[patseguin]

Hey all,

I've been a huge proponent of AMT microphones in the past. I currently have the wi5 system and have had to some problems as of late. I had to have AMT replace one of the antennas on the receiver because it became loose and wouldn't stand upright. Now, the clamp that screws onto the microphone post won't stay tight no matter how much I screw it on. I'm wondering if I should go to another brand. I've heard good things about Sennheiser and Samson. Sennheiser looks like top quality but I can't find a system that includes a clip on mic for flanged wind sintruments. Samson seems to be a low cost alternative which makes me a little weary that it may not be a high quality solution. Are there any systems out there that also integrate effects in the wireless receiver?

 

[RandyJ]

I have both the Wi5 and Samson, if you do a search there are many opinions on both. While i feel the AMT does have a little better sound in a jazz club/listening room environment the Samson (and mine are the older ones AirLine 77) sound just as good in concert situations with a sound tech running the boards. I use the Samson allot more than the AMT and like it's "clip" much better than the big honkin AMT set-up.

 

[patseguin]

I can't find any online retailers who sell Samson. Can you recommend?

 

[hakukani]

http://www.fullcompass.com/product/367121.html

 

[Rittmeister]

You can also get the Samson Airline from Sweetwater. Talk to Brad.

For what it's worth, I sold my Samson when I got my Wi5 - I much prefer the sound quality. I agree that the AMT mounting system could be a good bit simpler.

 

[DanPerezSax]

...concert situations with a sound tech running the boards.

Given the tech in question, it may not matter WHAT mic you use, or even if you use one at all! I **** you not, just two weeks ago I did a gig (at a major club in NYC, no less) where there was a FOH guy and a monitor tech. I told the monitor tech, "Hey, can I get some more tenor in my monitor?" and he responded, "It's in there." Never raised the level! Did the presumptuous tech thing and jiggled a fader when I clarified that I couldn't hear it. I took off the clip-on, looked right at him, bent down and held it pointing at the monitor and he just looked at me for a second and kept doing nothing.

 

[hakukani]

Given the tech in question, it may not matter WHAT mic you use, or even if you use one at all! I **** you not, just two weeks ago I did a gig (at a major club in NYC, no less) where there was a FOH guy and a monitor tech. I told the monitor tech, "Hey, can I get some more tenor in my monitor?" and he responded, "It's in there." Never raised the level! Did the presumptuous tech thing and jiggled a fader when I clarified that I couldn't hear it. I took off the clip-on, looked right at him, bent down and held it pointing at the monitor and he just looked at me for a second and kept doing nothing.

Monitor techs suck.

 

[HawaiianSaxMan84]

I played at the Guitarfish festival a few weeks back and our monitor tech was very hard to work with. pretty much same problem as you dan, but this guy just looked inexperienced. I mean, for a festival, youd think theyd get some good sound techs workin the boards.

 

[hakukani]

I played at the Guitarfish festival a few weeks back and our monitor tech was very hard to work with. pretty much same problem as you dan, but this guy just looked inexperienced. I mean, for a festival, youd think theyd get some good sound techs workin the boards.

Monitors are secondary. The FOH guy is the one with the 'power'. If it don't sound right out front (yeah, and the monitor mix affects that, unless you're playing stadiums), then it doesn't matter what you guys are playing individually.

 

[Stephen Howard]

I've had many, many run-ins with monitor techs.
I've got a drop-off in my hearing around the 3-4k mark (pretty standard low-level ear trauma for a musician, so the doc tells me...though I'm not below the threshold which makes it serious), and so I like my monitors a little on the loud side.
In fact I like them as loud as they can go - which allows me to control the volume via my embouchure (as I'm using an AMT clip on mic). It's drop-dead easy to back off the blowing when you want to melt into the background, and push it when you're taking a solo over the top of a couple of guitars. You can 'work' a monitor in the same way you can work a mic...provided you've got the headroom.
So I take the time to explain all of this to the sound crew, and still I find myself on stage having to catch their attention so I can grab a bit more level.

Trouble is I've been spoiled over the years. I've worked with some great sound guys, and in particular one who was a horn player himself. Boy did I hear myself on that gig!
So I know it can be done - it's just down to the crew on the night and whether or not they understand that miking and foldback for a horn is different from that of a vocalist/drummer/amp.

There are times though when it simply can't be done - and I've had a few sound guys take the time to explain that they're working with iffy acoustics or a limited setup..and that's fine, you just get on with it.

Best way to avoid all of this though is in ear monitoring. Solves all the problems.

As regards the OP - it just sounds like you've stripped a thread on the lock screw. It should be possible to have it re-cut and a new screw fitted. The clamp screw on my AMT is on its way out after a good few years...but for now it just about grips where it needs to...

Regards,

 

[patseguin]

You can also get the Samson Airline from Sweetwater. Talk to Brad.

For what it's worth, I sold my Samson when I got my Wi5 - I much prefer the sound quality. I agree that the AMT mounting system could be a good bit simpler.

Thanks for the advice. The Samsons are so inexpensive that it scares me. You usually get what you pay for. The sound quality on the AMT is great. Just the mounting system stinks. I can't figure out why the clamp won't hold the transmitter's pole tight anymore.

EDIT: something l like this?

http://www.sweetwater.com/store/detail/SW7AVSW4-N1/

I'm only scared because it's about 1/3 the price of the AMT.

 

[RandyJ]

Thanks for the advice. The Samsons are so inexpensive that it scares me. You usually get what you pay for. The sound quality on the AMT is great. Just the mounting system stinks. I can't figure out why the clamp won't hold the transmitter's pole tight anymore.

EDIT: something l like this?

http://www.sweetwater.com/store/detail/SW7AVSW4-N1/

I'm only scared because it's about 1/3 the price of the AMT.

I wouldn't let the price be a factor, I mean (i.e.) look at Wanne mouthpieces compared, to others, marketing, hype or whatever you want to call it. Granted there are people that like them, I've tried several models of tenor and alto and did not care for any of them.

Now as to sound techs front or stage, most of the time they are basically getting paid by me (or management) so at sound check I tell them how it will be. Every so often at some clubs or j-fests if I'm not happy and the tech doesn't get everything to my liking I'll simply get the manager or festival stage coordinator and tell them to make it right or get someone else to handle it correctly and then I'll start.

 

[Rittmeister]

Don't be scared about the Samson. Yes, the AMT is better-sounding (to my ears at least) but I don't think anyone would say the Samson is bad at all. I sold mine to the bari player in my band, and he's used it with just as much success as I did.

I don't think price is a factor - remember too that before the Wi-5, the AMT Roam 1 Elite used the same transmitter/receiver setup that the Samson still uses, the only difference was the mic element.

For me, the attraction of both the AMT and Samson is the elimination of the belt pack. I really hate the idea of being wired to my horn, and I like even less the concept of somehow strapping the belt pack to the horn the way some folks do. I know it works for many, but it's not my cup of tea.

I say get the Samson if budget is a factor; otherwise maybe AMT will repair your unit?