JimBobTTD

Nice. How much does it weigh? That corner protector by the XLR looks sharp...

Definitely time to roll back to the previous version of the forum software. Avatars lost and bad advert popups...this has not worked. Go back and try a different tactic. End of moan.

There are too many stories about lost deliveries (and the like) at the moment. What the hell is going on? Why is it that so many people do not do their jobs properly, and so many simply will not take responsibility for their mistakes?

I also use a G30 with no noise. Everything off the same power supply. BUT I had noise added in a different room when using the same setup. Only when using the G30 and only when using the shared power supply. It really depends on your power supply and the quality of the wiring in the room, I have found.

Seems interesting. No price point given, though, and hard to gauge...premium or budget-premium prices?

Here comes a user case! I bought a pair of KZ ZS10s, a Behringer mixer and a Behringer PM2 personal in-ear monitor. Despite having had them since January, I was only able to test them out yesterday at band practice. The set up was this: Bass to pedalboard, culminating in Mesa Boogie Subway DI. The DI went to the mixer (via a guitar cable...I had left the XLR at home) and the output of the pedal went to my amp. I connected a microphone to the mixer and put it on top of my amp. Aim To be able to hear myself better when playing, a problem I have had for a while (especially when gigging). A secondary aim was to reduce overall volume going into my ears. Results Mixed. The rubber earpieces in the ZS10s were a little small and I had to put a set of over-ear workman hearing protectors over the top of them to keep out the noise (we are extremely loud - the rehearsal space is tiny and it is impossible to keep volume down). I moved the microphone from on top of my bass amp to somewhere more in the middle of the room; overall sound was better, but it was still a bit difficult to hear the others. The earphones are wired, of course, and my bass strap pulled on them until I moved some excess wire up. Having a cable from the mixer to the Behringer PM2 was extremely uncomfortable; I use a wireless from bass to pedalboard. Analysis and Next Steps It would be great to mic up the guitarists and put the vocals in, too, but that would lead to even more cables in the tiny studio and, probably, require a new mixer (the drums come through no problem). I cannot see an alternative, though. Our PA is not strong enough to have the whole band going through it, so I cannot put them all through that and take a feed off it; however, the whole purpose of this exercise was to be able to hear myself when gigging...and we gig in multi-band evenings and it is not possible to predict whether the soundman will be able to give me a personal mix. In other words, I want to be able to make this work with a single microphone as then, if I can get a feed from the mixer when we gig, it will sound even better! The ZS10s come with three sets of rubber earpieces. I shall change to the largest size (mediums were on out the pack) and see how that works. I shall make sure that I pull a bit of wire above the strap when I put my bass on. I think that it is time to get a wireless kit. It might also be time to look into having personal IEMs made. So...if you are hesitating, stop. Do it. This has all the markings of being something excellent. Thanks for all the help!

Is there no US distributor? If the amps go Mesa > Shops in the US, then I can understand the difference. If the amps go Mesa > US Distributor > European Distributor > Shops, then I see a great way to simplify the supply chain rather than a reason why there is a huge markup. If this European distributor is liable for the guarantee, then Mesa, by definition, is not, and so can sell the amps at an even lower price. If we see $999 as the retail price per amp, add $15 per unit for extra postage costs and then add 20% VAT, the total price should be $1,217 or £916 (at today’s exchange rate). The fact that it costs half as much again suggests that something fishy is going on.

I think that the importer, dealer and service agent are undermining their efforts to do business in their own country. If an amp retails - so after every middleman has added their cut, including the cost of potential services on it - at $999 (plus tax) in the US, it should be close to that price in Europe. Yes, perhaps a little more to cover the extra shipping, duty and then add VAT. But it is about $1700 in Europe. Even Thomann charge €1400/$1700 for one, and they would likely have bought scores of them: I am sure that they are not buying them from US guitar shops at $999 a pop.

It’s at 02:50. I wants it...preciousssss

Bump from the dead...has anyone tried one of these in real life? I heard the video (above) for the first time the other day my interest is piqued. I am interested in how it sounds when the rest of the band are playing. Too many pedals sound good in isolation but less so in the mix - this is my experience of Darkglass, for example, although I appreciate I am in the minority here.

I bought Jonse's COG Effects Knightfall and I am mighty glad that I did, too. It arrived amazingly well packed and in record time. All well!

