I got a 40 pound bag for my new 24G nano cube and it seems pretty good. The grain size has a good variety and there are some bits of shell and things to make it more interesting. I added the sand after the water and between a powerful powerhead and no LR initially, it some days for the dust to finally settle.... even now the sand is being pushed around a bit but everything is clear. I found their water clarifier packet did basically nothing, and there was a lot of thick foam produced by adding the sand.
All told, it's probably fine sand. I added 5lbs of live rock to the 40 lbs of sand and 8 gallons of water and am seeing less than .25ppm of ammonia after more than a day in the water.... so I think it is pretty well started up with bacteria.
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Thsi is almost identical to my experience with it. My ammonia, nitrite, and nitrate have been very mild so far (you can see the numbers progress in my tank thread linked in my sig), but I'm only 10 days in so it's hard to tell how much difference it makes in the cycle.
Not actually what it does. It claims to attract the bacteria that might be floating free in the water to the surfaces of sand, rock and filter medium. It's possible that a side effect of this is to create the foam, though.
I used 20 lbs in my 10 gallon and it seems fine. I started with it, 10 lbs of dry rock, and 1 lb of primo live rock. I never really had any spike and I'm in a diatom bloom already. Seems decent to me...
It gives the tank a natural look. There is a HUGE variety of sizes and has amazing color. If you plan on keeping sand sifting gobies you WILL have particles floating in the water all day long. Other than that it sticks to the bottom pretty well.
i had 3 bags of the caribsea fiji pink live sand that has a noticeable amount of water in it. I added a bag of the carib direct thinking it would be similar; boy was I wrong. It had tons of big chunks, lots of crushed coral pieces, and shells. I ended up having to sift thru all of the sand with two different sized strainers to get back to the uniform grain size of my original three bags.
As dry as it is, I'm not sure it's as live as carib sea's other offerings are. On the bright side, I was able to separate two extra grades of sand from the carib direct bag. One is a larger grained crush coral (about 4 lbs) that i'm gonna use in my refugium, and about 1 lb of shells and rock rubble that i use to attach frags to.
I wonder if your sand was packaged wrong, I'm using 40 LBS of the Fiji Pink in my reef tank and it was all the same size. I sifted through the sand before adding water and pulled out anything that was big that might have got mixed in. I would say i had a handful of small black rocks and some crushed coral pieces, and a few small crab shells.
I have two android devices(phones).Let's call P1 and P2. I'm writing two apps, one for live-stream P1's camera video and other for view that video (from P2).
I want to connect these two devices via wifi Direct (No router). I have searched the internet for days now on how to implement a video streaming feature from an android phone to another android phone over a WiFi connection but not using Wifi direct (p2p).
Here I specifically want to do this via wifi direct. Can someone help me ?
Thank you :)
Alright so I'm kinda new at this. I am running a pod hd pro through a 5150 head (my poweramp source) to a 5150 slant cab. The way I have it hooked up is a 1/4 cable from the pods Left(mono) FX out to my heads FX in. The output level on the POD is set to Line and in the settings I have it set to studio direct. (IDK why but that sounds the best for me, probably because Im not using the 4 cable method and just using all the tone from the POD). My question is, what is the most efficient way of running this setup live but also going direct? I wanna still have sound from my amp on stage but skip the mic'ing process. My concerns are the tones/patches sounding different going direct to FOH as to what is coming through my cab. If someone can give me a list of what I need as far as achieving this, that would be amazing. (certain gear,direct box, cables, methods etc). The most simplest way please and thank you
Your concern (as a performer) is the sound of the audience. You need to adjust your pod to sound good for them, and if it sounds different through your amp then you just need to suck it up. The audience isn't paying for you to pleasure yourself.
Your amp/cab, even when using a post-amp input, will color your tone. How much coloring is the unknown variable (some of them are very neutral when used after the amp section, while others are not). This is why people say to use an FRFR or a studio monitor instead of a guitar amp, so that there is no coloring. Or they, like me, skip an onstage amp and let the pa send the sound back to you through the monitors - they are there, otherwise you don't hear the singers and keyboard players, so why not use them for the guitar as well.
