Al Krow
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Tim - that's super helpful, thanks. I'll need to go back and check what settings we currently have for the aux-outs and what difference it's making. I can then make sure we have dedicated wireless (with transmitter amps) and wired (no external amps) aux-outs, if required, or simply leave as is if it's just a case of the "select listen" option impacting the inherent desk output levels for the IEMs, given none of our existing output levels are close to being maxed. But it seems to me that this provides a "best-of-both worlds" option, avoiding unnecessary expenditure on external IEM amps for wired IEMs, which is an unexpected additional cap-feather in it's already significant haul for the CQ range. Bravo A&H! -
I appreciate you have somewhat unusual and sometimes challenging circumstances to deal with Woody 😅
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Your best (and worst!) bass gear purchases of 2025?
Al Krow replied to Al Krow's topic in General Discussion
I was kinda wondering whether any of this (other than the MB rig in the corner) could properly be regarded as "bass gear"? Well there's maybe an argument that there's a kick drum in there... 😅 -
I was a little worried from the some of the comments above that plugging a headphone into a line-level aux-out could somehow cause damage to the desk circuitry. But seems from my online research I can rest easy on that score, as the only issue is likely to be insufficient volume in the IEM ear pieces if the signal has not been subsequently amplified? (Which, as noted above, doesn't seem to be a concern with the A&H CQ desks).
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@uk_lefty I guess there's often going to be a bit of steep learning curve initially with a new multi-fx. I think having got mine after getting up to speed on the GT1000 Core, it was very familiar territory for me. Picking up your Qs in turn: 1. There's two main 'global' fx banks: "preset" and "user" - you should obvs feel at liberty to overwrite any in the user bank and order them how you like there. 2. The PEQ block is my starting point for EQ and you can select what frequencies you want to cut / boost - so for me a low cut combined with a +3db boost at 125Hz works well for a meaty low end that's not boomy. 3. Recommend spending a bit of time getting up to speed on out how to assign controls to select what parameter of which effect block you want to trigger. This opens up so many fab possibilities. What you're looking to do to get Channel 1 with an option to "mix in" channel 2 would simply require you to e.g. assign Cntrl 1 --> divide block to switch it from operating as single-path (A) to dual-path. I'm particularly liking using the expression pedal to smoothly increase the gain on an amp block to go from mild overdrive to fuzz, whilst simultaneously reducing the output level so the patch level stays constant. All done by parameter assignment. It's a very powerful tool at your disposal! 4. I'm not using a vast number of effects - 8 or so including pitch shift. So it's not difficult to scroll through with the up/down foot buttons. For most patches I have it set it 'clean' on one parallel path and my particular fx on the other path which I trigger using the Ctrl button. And then variations of an fx patch (e.g. tremolo rate or amount of drive) using the expression pedal. I've also got a couple of pitch shift patches set to +1/-1 semi as the patch options and +2/-2 semis, plus separate ones for octavers ("poly octave" for octave down and "overtone" for octave up). Hope that helps. Good luck!
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Kudos to you for taking the trouble to read the the A&H desk manual. Only additional comments from me are that: - this desk is very much geared to live gigging bands (they wouldn't have bothered with super nice touches like real time feedback elimination assistance otherwise, I suspect?) - and that A&H are a very reputable manufacturer, who aren't particularly associated with cutting corners.
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I guess because it just works? Flawlessly. For the 70+ gigs that we've used the A&H CQ18T desk since getting it. At each gig we've had one or two band members using a wired IEM straight into the aux outs (with no separate external headphone amp), and with the desk output levels being set for them no higher than for the wireless IEMs. Just to make sure I'm not losing the plot, I've just tried the desk with my home over-ear headphones and no external headphone amp. Could very clearly hear recorded output at similar volumes for both the headphone-out and aux-out with similar output levels on both. Go figure 😅
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"Normal Aux sends and just passive outputs that you can’t expect to plug headphones in to and hear anything." That's where I'm getting confused: there's nothing stopping anyone plugging their wired/passive IEMs directly into the monitor outs on the A&H CQ desk. Its built in preamps provide plenty of headroom, and I'm assuming the A&H CQ desk is not unusual in having preamps?
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100%
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Hi, you absolutely can plug your IEM directly into the CQ18 with nothing in between! You don't need a separate amplifier if you are going wired, and wireless units all come with built in amplifiers to enable them to transmit wirelessly. In my band two of the band members use wired IEMs straight into the desk and two of us use wireless (Xvive U4s). In terms of tailoring the individual IEM mixes, this can be done: a) on the desk itself; b) via the CQ app on each band member's phone, so they can adjust as they go along. In terms of setting the overall IEM volume levels, this can also be done: a) on the desk itself; b) via the CQ app on each band member's phone, so they can adjust as they go along; c) the wireless Xvive U4s have an additional volume control on the receiver (which clips onto our belts / garments). We had a Soundcraft MTK12 before - a very decent mid-range analogue desk. The A&H CQ18T is a very substantial step up in its capabilities: - being able to tailor IEM mixes IMO makes a MASSIVE difference to how well band mates adjust to and are happy to accept IEMs vs stage monitors/amplifiers; - then add on the ability to set and store EQ / mix / FoH settings for different line-ups and venues, which you couldn't even dream of doing with an analogue desk; plus - better quality pre-amps that have my singers remarking on the difference on what they're hearing, and I've not even started on the additional fx and other capabilities that the desk has! So I guess it's easy to see why the CQ18T has been the best piece of PA equipment that we've bought for the band in some while! Hope that all helps?
