Osiris

Agreed that a clean blend option would have been a useful addition on some of the models although I don't know how many of the models that they are emulating have clean blends? Having said that, Zoom have added clean blends to some of their drive sounds where the original pedals they are emulating didn't have them, so it can be done. Metering is useful too, I guess, although I always prefer to use my ears and dial in my compression sounds in the context of the band mix. I also find the M-Comp (my personal fave on the MS-60B) quick and easy to dial in for the punchy sound that I like Yes, the TCE SpectraComp is a thing of joy, it is paradoxically the simplest and most complex pedal compressor pedal available . I gig mine regularly love it. On those gigs where it's standing room only and I have no space for my pedal board, I use the MS-60B on top of my amp as a tuner and compressor. I just use the one, always on sound, so the limited form factor for chopping and changing patches all night isn't an issue for me. And although the SpectraComp performs 'better' IMO (possibly down to having a small amount of clean signal blended it along with a slight push in the higher frequencies?) (and depending on how you want to actually quantify 'better') the Zoom still holds its own in a live situation with a quality bass and rig.

Over years I've found that less is usually more when it comes to getting decent bass sound. Start with everything flat and just make small adjustments to the room if necessary. And I always go for a sound that works well with the rest of the band - it may not sound as sexy as a massive mid-scoop (which always seems to make the bass disappear from the mix when I've used it), but it works in context, and that's got to be the critical point, hasn't it? Agreed, I had a GP12SMX back in the day, it had a million tone shaping options but it was the only amp I've ever played that I could never get a good, usable sound out out of, no matter what you did with it. IMO/IME a simple 3 or 4 band EQ is way more effective.

Thanks for the info on the guitar show, unfortunately I can't make it this weekend either.

I'll give the G55 wireless a go once I have my IEM set up, although as I'm planning to go hard wired for the IEM's, I'm still going to be tethered by at least one cable . One of the OBBM custom IEM/guitar cable could be an option and I think someone has also suggested simply velcroing (is that a word???) the cables together. Either way I don't think it's going to be a significant problem for me in real world use. If your set up works and gives you what you want then that's great, part of me is jealous . Looking at some of the pictures you'd posted earlier in the thread you are doing gigs of a higher calibre than me so a set up like that is likely to be way over the top for my needs, but if I ever decide to follow you down the rabbit hole I might just have to tap you up for more of your wisdom Unfortunately I cannot make the London bass show this year. Apologies if I've missed something but what's happening at Bingley Hall, and when?

One again @EBS_freak I appreciate your wisdom I'm not looking to run any other pedals with the B3, digital or otherwise. I like to keep things as simple as possible - and yes I did see the diagram of your set up and it scared me to death ). I do have a Line 6 G55 digital wireless system, but as most of the venues we play are small to the point that's it's often standing room only with no room to swing a cat, it rarely gets used. So I think that even on the off chance that there is a latency issue if I were to use it (which sounds unlikely) those occasions would be rare. @EBS_freak I have taken on board your point of looking at quad drivers for additional bass response. The UE 900s seem to be universally well regarded and are within my budget and could well be what I ultimately (pun optional) end up going with. I was just curious about the 215's as some people seem to be happy with them as @jrixn1 is, whereas some people are not so impressed with the bass response from them. I'm just doing my homework so that as and when I commit to buying something I get what's right for me . At the minute I'm keeping all options open as this is all new to me.

That's good to know, thank you How do you get on with the Shure SE215's? Do they deliver enough low end in you opinion (there's mixed reviews online in that regard)? I'm not looking for massive subby lows, but I do like the give my bass a little push in the low mids when playing through an amp and would like to know if the 215's are happy delivering a similar tone?

Agreed, I'd probably go for a dedicated analogue pre-amp pedal if the Zoom doesn't work out in the long term, something that offers some form of EQ and tone shaping. But considering how relatively inexpensive the Zoom stuff is it does actually sound great, IMO. Admittedly, I've never had any experience of the likes of the Helix or Kempler to compare it to, so this is just based on limited experience. Part of me is quite happy to remain ignorant of the more expensive offerings in case I decide that I can't live without something of that calibre . But I always manage to get a good, usable sound that works for me in a band context with the Zoom, I only really use the compression and tone shaping options on it as I'm not a massive fan of effects as such. I've no doubt that there are 'better' options out there (depending on how you wish to quantify 'better') but as a weekend warrior playing to crowds who - let's be honest, are at times not that discerning - I suspect that the Zoom will be good enough for my needs. The only potential issue that I have at the back of my mind at this early stage is the cumulative latency between the Zoom and the Line 6 desk. I've no idea what the figures are for each item or even if they are widely available, so I'll try it and see. If it works, then great, if not then I'll probably start looking into an analogue pre-amp of some sorts.