Thank you for your answer - it kind of matches my initial feelings. In fact, I have a slight hunch that I even tried a U-Retro in my P-bass body to check and the cavity was not deep enough, but I am unsure whether this happened or not. A modified P-Retro - a PJ-Retro, dare I say - would be rather good if it means that the bass's output matches my Jazz with the J-Retro in. The outputs of the two basses are so different that I find that it would be impractical to take both to a gig as my pedalboard and amp need fiddling with before I am ready to go. What I do not like about the P-Retro is the battery solution. If you show up to a gig and it is dead, you are rather stumped unless you flick it over to passive. With a standard battery solution, you just roll your eyes at your stupidity and pop a fresh battery in the bass.

Has anyone done this? I have a P bass with a J pickup at the bridge, so it is a PJ Precision rather than another kind of bass with a P and J pickup in it. The UNI PRE 3 Knob looks good, as does the older U-Retro. But does it fit in the cavity? Whilst I could ask John East himself, I would likely be waiting for one to show up on the secondhand market. So it seems right not to bother him with this.

I have had the GK MB Fusion 500 since 2014 or thereabouts. It replaced the GK 700RB and I have not regretted it at all. I use it with a TKS 212 and I love the sound it makes. Sorry...I cannot see your signature. I think I turned them all off when we changed to the new BC software.

If I were after an amp, it would be this one or the D800+. But the realisation that I only ever use my amp in the rehearsal place makes me think that an amp is of much less importance now than before. All my gigs are direct to the mixer (and godawful monitoring...but that is another thread!) with only a few having house backline included.

Of course! I think I need to have a lie down. Thank you for the continued advice. I shall report back here how it all goes.

Sorry to noob up the thread...tips for a mixer so I can mix my bass DI with a condenser microphone so I can send the signal up the Behringer P2? I just need those two channels and an XLR output.

Understood. Thanks! I'll look at the Behringer P2 again.

Ooh...someone local is selling a lightly used LD Systems MEIOne for the same price as the Behringer P2. Worth it, or one to avoid?

The band is only as loud as the soundguy will allow...which is not all that loud, truth be told. I normally go straight to the desk via the house's DI, but if I get an amp, it is whatever the house backline is. A 15" Hughes & Kettner last time, but I one had a Peavey monster with 6x10" cab on quite a large stage. That was the only time I heard myself properly!

I see...thanks. This would explain why the soundguy cannot increase the volume of my bass. The board: compressor, overdrive and chorus (with X-over so only on the higher register) always on. Distortion. Preamp always on (with bass around 9-12 o'clock, mids at 3 o'clock). Thumpinator to remove the lowest of low frequencies. I don't think that my sound is boomy sludge. I hear myself clearly enough in the soundcheck, but it is not loud enough. Yes, I meant the wireless jobby. Thanks for the tip...I shall look into a wired solution to see if it solves the problem. No point shelling out for wireless gear if it does not actually help!

Thank you, EBS_Freak. I was a bit unclear, I now see. The venue's soundguy takes care of the mix and the monitors. I always ask for more bass, often asking for more mids in my bass sound rather than more volume. As for the house amp, I try to cut the bass, boost the low mids and leave the treble flat. But more often than not, there is no house amp and I go straight to the desk. The house usually has their own DI, so I end up with a cable from my pedalboard (which has a DI on it!) to their DI. My pedalboard is EQed to have lots of mids, relatively flat bass. The FOH sound tends to be good, though, with the crowd happy and able to hear the bass clearly. It's the on-stage sound that is poor and muddy. I shall look into the ZS10s and a condenser mic - thanks for the tips. Any suggestions for an IEM system? I mean that box that sends the signal to the receiver into which the ZS10s would be plugged.

I have had a good read of most of the thread's early and later pages but not found the info I am after...apologies if it has been addressed before. There is a lot of info about IEMs themselves, but I could not find much about systems. Here is my problem: I cannot hear myself when I gig. Some gigs are better than others, I'll admit, but we had one a few months back where I could not hear a single note I was playing. The last gig I mostly "felt" the bass rather than hearing it. It is making me not enjoy myself. Is it the sound guy? Maybe. It might even be me. My bandmates can often hear me very well, but I cannot. Sound check tends to be acceptable but not brilliant, but it worsens when the gig starts. I have tried moving around, but space is limited and it has not helped me. Are IEMs the solution? But, to make it more difficult: We play multi-band nights, mostly, so I cannot get an XLR from the desk. I could mic up a monitor, though. I play mostly through the house's backline (with a DI out from the amp) or DI to the desk; I have not gigged with my own amp since 2015. We do not gig all that often, but things are heating up a bit. But music is my main hobby and I hate how I don't enjoy it as much as I should or did once. Hence, I do not want to spend too much cash, but I don't mind spending some...if that is clear! Any tips?