Jack

My guitarist hated them until he started setting up an ambient mic. It's a Behringer LDC that just goes on a stand facing the audience, gets him as much of the room vibe and crowd as he wants. The fact that he already does that each gig is one of the reasons I'm considering making the switch.

Chances are that anything mission critical is going to put a 'dent in your performance'. Can't have your amp fail without losing sound as well. I don't even use IEMs but just off the top of my head I would put my bass in my singer's monitor wedge, which could be done whilst playing, and then sort it out at a set break.

Good morning all, a specific question but I'm wondering if you could help me. In both of my bands I currently play what is technically ampless but I still need to bring a wedge because the stages aren't silent they're just quiet and without any monitoring I'd be relying on PA subwoofer rumble, not ideal. I'm slowly passing soundman duties in one band to our guitarist, so the ability to go to IEMs is opening up. However, I'm largely deaf (down about 20dB) in my right ear. This isn't due to noise exposure, it was originally thought to be otosclerosis but that turned out to be a misdiagnosis and now I just have hearing loss and chronic pain. Oh well! Due to this I can find wearing headphones quite discomforting and disorienting unless I use a pan to go some way to balancing out the sound volume discrepancy. I don't do this often and essentially just can't wear headphones. This leads to two problems with IEMs. 1. I assume that with a stereo system there'd be nothing stopping me from setting the LR channel levels differently, are there any mono systems with a pan/balance control or similar that I can just use to dip my toes in? I love the simplicity of the Xvive system, but it's mono and no pan. It's not so much the money of the stereo system, it's the having to go with another rack bag, plug, everything. If I could spend £150 on the easy system just to see if I can like IEMs then I have no qualms about going all in afterwards, but I really, really hate headphones. Would one IEM and one normal earplug work? 2. If I do this, I'm paradoxically worried about IEMs damaging my hearing. Because of the volume 'averaging' that your ears do, and because I think it's 20dB quieter than it actually is, I'm worried about having a comfortable volume in my left ear and blasting my (already damaged) right ear to bits with a signal that's 20dB hotter than that. Is there any kind of way to measure actual IEM volume? I know I could get one of those million pound face simulating mics but, well. Thanks in advance. And if anyone know an audiologist who wants to make a career out of treating Jack's Syndrome then do please let me know.

Indeed, different compromises for everyone. It took me and the drummer years to get buy in in my hard rock band. We went almost silent (it's bouncy on stage but you wouldn't need earplugs) a few years ago and it's been great but I know not everyone in every band would think that. My other (indie rock) band see the benefit of a quiet stage, but we have a 19yo studies-music-at-uni guitarist who's still very much in the 'massive amps are cool' stage of his life and we've all agreed that, to appeal to our rather traditional audience, we're not moving to artificial drums or using a shield. As such we've got me (all helix, all the time), the singer/rhythm guitarist who uses a boss katana that has no stage volume, the lead guitarist uses the world's quietest vox ac30 and a proper, but small and quietly played, drum kit. Is it a silent stage? Not by a long shot, but it's still way out of the way of the pa and allows a decent mix up front. People saying "my gigs are too small for this kind of approach" don't seem to understand that the smaller your gigs are the more this approach helps. If I was playing large festival stages every gig I'd be back on big amps, they're fun and they don't get in the way of a pa on that size stage. In fact I'm waiting on good deals on a few pieces of kit so that I can have an amp again for our summer bike rally circuit.

Proper moulds will make them not fall out, I'm the same with anything short of customer earplugs, headphones etc fall out. As for preferences, fair enough.

I think they were meaning the distance selling regulations that let you return a new product if it doesn't meet your satisfaction.

I don't know of any clones (though I'm sure they exist) but if you bought a used one and then sold it later you might come out having only lost postage costs. I know that still requires a higher initial investment, but it's an option. if you're anywhere near Newcastle you're welcome to try mine, similar BCers might make you other offers if for some crazy reason you don't live in Northumberland.