*a decent way to see how much your tone gets changed by your amp is to play an mp3. If it sounds like your home or car stereo, you are good to go. If it sounds like a tin can --- that is the tonal characteristic of the amp.
FWIW, I have not used a guitar amp onstage for at least 5 to 6 years now! I have to say I have not missed it in the least. It does take some getting used to and your bandmates will think you have lost it but the luxury of getting studio tone without lugging around arig the size of a small fridge is well worth it. Plus, you can walk anywhere on the stage and hear youself to boot.
Like George Lucas said while making the Star Wars Prequels, "The technology wasn't available to make the movies I wanted to make, so I needed to wait 20 years for technology to catch up before I could make them."
Sure, I admit, people say that the tech has been around for awhile. And I have been backlined numerous times with racks and racks of 'computerized' gear that didn't involve big huge rows of amps - which defeats the purpose of carrying less gear.
But for me, personally, I developed my sounds and learned my gear like the back of my hand. I couldn't get what I wanted when ampless, and got what I wanted when amp'd, so I quit trying -- until I needed to make the change. And that is when I looked in to this ampless idea again. Ding-Ding-Ding we have a winner!
I have to admit I do tinker around on my tube amps and pedals at home and I will fire one up and mic it for a classic sounding track every once and a while. But, since the POD 2.0 days most all of my recording work and live playing has been pretty much covered by the PODs. Even the 2.0 fooled a lot of people in the early days. I am very happy with my HD500 and unless there has been a huge sound quality jump in Helix I will probably stay with it for a long time.
My main battles with going direct live was convincing the bandmates that this was not a BETTER way for me to get great tone, only a DIFFERENT way of doing it. After I played around the area a while it became a no-brainer to the rest of the guys and has been better accepted. Some of them have actually made the jump themselves.
I must tell this story! Back in the mid-80's, pre-POD days, my regular group had taken a few weeks off from the road and my keyboard player's brother, a drummer himself, called me and ask if I would like to play some weekend gigs with him. I told him yes it sounded like a lot of fun. PROBLEM? My amps were in the equipment truck 100 miles away! Thankfully, I had my guitars and pedal board. We set up that afternoon at the club when the bass player walked in and informed us his amp was down! After some discussion, he and I decided to run direct in the board. My pedal board was stereo so I ran just like we do now with our PODs. Imagine the looks we got when the crowd, including some of our devoted followers who were players, walked in and saw nothing on stage but the drum kit. Of course, we blew the walls out but the sound was so big and clean it was overwhelming. Not one person complained that the tone sucked or it wasn't ballsy enough! Everyone raved about how cool it was to see just musician's doing their thing without mountains of gear behind them blasting away. Everything could be heard mix-wise.
When I'm performing a song (well, any) on stage, with an acoustic-electric guitar, the soundman tells me that I should use direct output into the mixer, but when I ask for it to be plugged into an amp first (which is a Roland JC-120), he says that it can't lift up the signal.
Feedback, bleed, clarity in the mix. All these apply to both miking an amp and miking the guitar directly without using an amp. These apply to using microphones in general, in any instrument, with or without amps involved.
It depends on the venue (dimensions, materials, shape), the equipment (mics, amps, PA, monitors), and the performance (# of instruments, type of instruments, the mix). In many scenarios, there is a very big potential of feedback. It doesn't need to be a complex scenario. One guitar alone can have problems in a small and reflective venue (both standing waves and reflections being an issue).
Mixing engineers know this, and they often recommend to use direct out in all or some instruments. It also makes mixing simpler, since you don't have to worry about bleeding (which again, depending on the scenario, can be a big issue).
When he said that "it can't lift up the signal", I'm sure he meant that he can't bring the guitar to the amplitude levels he wants because it would induce feedback. This is why feedback can impact your performance even if it's not manifested as feedback, it will be manifested as a limitation of volume (which will vary among mics and instruments), this will be reflected in the mix. Some instruments won't be able to sound loud enough to clearly be heard (this is because feedback will be triggered at the same volume as the instrument needs to be heard through the mix). 152ee80cbc
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