MoJoKe

They won't arrive for 3-4 weeks, so I'll let you know then.... I've gone for the raspberry flavour ones....!

The colour is called pre-fresian (you'll need to have seen the video to get that...!)!... Or Caribbean green....

This is the DV Mark one...

I rather like it but there's something about that floating bridge that just looks a bit vulnerable...

Its real! A strat that forgot to put on its trousers!

Just ordered a black pair for £33!!! I'll report back!

HOW MUCH? That is ludicrous! I'm getting me a pair of them....

This pic of a pre-production sample 5 string was on Marco's FB page a couple of days ago...

PS. Please forgive the utterly shameless commercial plug! Many of you already know that I do a bit of work with MSL, I was sent the first UK demo one of these a couple of days ago, and it seems to have got stuck to my hands, and I have wee'd a bit.....

This is the new beast from DV Mark, albeit with a custom "Sebo Xotta" paint job (He is obsessed with cows.... perv!). Its a full scale professional instrument, just one small enough to fit in an overhead locker... anyone touring overseas this year and flying? https://www.facebook.com/stefano.xotta/videos/1655751397839900/ (Ahem, and yes, no need to ask, there are basses on the way too...... )

No, its a ballache!!

Yeah, I can only see two wireless there, as all mics and monitors are wired... I had an interesting chat yesterday about the guy who does the RF planning and deployment for a large household name stadium touring artist, where his job is creating useable, interference free wireless for over 200 in-ear packs, mics and guitars... usually different for every show, country and for every venue, because of the issues already mentioned... that'd be a real test. Tell their PA guys to turn down the transmission signal of his (multiple) stage network AP's there, and I think you'd be in danger of getting a slap!

+100 I have a lot of experience in WiFi installation, having done many major survey/installation projects for retail chains, stadiums, holiday parks etc... The vast majority of WiFi still relies on 2.4Ghz, and in an average city centre club venue, there will be at least 200 smartphones, all permanently scanning for a network to connect to, the venue will have maybe 2-3 access points; if you switch on a network scanner you will probably see the SSIDs for the neighbouring 10-20 businesses/homes, where there will probably be several APs for each business network. So, before you even start to talk about what is on stage, there are 250+ devices competing for available RF, all in a relatively small box, surrounded by glass, brick, stone, metal, water pipes, electrical cables.. and lots and lots of people, soaking it up, shielding it and bouncing it around... So, in this world of commercial wifi, the Access Points which can deal with the maximum number of consecutive connection attempts and shout the loudest get the signal... Little wonder then, that a tiny transmitter in the player's back pocket talking to any 2.4Ghz receiver, with tiny 3" antennae, stuck on a pedalboard, which barely protrude above the surrounding metal boxed effects pedals, works at all..... Now, if you stuck it at the top of a 2m step ladder in the middle of a field miles from anywhere, with no mobile reception or HT pylons anywhere nearby, it'll absolutely work brilliantly! As said by @EBS_freak All you can do is ensure all of your band's gear has the best chance of working together, try to have some level of control over the channels they all use, or resort to the ultimate connectivity of a cable!

Just a personal opinion, but I've had various Shures, including SE215s, and the the MEE M6 Pro are really not far off on quality, but MUCH cheaper (ie. if they get bust you can buy another two pairs and they'll still have been cheaper!). Shures, start with 315s at least... As said, just personal experience, some people prefer the 215s!

thats how I see it too., but a good, safe start point..! No problem! One of the biggest barriers to getting on with in-ears is the feeling of isolation from the room/band. To ease her journey, if you can organise that she gets a bit of ambient "stage/room sound" into her mix (but obvs at a low volume!) that will be a massive help. She can then reduce this over time as she gets used to it. We now have a pair of very cheap condenser mics (Behringer C-2 about £55 for a pair and do the job fine!) mounted discretely on brackets on the two main singers mic stands, pointing in the general direction of the audience, with their output being sent just to the in-ear mixes, so that if someone dares to come up and ask the singer if we can play Sex on Fire or Mustang Sally (insert name of least favourite song here), you can tell them they are at the wrong gig and to p*ss off without pulling one of your buds out to hear them!! Good Luck

As you will probably see from the other thread, for most people in-ear monitoring becomes an evolving journey, starting with a good entry point product and evolving to the maximum price point you can justify... Yes, you can shell out thousands just on the earpieces and the same on the wireless, but that is not a realistic start point for the majority. I started with an LD MEI1000 wireless (Not the 100, most would agree thats a false economy), which will cost £250 ish, and will comfortably get her working with a system which won't put her off (this is a big problem - start really cheap, and you'll have a bad experience, and will probably say "this isn't for me") for the wrong reason. Not the best out there, but perfectly serviceable. Chuck the included ear buds in a drawer somewhere, or give them to your kids (they are not great!). Then buy a pair of "MEE Audio M6 Pro" buds - probably the best of the cheap ones, and won't initially disappoint. She will then need to get the on-stage engineer to give her a mono or stereo (1 or 2 XLRs) monitor mix, and she'll be able to control her own level and protect her ears... If its a digital desk, she might be allowed to control her own mix with a phone app. An total investment of £280, of which she'll get at least £200 back re-selling the LD if she decides its not for her, but that decision is less likely to be based on "this sounds crap", than the alternatives. If she is relatively happy at this point, she can then join those of us who are on the aforementioned "evolving journey", where the sky is the limit! I have suggested this setup to a number of people, all of whom have stuck with it, so don't let me down here! Hope that helps. Go back to the other thread for the "war and peace" (longer) version! PS. I still have my LD MEI1000 as a perfectly serviceable backup three years on, and always keep a new pair of MEE M6 Pro buds in my gig bag as emergency spares...

Can I suggest you point her at this thread... I started it a couple of years ago, and it has a mass of useful info in it! There is a lot of experience on the forum on this topic! https://www.basschat.co.uk/topic/205633-in-ear-monitors-help-needed/

Hi guys, I'm sorry, I meant to mention this at the SW Bash Yesterday, but completely forgot. This may already have been covered before here, but if you are a professional player, sound guy, industry professional, you may qualify for this scheme:- https://www.hearformusicians.org.uk/ You'll need to demonstrate that you earn the bulk of your income from music but if you qualify, you will be able to access hearing tests, consultation and a pair of ACS moulded ear protectors, a package worth £285, for just £40 (its just £30 if you are an MU member!). If like me, you spend much of your working life in loud venues or on loud stages, then if you have not done so already, get yourself signed up! *For clarity - this is nothing to do with custom moulds for in-ear monitoring, it is purely for ear protection... which is pretty damned important!

Everything. All using in ears... Keys DI'd, The guitar player was using a Helix DI'd with no amp/cab. The bass player had the only cab on stage but most of his volume through the PA....

The promised video.... This was filmed last night on my Samsung S8 using the phone's mic, I have uploaded it without any kind of processing.... this was in a marquee, I was about 8m from the band, and was measuring between 88 and 92db... (I didn't do the sound, so don't shoot me if Clara's vocal was not high enough in the mix!). I was surprised at how good my phone audio was!

Worry not, I will have some Marcus Miller goodies and some cabs!