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It's certainly a very straightforward option to set personalised monitor out levels on the A&H CQ desks - so I'm not quite sure about your point that most mixers don't have preamps built in or if I've misunderstood what you're saying?
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Speaking of showreels, I seem to have had a productive start to the year and managed to get the video editing done on an "interim" reel, which should hopefully be a step up from the promo clips we currently have, and assist with my second goal of getting a few more function bookings for us this year. Any other similar little encouraging tales that others have to share on their goals at the start of a snow-swept January?
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I think this depends on the capability of your desk. If it can deliver a tailored monitor mix to your IEMs, then you can go directly from the desk to your Swiff or U45 with no need for the Rolls. Our old Soundcraft MTK analogue desk provided 2 aux outs with personalised mixes, plus 2 group + 1 headphone out that were FoH mixes. Our current A&H CQ desk can provide up to 6 personalised monitor outs, which is ideal for a small band using IEMs (although additional outputs could be useful if we want to have personal stereo mixes down the line - not possible with the U45 btw as that is mono).
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Is that a comment on the cheaper Ibby models though? The EHB 1500/1505 have the Nord pups, I believe, which have always been pretty awesome! Looking forward to the new Sire F10 DX headless basses coming out shortly, too! Great to finally have some quality non MS 5 string options!
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Interestingly, the U45 has had superb reviews on Thomann: Xvive U45 4.9★ (28 reviews) Swiff WX520 3.8★ (21 reviews) and the older U4 which has been around the block a fair bit longer: Xvive U4 4.5★ (361 reviews)
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That's a very tidy haul, Muzz - congrats! (And hopefully you're not about to tell me that bookings were down 40% and it was actually a really crap year for you guys!) Are you guys doing a mixture of pub and function work or predominantly doing one or the other?
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Not denying I'm excited about your new project John (not least for the Beat Buddy content, which is on my own project list to get up to speed on this year). Will be following with interest!
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Thanks for pointing out the mixed Thomann reviews of the Swiff WX520 - very helpful. Given I've just recommended the unit to our singer, for whom it will be a significant outlay, I've had a read through (and pulled the reviews together in English translation in the attached note, in case of use for anyone else). I found the review by a chap called Jonz particularly good. He very helpfully listed the pros and cons and was obviously loving it, until it broke after 6 months! Shame. Swiff Audio WX520 - Thomann Reviews.pdf
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Thanks Greg - appreciate this is an aside to the thread, but you've confirmed my anecdotal evidence of working with guitarists over the years who all seemed to struggle with taming a harsh tone on their Stomps! Some, like you on bass, got there after considerable effort and do sound good, others gave up and switched to other multifx. Whereas those using Boss usually had a great sound "out of the box" - a big reason my current crew went for the Boss GT1000 Core and latterly the more budget GX10, in my case, on bass. I love my current guitarist's tone whereas the previous line-up's guitarist's tone from his Stomp often grated. Glad that the Anagram has avoided the same pitfalls!
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Sure, agreed. And they got folk to land on the moon with less computing power than a current pocket calculator. Hence my comment about the Line 6 software updates and its value in keeping the Stomp in the game, which is also true with the even the more basic Zoom pedals where some of their patches are decades old. However better DSP is going to provide an inherent improvement in chip capability, other things being equal? It's then up to the programmers to make the most of it.
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All of my extended crew have been on IEMs this past year, which is so much better than just half of us a couple of years back with a previous line up, which felt a bit like a dog's breakfast with the guitarist still using a stage amp for monitoring. We're still a mix of wired and wireless for mics, IEMs and instruments, but, as it happens, one of the singers has been making noises about getting a wireless for her IEMs so I'll be recommending the Swiff WX520 to her and suggest she gets it off AliExpress which seems to be considerably cheaper. I'm definitely tempted to join her and then have my old Xvive U4 as a back up for the occasional dep. And yup she and I could both go stereo...
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Not sure 5G has anything to do with 5.8 Ghz, though, Dave?
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Had a similar issue, but I found getting a decent wide shoulder strap and adjusting the playing height via shortening the strap length a touch transformed my experience and enjoyment of my LX-5.
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Excellent outcome and you're welcome, haha! I know exactly what you mean about the sound quality in the way you've described it. I've experienced the exact same thing at the other (budget) end when upgrading from my cheap-as-chips Zoom B1-4 to the more mid-range Boss GT1000 Core / GX10 (and fwiw I do prefer both of those multifx's to my own experience of Helix Stomp and HX Effects). I suspect that this sound quality you mention is very much related to the processing power of the chipset in the unit (the Stomp has a relatively ancient 2015 PSU still in it, the Ampero and Boss units will be more up to date) combined with the quality of the software patches which, to their credit, Line6 have been excellent at updating. It would be interesting to find out what the DSP capabilities are in some of the leading multis - perhaps an analogous yardstick to SPL in amps & cabs?