Yes, I would imagine the processing on the desk may well be a step up from the Zoom but as it's a steep learning curve for me at the moment I'll start off with the Zoom as it's something I'm familiar with. One step at a time. Once I've got to grips with the IEM's I can start to investigate what options are available from the desk and may eventually use those instead of the Zoom. Presumably I'd still need a DI box of sorts?

Good man, I really appreciate your help and insight

I personally really rate the compressors on the Zoom B3 and MS-60B, and think they are among their strongest features. My personal fave for subtle compression and tonal fattening is the M-Comp model. No significant tonal colouration and it works really great with in the band mix. I've played through a couple of dedicated stomp box compressors that didn't perform half as well as the M-Comp model, IMO, IME etc. The Dyna comp model also sounds great to me and I love the squishy tone from the optical comp model (can't remember what it's called now ). I've had good results with the other models too, the only one that I wasn't too keen on was the Dual-Comp model as it had a massive mid-scoop. It might work well for slap stuff but like you, that's not something I really do either.

I've got an old iPad laying around so that's not a problem. Presumably there's just an app to download that will allow it to talk to the desk? It certainly sounds the more logical option compared to a small mixing desk. I guess I was just thinking aloud Good point about potential latency between an analogue and digital desks, I hadn't considered that, thank you. Just to clarify what I'm hoping to do; use the Zoom as an EQ/compressor/DI, run an XLR from the Zoom to the Line 6 desk, another XLR from one of the monitor outputs on the Line 6 to a headphone amp (now that it sounds as though as small mixer is not the wisest choice) to power the IEM's themselves. So yes, the B3 signal will be going to the desk and out through the FoH speakers. Ideally I want to ditch my amp and cab on stage and just use the Zoom and the in ears - via the Line 6 desk of course. Does that sound doable?

Awesome, congratulations, Nick.

Thanks for this. I'm still very much learning as I go with this stuff so there's certainly some food for thought above. As for running a tablet as a personal monitor mixer, that sounds like the ideal option but I think we'd need an external router, our keys player mentioned something about it the other night but being a bit of a Luddite I didn't fully understand what he was on about . I'll do some further investigation to see what's what. As far as I do understand it, I should be able to set up my own individual monitor mix from the desk, tailored to my needs in regards of levels, EQ, limiter, HPF etc. The idea of having my own desk (which as you say isn't actually essential) was so that I'd have the option of an additional level of control. I should be able to run a signal direct from my Zoom B3 into the Yamaha so although I'd have the bass a touch higher in the feed from the main desk, I'd also have the option to boost myself even higher from the little Yamaha should I need to (band mix from the desk in one channel and bass from the B3 in the other). Or does that sound a bit daft???

Having given the whole IEM set up some thought, I'm now coming round to the idea of using a small mixing desk as an amp to drive the IEM's themselves. I think the idea has been mentioned somewhere back in the thread already. I really like the look of the Yamaha MG06 for several reasons (size, cost, HPF on 2 channels, basic eq that could possibly useful for keeping the top in check for reducing ear fatigue) the main one being that I can have independent control of my bass volume against the full band mix from the main desk without having to consult whoever is driving it at the time. I seem to think that you can also do this with some of the smaller mic amps that you can clip on your belt but some of them seem a bit on the chunky side as well as limited in features, so I like the idea of my own separate mixer. Is anyone else already doing this? How do you find it? What mixers are you using? The only thing I haven't sussed yet is what to do with the desk itself on a gig. I don't really want it on the floor as sooner or later someone will step on it. Trust me, they will . I'm currently thinking of something like a mic stand iPad clamp/holder thingy or possibly a music stand with the main the desk part horizontal and a strip of Velcro to secure the desk. Anyone have any ideas how best to tackle this?

Thank you I'll report back once I've made some progress.

