CameronJ

Thanks for the detailed replies guys. Much appreciated. More questions from me now Re: getting impressions done, is there realistically any difference between getting them done with an IEM manufacturer themselves vs. somewhere like Specsavers? In theory they’re both doing exactly the same thing, right? Also, Lugs appear to do IEMs with increasing driver count up to 8 per ear (which cost the same as the UE6!) will I get any real world benefit from going for more than 4 drivers? Especially since I won’t be playing on any stupidly loud stages any time soon. The Lugs price list describes their 5 driver version as having another low driver, suggesting 1xhigh, 1xmid and 3xlow drivers. Would it be beneficial to respec that as 1xhigh, 2xmid and 2xlow for more balance or am I overthinking things? Also, I’m not an audio engineer and have little to no knowledge of IEM construction so I’m likely talking rubbish! Lastly, I assume the more drivers in a shell, the larger the IEM becomes and the more like an Android I will look?

I always tune highest string to lowest (GDAEB in my case) which I think might be a subconscious spillover from using raking technique in my playing. It just feels like the most efficient way of doing it, especially considering the points that have been made re: knocking tuning pegs that have already been tuned.

I thought his was the same shape as the stock guard - just a different finish? I agree though, it does look lovely.

I see what you mean. I think it’s perhaps that on the orange BB that bit ends a little further back from the edge of the body whereas yours is quite close to the edge. Put the two next to each other and you’ll see what I mean. There’s not a huge amount in it, maybe a centimetre or so? If any of that makes sense!

That’s the one!

Well this thread is quite an epic read! Thanks to all for contributing - it’s an excellent resource. I’ve already gone FRFR but have to leave my main monitor at home while on the road, so the portability of good quality IEMs seem like a logical step for me. At the moment most of what I do is through a set of Sennheiser Momentum Around Ear cans which are very lovely. These take on all duties from listening to music or watching videos on my phone or iPad via Bluetooth to monitoring my vocal looping rig or bass playing via Helix (wired with an OBBM combo monitor cable) to gaming on my laptop via bluetooth again. The Sennheisers handle it all very well but when it comes to monitoring I’ve always preferred in ears to over ears. This is especially true in a live performance context. In the past it’s always been through consumer grade buds from Sennheiser, Sony or Shure but while perfectly adequate I’ve never been truly wowed by the fit or the quality of any of these. Which leads me to this thread. It seemed like the UE6’s were the clear choice for me in terms of price-performance (on paper at least as I haven’t heard them) but I’m very intrigued by @intime-nick‘s experience with Lugs. Their prices seem hard to beat. How would you compare the Lugs to your UE6 Pros?

I actually didn’t notice that I mean the bit that’s literally on the opposite side of the neck. Basically the top left portion of the last photo of your orange BB.

The Vox Amplug (specifically the newer generation for bass) is quite good, which was a surprise to me as I had the original version years ago and binned it. It was horrendous! For ~£30 you can’t go wrong really.

Ah, no, I was referring to the “mini horn” on the other side of the neck pocket!

Like it a lot except for the little overhanging nipple bit at the top horn side. Feels like it just needs a slight shave to help it complement the contours of the body a bit more. It’s 95% there though IMO!

LOVE that pickguard!

@Jack to add context to this, the 32A replaced a Tecamp Puma 900 paired with a TKS 1126 cab - regarded by many as a very capable “one cab solution”. It’s one of those cabs that will soak up as much power as you want to give it and keep on going, with its high excursion 12” driver paired with a 6” mid/high driver. It’s a monster. Having said that, when I A/B’d the two rigs against each other the 32A felt just as deep but significantly clearer than the Tecamp/TKS rig, especially noticeable when playing back recorded music. I do vocal looping on the side and use a lot of effects on my bass so a transparent response with tons of headroom is a gift for me.

I haven’t had to use it at “rock drummer” loud settings to be honest, but considering I’ve not had the master volume past about 25% (at which point things were beginning to shake in the house) I reckon it’ll do bloody well in a loud band context. I’ve certainly not got any headroom concerns!

I have a Stomp but am yet to use it with my RCF as I’m on tour at the moment. I have no doubt it will sound lovely though. Previously I was using an MXR M81 which worked great.

That is a bloody good price. I paid £600 for my one, used!

That sounds great!

You won’t regret it. Truly a beautiful instrument!

I said the same thing before I owned my first BB (a 1025x) but once I played it I was sold. Still, if you don’t want a BB I’d say the Sire P7 is possibly the next best thing for the money you’re looking at, especially considering the genres you’ve mentioned. The Sire preamps are quickly becoming legendary.

This. The build quality and sound of a Yamaha BB435 outguns basses twice the price. When I tried one I was shocked. It led to me buying the active bigger brother BB735a.

Exactly my first thought!

You can get keytars which are effectively just MIDI keyboard controllers - I.e. they don’t produce their own sound and can only be used to control other gear such as an external synth module/software synth on a computer. Example: https://www.alesis.com/products/view2/vortex-wireless-2 OR you can purchase a full blown standalone keytar synth which produces all of its own sounds and still gives you the option of controlling other things via MIDI. This is obviously the more expensive option but it’s more convenient as you can just plug & play. Example: https://www.roland.com/global/products/ax-edge/ The Roland (standalone) is over 3 times the price of the Alesis (controller) so personally I’d go for the Alesis and pair it with a decent inexpensive little synth. You’d still come in significantly cheaper than going the standalone route, although it will require more effort to setup.

@Cuzzie now is the time to preach!

As @Al Krow has said above, all three will be very well made basses. I own the Yamaha BB735a and a Sandberg Electra VS4 and my thoughts are below: Sandberg Electra VS4 - super lightweight (it actually puts my more expensive California VM5 to shame in this regard) and with a lovely thick barky P sound. Stock, it comes with a 2-band EQ and an active/passive switch on the volume knob. There’s no option for tone control in passive mode though. I got round this by having a passive tone control installed at the Bass Gallery. If you want the versatility of an added J to your P pickup the Sandberg Electra is out of the question as they only come in pure P or pure J forms. To get a PJ you’d have to step up to the more expensive California series. Or modify an Electra VS4 by adding in a J pup, which is certainly possible! Yamaha BB735a - again, a lightweight bass. I used to own the older BB1025x which is purely passive and when this new series was released I was sceptical, as the 1025x had such a great tone I didn’t want Yamaha to spoil it by trying to reinvent the wheel. Turns out my fears weren’t warranted as this 735a sounds just as good as I remember my 1025x sounding, but with the added versatility of a switchable 3-band EQ and the treble knob becomes a tone knob in passive mode! I find the EQ points on the preamp to be very well chosen - Yamaha obviously know what they’re doing here as I struggle to get a bad sound out of this bass! The quality is just lovely all over, with a flawless matte satin finish all over the body and neck (I have the black version - the sunburst version still has a satin neck but with a gloss body) and everything feels solid, from the neck joint to the tuners to the control knobs. Quality control at Yamaha’s factory is spot on. And then the little details like the low battery indicator light next to the control cavity and embossed Yamaha emblem on the headstock just give the whole thing a feeling that the people designing it really spent time on it. I haven’t tried the Schecter CV but I’ve heard good things about it. I like the way it’s wired with the series/split/parallel switches and passive operation. Would really like to try one actually - they look like versatile instruments. You cannot go wrong with any of the basses you’ve been looking at, but in a shootout between the Sandberg Electra and the Yamaha the Yamaha wins overall for me in terms of features/price.