EBS_freak

I don't understand why this is so hard to achieve? A bit of carpet spray and that tolex will be going nowehere.

Although the better move would be to change the foh for XR18 and do it all in one box.

What mixer are you using? If you are using digital, you should be able to set a “brick wall” limiter on you aux. (20:1 compression ratio and set the threshold appropriately. Fast attack, slow release) just engaged brain - you’ve stated your mixer setup... - change your mixer or get an outboard compressor and dial in the above. But that’s going to be difficult to integrate with your setup. Best thing is always get your functionality in your main mixer. It’ll be better and work out cheaper too. Getting something like a XR12 would be a good Swiss Army knife for your setup. (Using it as a slave IEM mixer)

Never bitten, never shy

Im sure I remember seeing a pic of it.

All my eneloops have been subjected to the P-Touch tape... so I can track which ones I'm using.

The surrounding area is certainly a big factor...

It's the autosensing feature that generally works out ok (e.g. find free spectrum)... however, as soon as you mix brands that have different preset frequencies, the changes of finding intermodulation free frequencies decreases because unless the frequencies of the preset are identical between units, there will be intermodulation clashes.

Eneloops AAA. Get into the habit of charging them after each gig and they'll be fresh and ready for the next.

And this is when running multiple, different types of wireless starts becoming a headache...

When you say not on the same channel, what do you mean by that? An arbitary number on each device, or exact frequencies?

Could be the perfect cab for a Shadows tribute.

I think the answer is, as proven in the video, it will, no question. Off axis response with that Rode mic is considerable... especially when you compare to the behaviour observed with the other cab. So yes, all the other mics in stage, including vocal will be picking up more guitar than when you use another type of cab. It's a case of compromise... in the pub situation, the directional element that is typical observed by the audience will be greatly reduced... at the cost of more spillage into any open mics across the stage. It's how well you can balance that which will be key... because at the end of the day, having the vocals sit above the instrumentation is of highest importance.

Why would a competitor give away manufacturing know how?

Supposedly greater headroom, tighter in the bass and wider soundstage and a better, flatter response in the treble. Apparently very easy to drive, so you will get more volume on less power. (So for battery pack headphone amps, less power consumption)

I see the the KZ AS16s are now under 75 quid... (on ebay at least, with free p&p but do factor in your may get hit on import duty) so a budget universal 8 driver a side monitor (and it's a bit of a bass monster - and has wider soundstage than the ZS10 and AS10s) for way less than say a UE900... well, it's certainly a big hitter in terms of dipping your toes in the water before going custom.

Use masking tape to tape off one of the edges. Mix epoxy and using a fine syringe, apply the expoxy under the unmasked edge. Push down on to the cab. Any epoxy that spills goes onto masked edge. Remove masking tape on the unglued edge. Do the same in reverse for the other edge. Tada, all glued and that tolex won't be coming off again in a hurry* *This is a time consuming ballache of a job though but will put the problem to bed. Also, what is Alex's fascination with silver screws on black hardware?

Savage

BBNE2 is the only bass I regret moving on... but I needed the cash to fund a custom build at the time. They are incredible instruments.

If you are on theatre desks, the easiest thing to do is get a headphone amp/wireless IEM system, and run it off a spare aux (or two if you want stereo). Of course, you'll have to coordinate wireless frequencies with the engineer. There's going to be a fair amount of auxes available on theatre desks. If you are used to having a wedge, ditch the wedge and have the aux used for that going to your IEMs.

The band doesn't have to be ampless, no. You close mic what you want to hear and do a mix of those feeds. If you want to hear the audience, put a condenser mic or two their way. The key point is that decent IEMs have in the region of -27dB (ish) attenuation (so think putting your fingers deep into your ears). Then the feed that you put into your IEM is fairly quiet (and safe on your ears) because you haven't got to blast the volume to get over the ambient noise that would be otherwise leaking in to your ear lugs, through the IEM from the outside world. This is why it is important to get an IEM that offers a good level of attenuation on it's own - before you even start putting music through them. In reality, you don't need that much to make IEMs work. A small XR mixer with a couple of drum mics, a mic in front of each guitar cab, DI off the bass... and an XLR split off the vocal mics and you are there... Or alternatively, if you don't mind the stage mix you are getting, the Zoom field recorder approach can do you well also. It all depends on how much control you want over your mix.

The g2s are OK - and certainly a step up from the g1 with their pesky 9v batteries. The g2 doesn't have the antenna function up the headphone cable, so isn't as good as the g3 as maintaining a stable signal. You tend to get the odd fuzzies and drop outs but for the money, they are generally pretty good as long as you can find one that hasn't been battered to death. The tuning range isn't quite as wide as the g3 either - but that won't bother you unless you are running lots of wireless. The spares are becoming more scarce for them now but if you can get hold of a nice tx and rx for the right price, they are a nice option. As always, be careful what frequencies you are buying. You'll need ch70 for license free operation or ch38 for licensed operation.

ICE is B2B only. You'll need to go through an authorised repair centre to get a new unit.

Isn't the look of the barefaced cabs one of the most common complaints about them?

With my sound engineers hat on, this is what was actually my concern when I was watching the mic moving around the room. Sound guys like cabs for the fact that they are directional and don't flood the stage with (too much guitar). I can imagine a load of sound guys facepalming as guitarists turn up with these cabs. As I say though, it'll be great for those bands where the PA is just for vocals and the backline does all the heavy lifting. Having said that, I can't imagine Dorje playing many places where there isn't PA support... so Rob Chapman is going to be peeing sound engineers off across the lands!