:09 PM

Hi Vic

That's really surprising because that Crown mic is probably the best performing mic in the world in terms of feedback rejection. Being wireless has nothing to do with feedback so I'd look somewhere else in your system. That microphone probably has 10dB more gain before feedback than the V75HH does so it seems very strange that the V75's outperform it.

#20 Sheriton

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Posted 10 March 2014 - 01:59 AM

Hi Vic,

 

At the risk of pointing out things that you already know, feedback is a function of the whole system, not just of the microphone. Speaker placement in relation to the position of the mic is probably one of the most significant factors in causing (or not) feedback. It might be useful for you to give some more details of your complete system and how it's set up in order to give us more chance of being able to help you.

 

I regularly do sound for musical theatre using 12 or more omni headset mics, similar to and including the HS70. I can confirm that it doesn't cause any more issues than any of the other mics I use. As I'm sure you're aware, available gain before feedback reduces by ~3dB for each doubling of the number of open mics; on a typical show that means I'd need at least 12dB of feedback-free headroom more than I would for a single mic. This isn't generally a problem so I can only assume that something about the way you're setting up your system isn't ideal for this particular application.

 

I don't think handhelds and headsets can really be compared in any meaningful way - they're very different beasts and need to be used in different ways.

 

Sheriton (I don't consider my engineering experience to be pretty complete despite regularly working across live theatre, festivals (large and small), bands of many varied genres, radio broadcast, orchestral recording, video production etc. so feel free to ignore)


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