There's a difference I think between shifting your sound to pedalboards/preamps/modellers and being truly 'ampless' as in not bringing any of your own stage volume. I'm ampless in that I don't use and amp, I use a Helix straight into the PA, but I'm not ampless in that I bring a QSC wedge, which provides as much stage volume as we need. My bands are not switching to IEMs any time soon (one guitarist is out of the lot of us across two bands) but even if everybody else did then I'm the soundman so I need to hear the room. There are also, and this is shocking, people who aren't me. Plenty of people play as full-time deps or in weird situations, I can see why bringing an amp that can blow the doors off any venue could be reassuring if you don't know what you're walking in to.

I have never played or interacted in any way with a T-40 as I'm just uninterested, but I like that Retrovibe. Maybe that makes it a bad copy but I think it looks like an interesting bass.

I have (and LOVE) the SB-2, but the LB100 is the more traditional p-bass tone.

Being able to separate the art from the artist is only fine if you can do it both ways round. For every "he's a political poophead but his music is good so I'll still go despite that" there should be matching "Jack is a lousy bassist but he's a nice guy so I'll go despite that".

When I was working in a schools I led on the sexual identity stuff for the trust and ran an LGBT club at one of our sites. Rest assured that everything is controversial to the right/wrong people. I'd be happy to advise @ped on an lgbt policy for the site, but I'm expensive. I would however accept payment in 80s G&Ls... 😁

I know you're being tongue in cheek but you're mixing quite a few disparate things there.

I'm normally one for the ladies, but there have been a few lads in the past who have turned my head. I'm going to go with 'yea'.

I've wanted more processing power on the Stomp once or twice, but never did on my rack Helix. The one thing that Helix seems to be lacking for me now is the interface. All these young guns are really starting to make the Helix (and indeed the Kemper, assuming it's still the same as last I used it) feel a little dated to actually use. Minor problems considering the sound of the Line 6 stuff, but man I want a touch screen with proper pictures rather than just little blocks and sometimes-awkward rotary encoders.

People complain that the new Star Trek shows are woke. Not like the original, which had a black woman and a Russian on the bridge, two years after segregation and during the cold war.

Not even cables are 100% and cables are infinitely more reliable than wireless. Having said that, most wireless systems are really good these days. I used a couple of units on my way 'up' to the Shure GLX and they were all completely fine, or at least their problems weren't to do with dropouts. Having said that, I finally bit the bullet and bought a Shure. Those, and the new GLX+ replacements are the top dog before you get into touring/professional systems.

That's a good night in.

I've been using a Stomp into a 12.2 for a few years, I'm sure you'll be really happy.

Nothing that I've seen commercially available, although someone like Canford might. Pretty easy to do with a soldering iron and some cable though. As for safety? No idea. If I was making one I'd do it with chunky cable and I'd have each outlet be individually fused so that if one went it didn't take out the whole run. That might be nicer and safer than poundland extension reels made with the cheapest of cheap materials. I get the impression that the outlets would just always be in the wrong place though, no matter where I put them in the cable.

Do you still have the Radial?

I think after 13 years the op is probably sorted.

When we upgraded the pa in one of our schools (previous job) we decided to move from a very ill conceived line array (that was technically not a line array) to a traditional trap. We were fresh out of our Yamaha sponsorship as well, meaning we could get whatever we wanted. We ended up buying the QSC KW153 and let me tell you, they are superb. I'm not sure they'd be my first choice for portable use as they still really need some kind of stand to get above head height and at 40kg the weight terrified me every time a kid walked under it. We were just constrained by not wanting to alter the flying hardware, which necessitated two boxes and no sub really. Having said that, there's no denying that they're a serious 2-box pa system, which is exactly what you asked for.

Hi all, Slightly overenthusiastic pickup height adjustment has meant that I have unfortunately cracked the black pickup cover on my EBMM Stingray. I just need the plastic cover, but mine's a plain one without the pole pieces exposed. I can't seem to find a source to buy one online, has anyone got a source please? Thanks. Jack