Al Krow

Haha, sorry! I meant my post was on the wrong thread and I've since reposted it on the right one. But yeah - be good if we can keep the focus of discussion on here to compact mixer desks 😄

Another superb performance @doc40hz! And such a lot of talent in the same family!

Yeah for sure - it got enough "likes" didn't it? Haha! Also added @AdrianP's @Tim2291's @briansbrew's and @matski's BBs to the wall of shame whilst I was at it.

Fixed 😊 And that just goes to prove that we all have different tastes - wouldn't the world be a boring place if we didn't? 😁

Same here - I tried hard over two separate attempts to bond with a BB735A but it just didn't click tonally for me, despite being a fantastic piece of kit on paper and actually the same, in the end, with a BB NE2. The passive BBs I've had, have all been great. Obviously it's a personal thing but, for me, in order of preference would be my BB P35 (a little too heavy for me unfortunately), followed by a BB 1025 (loved this bass!) and a BB 425, which had a serious kick-ass punch. Having said that, I've ended up with an active BB 2005 as one of just two "keeper" regular gigging basses - the other one being my Elrick Evo5 which I know it's heresy on this thread to say, would be my first choice but it's a lot more ££ than the BB 2005 so I'd kinda hope that it would be a step up. it would be gone from my herd if it wasn't! The BB 2005 is a great piece of kit and just a delight to "wear": I've not come across such a beautifully balanced bass with literally zero neck dive. Its weak point is its preamp, but I've plans to upgrade that (maybe to John East?) and I suspect at which point it will then be giving my Elrick a run for its money!

What proportion of pro bands are using IEM set ups these days? Was at a Level 42 concert on Friday and thet were using an "old fashioned" stage monitor set up, so it got me thinking about this question.

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Bass Gallery - heat treatment? Maybe worth giving them a call.

It does look good! But is there any noticeable latency on a digital mixer vs an analogue one?

Haha! I'll take it that it wasn't entirely (or even a little bit) positive then 😁 Stereo IEMs came up a little while back on this thread. Given that FoH is not going to be stereo, why would you typically want to be hearing the band setup in stereo rather than getting either a tailored or full band mono mix?

What do you think is the main source of difference in sound quality between rehearsal and gig?

@Phil Starr just seen your post on the IEM Bible thread and going for something decent that doesn't break the bank for bandmates is very much a quest I'm on too. Guess that shouldn't surprise given our RCF 310A shared history, haha! Just pulling you onto here, in case the Xvive U4s prove to be a decent compromise solution with the ability to upgrade down the line. Seem to be getting pretty good feedback from users so far.

Is that your current favourite on board pre? Prefer it over something like a John East Uni-Pre?

My Elrick Evo5, which I bought off @Sibobof this parish 18 months back, has been quite a revelation for me: it's pretty much blown away several other basses I never thought I would move on and has become my first choice gigging bass. So a "budget" Cort Elrick has definitely got my interest and @haimesyexperience with his, suggests it could be quite a treat. If one comes up used (in white, please, haha) I'll be at the head of the queue! Just also seen the Basstheworld review of the Cort A5 Ultra Ash with Fishman Fluence pups - damn that's a tasty neck-through! Cort seem to be seriously upping their game and parking their tanks squarely on the lawns of the likes of Ibanez and, dare I say, Yamaha?

@EBS_freak@Phil Starr with something like the Zoom L8, as the outputs are headphone-out rather than aux out, would I be correct in thinking the band could dispense with something like a Behringer P2 for wired IEM amplification?

Thanks Dave - what UHF set up did Dawn previously have and what was the hassle factor she was experiencing with them?

Interested in getting your experience of the Xvive U4 system as the transmitter/receiver for a wireless IEM set up. Seem to be mostly very positive comments online including low latency, although some have had interference issues given that it's operating at the congested 2.4 Ghz frequency. The latter could be an issue for us given that both singers are now also using wireless mics. The attractions for me are compact footprint and not outrageously expensive plus ability to have multiple receivers per transmitter combined with up to 6 channels. So should be relatively straightforward to have one transmitter --> several receivers for full band mix and then, if needed, other individual transmitters --> vocal heavy mix or bass heavy mix etc. Anyone using them and able to recommend? Anyone had them and were disappointed and have swapped them out for another system?

Just come across this - StudioMaster Digilive 16. Does look good, if a bit more spendy. Combines many of the benefits of the RCF M18 without needing a separate tablet to control. Going to be more than what my 4-piece crew currently will need, but may be of interest to others on the forum.

I've done a bit more research online and it seems that you can indeed customise exactly what each of the 3 aux out gets and have those as saved settings. I think the Zoom L8 will be ideal for smaller bands (3 or 4 piece) and the Zoom L12 for 5+ piece bands Btw, thanks for the eBay link although he's wanting £290 posted, so I suspect I'd still go for a new one from DV247 at £333 and have benefit of the warranty.

Did you just get the one in the FS? If so my bank balance is very grateful to you, as I was sorely tempted! And, yes, you'd be very welcome on here, haha! And, finally, really looking forward to getting your thoughts on the unit. Not sure how many other Ampero Stomp II owners we have on the forum yet, if any?

Not come across this duo before, but Celo Oliveira is a ridiculously talented multi-instrumentalist!

Another big fan of the B1-4. I gig it all the time - have one at the heart of my pedalboard, and another as a standalone pedal which provides all the fx I need for many gigs, plus a lit tuner which is great for dark stages. The free ToneLib software makes creating, editing and saving patches pretty intuitive. Ridiculously good value for the money.

Nice cover! And here's Anne Preven with the original:

Just come across its junior sibling, which I'm really liking the look of: LIVETRAK L-8 FEATURES 8-channel mixer (6 combo, plus 2 TS) 12-track simultaneous recording, 10-track playback Mix-Minus function preventing audio feedback from dial-in guests TRRS connection and included TRRS cable for phone connectivity 6 assignable Sound Pads, with 13 preset sounds 4 headphone outputs, consisting of 3 custom monitor mixes, plus one main mix 3-band EQ and a low-cut function 7 scene memories for storing mixes 12-in / 4-out USB audio interface Class-compliant mode (for iOS compatibility) Battery operated with four AA batteries or a USB power supply Record up to 24-bit/96kHz, record up to 48kHZ to computer and SD card simultaneously This could be ideal for a 4-piece band to combine with IEMs without the need for a separate tablet and wireless router as an alternative to, say, the highly recommended RCF M18. At £333 (DV247) it's decently affordable, too. Being able to tailor the custom monitor mixes is going to be key: e.g. more vox for the vocalist, bass for me, guitar for guitarist and the drummer can have full main mix. Plus having scenes to get settings stored for particular venues - perfect for our pub residencies. Add in the ability to record gigs onto an SD card (guess we would need to use an overhead mic for the drums, as this doesn't have enough inputs to individually mic up the full drum kit) and it's looking like a super useful piece of kit. @skidder652003 how much customisation do the "custom monitor mixes" allow? E.g. can you cut the reverb to the vocal monitor out whilst having it present in the main monitor out and/or apply hpf (low cut) to the main monitor out but absent in the custom monitor mix?

Paul - this is a very nice result, well done mate and, having seen you guys live, well deserved too! I agree with you that it's a good idea to keep things fresh and not get complacent. Pubs will usually have their "regulars" and if punters get bored with your material, they probably won't keep quiet about the fact - I mean that's not my experience of the effect of alcohol on the regulars where we have residencies anyway! And learning new material will keep things from going stale for the band too. Having a regular set of gigs is IMO the key currency for keeping any covers band motivated and tight. So definitely bank it, particularly as it's at your favourite venue.