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Headphone Cue Systems...
Old 28th May 2005 | Show parent
  #31
Here for the gear
 

Hi All,

Another Aviom user here. Great system that is so flexable it's silly !
Their 16 cnl mic system is also extremely worthy. I can record from / to any room in the building via CAT5.

Bob
Old 28th May 2005 | Show parent
  #32
There is only one
 
alphajerk's Avatar
 

yeah, with hte HD6 is is really lacking in number of channels and i ultimately have to start re-arranging stuff as the session progresses into OD's... i wish i had the next step up now, but cant justify the price for it vs having to adjust on this system. if i had the extra money, i would certainly make the next jump up. but moreme boxes are definately the best for getting the best out of the performers. they dial in what they want very quickly and the sesssion moves foward. i love them. the other problem with the HD6 is the talkback situation. always finding a spot for it, i usually tag it into the stereo send with the drums.
Old 29th May 2005 | Show parent
  #33
Gear Nut
I'm a little late to this thread. I'm also a Hearback Technolgies user. I have had my system for about a year and a half. I bought the dist unit and 4 module system for a bit less than a grand. I use it for analog and PT sessions.
It was a great investment. I have had no problems with it other than VERY rarely the audio will cut out for a split second in the phones. Musicians and bands love it. It gets very loud. It easily will drive two 60 ohm phones. The stereo in feature is nice. Sometimes I wish it had more inputs. It has a stereo and six more mono inputs. You lose one input to talkback, which I send from my aux out pbay point. I also have been keeping an sm57 in the control room on the same aux that goes to the Hearback. this is a very eay way to keep a mic open when the whole band wants to chime in for comments.
The quick and dirty way I use it for od's is to set up the mix and make sure the person scheduled up next likes the mix. I do a copy mix to send in PT. I send this out two of my interfaces to the stereo in on the Hearback. Then send the "more me" track you are overdubbing.
The unit is fairly robust. The rubber knobs have a nice feel. The limiter is handy as it does prevent overloads. A scribble strip would be on my wish list for the inputs. It's a bit cumbersome to keep having to peel off and put on new strips of tape on all the units when changing things around. Great deal for the price. My only other gripe has nothing to do with the Hearback quality but I sure which there was a CAT5 cable that laid flat like a nice mic cable. The cables have tendency to get twisted up a bit.
Old 29th May 2005 | Show parent
  #34
Guest
Guest
Quote:
I sure which there was a CAT5 cable that laid flat like a nice mic cable. The cables have tendency to get twisted up a bit.

Go to a "real' computer supply shop.
Here in Dallas we have a place called Altex.

You can get "limp" CAT5 cables there that lye like a good cable should.

I have yet to see these at any of the compu/buy-Marts.


David
Old 19th December 2006 | Show parent
  #35
Lives for gear
 
Worlez's Avatar
 

Quote:
Originally Posted by bongo View Post
I use Mackie 1202's. I feed the control room mix to 11 and 12. Stereo drums to 5 and 6, stereo piano to 7 and 8 and whatever I need to the first four mono inputs. I run it off of the analog outputs of my second 192. The Mackies are connected to my mic panels with Elco connectors so I can move them around easily.
This way the musicians can start with my mix and add what they need. Fairly inexpensive to build.
How are you splitting the signals to all the mixers? I'm looking at doing exactly the same as you, but due to cabling, I only have 8 lines going into my studio, and I want 3 mixers attached to that. I'm wondering whether I can get away with using Y cables to mult those 8 out into 3 lots of 8, and then into the mixer.

I'd appreciate some of your insight

Cheers
Al
Old 19th December 2006 | Show parent
  #36
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bongo's Avatar
I am just using parallel wiring to move the signals around the studio. Basically, just a home made Y cable. You should be fine. Contact me if you need more info.
Old 19th December 2006 | Show parent
  #37
Gear Maniac
 
Jim Roberts's Avatar
Quote:
Originally Posted by Doublehelix View Post
I am interested in these Hear Backs also. Is dpash the only one reading this thread that is using them?

I really want to put the power into the hands of the talent and get it out of my hair. I have been so accommodating for so long creating unique cue mixes for everyone from the board...but I am done!
We installed the Hearback system (one hub + four mixers) a few weeks ago. Love it. Couldn't find a better value once you analyze the price/performance ratio.