Having spent the past few days reading this entire thread (some of which I understand, some of it not ) and am looking to take my first teetering steps into the world of IEM's. The band has just invested in a new digital desk, the Line 6 Stagescape M20D that as far as I understand will offer us 4 independent monitor mixes. The drummer and keyboard player have all but moved over to IEM's now and the guitarist and myself are also looking to ditch the back-line and jump ship. There's a ton of very useful information on here, but one thing that has become apparent is that I'm, not going to be able to stretch to a high end system, but as has often been repeated, you can't do effective IEM's on the cheap so I'm realistically looking at something in the lower mid range level as a compromise between cost and sound quality. So having read through and understood what I can, I think that I'm going to go for a wired system. I plan to use my Zoom B3 as a tuner/EQ/compressor/DI. Am I right in thinking that it's as simple as plugging the bass into the B3, running an XLR from the B3's DI into the desk, then another XLR back into a headphone amp to which the IEM's are connected? Or have I missed something? In terms of the other hardware, I like the compact form factor of the Fischer in ear stick or possibly the new Behringer P2 (although according to Amazon, that's not due to hit the UK until April 2nd, and Behringer do have a certain reputation, so I'm still wondering if it's better to pay the extra for the Fischer? @dood Are you still using your Fischer in ear stick? What are your thoughts now you've lived with it for a while? Still impressed? As to the IEM's themselves, it seems that multiple drivers are the best way to help increase the low end of the signal. There's a lot of praise for the Ultimate Ears 900 so they are the current favourite. The Shure SE535's are also a potential but seem to be getting mixed reviews. I've also heard good things about the Fender FXA7's too. I'm not too worried about having CD quality sound in my ears, I've been playing with silicone plugs for 20 years or more so I'm quite used to the sense of isolation and less than perfect sound on stage. But from what I understand even a modest set up will still prove to be a revelation @EBS_freak as the official Basschat IEM oracle, does it sound like I'm on the right path here? Any thoughts, additional information and insights would be greatly appreciated.

Some of the free Tone Prints are of the parallel compression type. Off the top of my head I can't remember exactly which ones, but I think Captain East is one and I seem to think that one of the TC Electronics own ones (i.e. not ones designed by named musicians) is another. There may be more. If you download the app onto your mobile you can highlight your favourite Tone Prints and beam them onto the pedal quickly and easily, it literally takes 2 or 3 seconds.

Not necessarily, I've found compression is great for keeping a driven bass signal in check, albeit I use a dedicated, relatively low gain drive channel on my amp rather than balls out distortion or a dedicated pedal. But if it doesn't work for you then it doesn't work for you

That reminds me @Al Krow have you finished with my cucumber wrapped in tin foil yet?

Well said that man.

Agreed, the one knob Spectracomp on the TC Electronics amp heads are fantastic. And the pedal version is better still, being simultaneously both as simple as it gets with its single control, massively flexible with the free TCE Tone Prints, and offering almost infinite levels of control with the free e Tone Print editing software.

Martyn has just bought a pickup from me and it was a totally painless deal. Good communication and quick payment too. You can't ask for more than that as a seller

It's got valves in it and sounds like your genitals, apparently. Assuming you're male, that is. https://www.amazon.co.uk/Nobsound-Vacuum-Preamplifier-Digital-Control-Silver/dp/B0711RVJN8/ref=sr_1_33_sspa?ie=UTF8&qid=1517914164&sr=8-33-spons&keywords=headphone+amplifier&psc=1

I personally won't leave home without one, compression has become an essential tool for me, and like you I've been playing and gigging for 30 odd years. Compression is a very decisive issue among bassists, some love it as I do, some people hate it and most people are probably indifferent to it. But as with most things there's no real right or wrong answer, just what works for you. However, I do think compression is widely misunderstood by some people who expect to hear it as an obvious effect - it isn't. Effective compression is subtle and not always obvious, until you turn it off that is! Some people when experimenting with compressors assume that they are not doing anything so tend to set them until they can hear the squash working, the trouble is by that time you have completely squashed the life and dynamics from your bass tone, which seems to be the main complaint from those who do not like them. Less is more with compression. Properly set up they do not kill your dynamics, but allow you a more controlled bass tone that sits better in the mix than an uncompressed one, in my experience at least.