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1964 Ears Owners Group

#64
I personally can't compare them as I haven't tried either. Vision might be able to answer that one for you since he has a pair of V3's. I was more referring to the money aspect of it, I think remolds are what, 299? And the V3's are 350 or something like that? I'd just spend a few bucks more and get the V3's.

Personally though considering what you already have into the 535's money wise, I guess if I were you I'd consider selling them as a used item and get maybe a couple hundred for them and upgrade to V3 or quads. That's just my take though, that's what I did with my westone UMX3. And just for reference the difference from the westone 3 drivers to the 1964 quads is substantial and well worth the upgrade!
 
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#67
Nice thread, I'm going the in ear route pretty soon and initially was going with custom molded westones but these 1964's have me really interested. Any former Westone users here, and how do they compare ? Fwiw I was gonna try the Elite series from westone but I'm more interested in 64's now!
 
#70
Afc70 said:
Any former Westone users here, and how do they compare ?
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See my post above this one. I can't speak for the fidelity of a custom mold Westone, as I only had their universal product. Assuming the driver quality between the Westone universal and custom molded, you'll save some money going to a 1964 product, or maybe pick up an extra driver or two for the same money; and they'll sound as good or better.
 
#76
Rocksolid said:
I'm running quads with wireless iem, Rolls box etc. I'm waiting on the arrival of a Rode M3 to run as an ambient via a Mic pre into the other side of my iem to blend with my mixed signal from my rolls. Can't wait to see how it sounds.
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I just picked up a couple small diaphragm condenser mic's for this purpose. I haven't had a chance to use them yet though. Where are you planning on placing your mic?
 
#77
I'm finding in smaller venues with the dB drop you get with full custom molds, that without much drums in the FOH mix at times I struggle to hear the high hat and snare. So I will use it as an overhead for the drums as a starting point and move it from there. It will probably pick up some guitar also which won't be a bad thing, as that can be a bit light in the FOH mix that I'm sending to my rolls box because of his on stage level.
 
#79
Rocksolid said:
I'm finding in smaller venues with the dB drop you get with full custom molds, that without much drums in the FOH mix at times I struggle to hear the high hat and snare. So I will use it as an overhead for the drums as a starting point and move it from there. It will probably pick up some guitar also which won't be a bad thing, as that can be a bit light in the FOH mix that I'm sending to my rolls box because of his on stage level.
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Rocksolid said:
What mics did you get? The Beh'r C2 are great for this application, at less than $100 a pair. I thought about getting these, but ended up winning the M3 on eBay for $100. I wasn't expecting to.
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Our drummer has a full Audix mic kit that he uses (toms, snare, high-hat, kick, overheads), and we're running SM57's on the two guitar cabs so the mix I get in my monitors is pretty good, I'm just missing the room noise that you lose with IEM's. I'm essentially borrowing two CAD GXL1200's from a colleague to place on either side of the stage to try and dial in a "small" amount of room noise to try and break through the isolation bubble. They're not expensive or quality, but their purpose is just for live use so who cares.
 

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