Lightpipe out of one of the PT interfaces right into the hub. Built an I/O template that keeps the routing simple from inside protools. Works like a charm. <$1000.
Old 19th December 2006 | Show parent
  #38
Lives for gear
 

Quote:
How are you splitting the signals to all the mixers? I'm looking at doing exactly the same as you, but due to cabling, I only have 8 lines going into my studio, and I want 3 mixers attached to that. I'm wondering whether I can get away with using Y cables to mult those 8 out into 3 lots of 8, and then into the mixer.

I'd appreciate some of your insight

Cheers
Al
+1 for the hearback.

Ha... was starting to reply and just noticed this thread was over a year old before you revived it.

I'm running all the inserts/aux's out of my mackie onyx (this setup is used for live/band practice use but would work for recording as well I suppose) into a shure auxpander then feeding the hearback system from that. That way I can controll all the panning and stuff for up to 4 submixes to feed the hearback. Works really well for me.
---
c
Old 19th December 2006 | Show parent
  #39
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Matthew Murray's Avatar
Yeah, the only thing about the hearback I *don't* like is that it can't do 96khz SMUX adat feeds. Only 48khz. I have to go and buy a whole other unit to do the conversion from two adat cables down to analog, because the hearback doesn't take dual adats at SMUX.

I would have easily paid $100 bucks more per unit if they'd included that!!

Ahh well, still seems like a good box. Need more time with it to be sure.
Old 19th December 2006 | Show parent
  #40
C/G
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C/G's Avatar
 

Quote:
Originally Posted by audioez View Post
I've used them all. . . for the money the Q MIX from ozaudio kicks ass...it has been used at home and in world class facilities, and it works, like a champ, not a chump :D
I'll check out the Oz system. I just bought a Bheringer system (yeah, I know.....) and the thing was broken, new out of the box. There was this distortion in the left channel and I went through everything, twice to figure out where the hell it was coming from! Monitors- no, keyboard - no, patch cables - no, mic cables - no, DI - no, check cables again, try different keyboard - Arrrrrgh!!!!!

The last thing we checked was a brand new headphone amp. Of course, since it was the last thing we checked, that was the culprit. But in all honesty, who would have suspected a brand new unit to be broken. I guess you really do get what you pay for.
Old 19th December 2006 | Show parent
  #41
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Worlez's Avatar
 

Quote:
Originally Posted by bongo View Post
I am just using parallel wiring to move the signals around the studio. Basically, just a home made Y cable. You should be fine. Contact me if you need more info.
Thanks for the reply.

So are you using a buffer or anything like that between your cable runs? I've got 8 outs going into my studio A, and I need 2 x 8 in that room, and then a further 8 going across into studio B, which would mean 3 x 8 lines, all off a single 8 channel return from Pro Tools. Do you think I could get away with just running a Y cable off the first return, then one end of that into another Y cable, effectively giving me 4 x 8 lines? Or am I going to run into signal loss and impedance problems etc?

Thanks a lot for the help

Al
Old 19th December 2006 | Show parent
  #42
Lives for gear
Quote:
Originally Posted by Worlez View Post
Or am I going to run into signal loss and impedance problems etc?

Al
The short answer is yes. I all depends how many devices you are driving and what kind of output driver your equipment uses, but it is unlikely to be able to drive three inputs without getting a nose bleed. One way to solve your problem is to get a cheap headphone amp with eight outputs. (Phonic or even a Behringer will do the trick here.) A headphone amp will have enough jiuce to drive as many line inputs as your heart desires - well, almost. If the inputs are 2k then the Behringer will run out of steam somewhere around 20 mixers.

We use a series of Phonic mini mixers driven by a headphone amp and this is accepted by all. This also allows the musician to use a monitor mic or even two, so that I do not have to worry about routing anything at the desk or patchbay.
Old 19th December 2006 | Show parent
  #43
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drew's Avatar
Quote:
Originally Posted by Jim Roberts View Post
We installed the Hearback system (one hub + four mixers) a few weeks ago. Love it. Couldn't find a better value once you analyze the price/performance ratio.

Lightpipe out of one of the PT interfaces right into the hub. Built an I/O template that keeps the routing simple from inside protools. Works like a charm. <$1000.
How are you getting talkback in there? This would be perfect for me but I don't want to have to run my talkback through an aux channel in PT.
Old 19th December 2006 | Show parent
  #44
Lives for gear
 

Just installed a 3 hub 12 mixer setup in a client's big project studio. We love it - each of the 3 rooms can have as many as 8 mixers. The hubs are silent (no cooling fans), and the mixers sound fine. I even use them for my own monitoring (with Etymotic ER4's) to avoid getting blasted by the mains when the client wants to crank the level.

For talkback, we are using a mic directly into an aux in, gated and keyed to one of the tracks. When playback starts, the mic goes off.

We are always at 44.1 on an HD rig with Big Ben and Rosetta 800's. (We couldn't hear a difference at higther sampling rates. I could with 192's, but not with the Apogees.)

Best....H
Old 20th November 2009 | Show parent
  #45
Sorry to be a late comer....

Been researching some new cue solutions and some posts here and was hoping to spark some new discussion.
As far as what I've used:
1.) The Hear Technologies: PIECE OF ****! Crap headroom, sound awful, cheaply built, the multiple outs for the headphone all sound different. The upside is they're real affordable and it uses ethernet.
2.) The Furman HDS6: Reasonable. Not loud enough and needs two cables which is a bummer.
3.) Aviom (can't remember which one)- sound great little weird to navigate for the typical musician.
4.) Furman HDS-16- The best designed of all the systems I've used. Fairly easy to navigate for musicians(given complexity, most musos still have trouble with multicues I've noticed), 8 mono in, 4 stereo in, and the real kicker is there's a talk back on every mixer summed to one output return at the brain unit, sound good don't remember being blown away. Downside is they are expensive and run on this rediculous thick 25 pin wire.

But FWIW I think I'll be slowly piecing together a HDS-16.
Old 20th November 2009
  #46
Deleted 1a30a04
Guest
we use the HearBack system ... works as advertised... reasonably
priced.

jeff
Old 20th November 2009 | Show parent
  #47
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Fleaman's Avatar
 

Quote:
Originally Posted by meverylame View Post
But FWIW I think I'll be slowly piecing together a HDS-16.
That's what I did. All through ebay.

Be careful though, make sure (if used) it includes the cable. I've seen quite a few of the remote units selling w/o the cable, and that cable is about $125.
Old 20th November 2009 | Show parent
  #48
Here for the gear
 
Bubbles's Avatar
I don't know your budget- but the absolute best headphone system i've ever used is the Formula Sound Que-8 system.

Formula Sound - Disco Mixers, Noise Control, Foldback Systems
Old 20th November 2009 | Show parent
  #49
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Gretschman's Avatar
 

Great thread

I have also been researching this issue for my new studio .

After a year of checking out everything I could read and find out about the headphone cue systems , I have firmly decided on the Furman HDS-16 .

It takes TT patch cables , which is great ! So I can use my patch bay & cables .

I already have 42 high end D/A converters sitting here , so no extra expense there , and I get to use great converters on the headset mix .

I comes with 25 ft cables , so , I might buy 4 extra cables for extensions or backup .

It has an effects in/out on each mixer .

Not limited to sample rates

No excess reconversions , Analog from my Crane Song converters to the mixer .

Great Talk Back System

Cheaper than the Aviom or Mytek systems .

So I'm buying The Furman system !!
Old 27th November 2017 | Show parent
  #50
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Kronos147's Avatar
Reviving an old thread:

Is there anything new on the stereo cue box front? Any units that sound really nice?

Anyone tried the AKG HP6E?

Do most systems drive line signals to an amp in the room, or amplified signals to the cue box?

Is it ok to drive an amplified down a snake next to mic signals?

Is it true if you say "Candyman" three times in the mirror you can't hear anything above 10k anymore?
Old 28th November 2017 | Show parent
  #51
Gear Maniac
 
rwsand's Avatar
We are using the AKG HP6E in our rehearsals. No complaints. Sounds good. Not i the same league as my Sound Devices units sonically but very flexible.
Old 19th January 2018 | Show parent
  #52
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Kronos147's Avatar
Quote:
Originally Posted by rwsand View Post
We are using the AKG HP6E in our rehearsals. No complaints. Sounds good. Not i the same league as my Sound Devices units sonically but very flexible.
That's good to hear!


Follow up questions:
Does anyone use active splitters to send the same cue send to several amps?

Distribution amps?


I am thinking I have to get a stereo send to 3 or 4 different AKG HP6E's (or other). Live room, live room 2, piano room, iso...

Cheers
Old 19th January 2018 | Show parent
  #53
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Kronos147's Avatar
Quote:
Originally Posted by brianroth View Post
Once Upon A Year we would send the CR mix to cue, perhaps with a few tweaks, via a power amp driving the cue line..into passive level boxes.
I have this now, and I have a few issues. The phase seems to get odd over long runs and the sound is different location to location.

I might have to redo some wiring, but I want to make sure I review all of my options first.

Brian,

Is the power amp output driven down the same snake as the tie lines, using the small gauge mic\line cable, or should speaker cable be run?

Thanks,
Kronos
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