EBS_freak

Yes - just tune all the receivers into the same channel and they'll all pick up the same signal. You can run two mono mixes from one transmitter but putting the receivers in mono mode and panning the mix hard l or hard r. You'll hear the same in both ears but only have to fork out for 1 transmitter. All depends upon budget to spend on gear and the amount of free auxes on your desk. If you are running stereo (each stereo mix requires 2 auxes), you'll start burning through monitor mixes pretty quickly... so to any guys reading looking at running lots of stereo in ears, make sure you have double the amount of auxes as band members!

Amazon prime would get it t Amazon prime would get it to you tomorrow.

Be careful with cheap radio - the reproduction of the audio can be really naff.... as the quality of the companders can be very poor. (Compander being the process of compressing the audio so it can be sent via radio - and then uncompressed the other end). This process can make the bass sound thing and the top end really shrill. For trying out where you could get with inears, wired is defo the way to go - and then save up for something like a ew300/psm300 setup if you decide that you absolutely need wireless. Unless you are already wireless on your bass, get obbm to make you up a combo cable for an all in one bass and IEM feed loom.

and it's diddy!

HazBeen pretty much summed it up. Bernie got them through to the UK when he was distributing for EBS. They were never sold to the consumer as such - but Bernie would supply them if people asked or when people came into his shop looking for something new in the EQ department. He tended to put them in the KSd basses that he was also distributing because the stock preamp in those was pretty naff in comparison. In the UK, if you find one in your bass, the chances is that it's come from Bernie... or you've bought one of my old basses 😛 I believe Chris Larkin (RIP) used to put these pres n his basses too. I think he got them direct from EBS, not via the Goodfellow route. They are treble and bass with a pan and volume and a switch for the mid bump/mid scoop Marcus thing. I've had a look at the manual posted above - and yup, that covers it off pretty comprehensively. Talking of Marcus, this pre in a jazz gives you Marcus in spades. It's a very active sounding pre, certainly not subtle! Great sounding pre though - I remember @stingrayPete1977's Squier J bass project bass sounding amazing once it's electronics had been gutted and replaced with one of these EBS pres and a set of original J bass pickups from Bartolini. Just out of interest @Dandelion, what bass is in the picture above? I may know the history of it. Looks a bit Statusy?

Good work! Get everybody on IEMs next!

Pow pow! Pew pew! I fear it's becoming a common occurrence...!

Just chucking in this one too...

Aw man!

Makes for interesting reading! - https://metro.co.uk/2019/06/18/new-breakthrough-pill-could-cure-tinnitus-10006638?ito=social

Anyway, how has this thread got this far without mentioning his signature JB-4?

Just had a look at the stats - thanks to all the people that have checked it out. Basschat seems to have sent a fair few viewers to Youtube! Much appreciated for listening (even in part!) to mine and Steve's ramblings. (Although to be honest, Steve is mostly there for visual entertainment value on this one! :p) More randomness soon when I get round to editing - I've got a fair few theory ones to do - and they take an absolute age!. Also - quite cool to see the top three threads in this area of the forum seem to be on IEMs right now!

There's the magic quad driver customs! Yup - they are super, super important... especially when it comes to bass! As for the haptic monitoring... yeah, working on that! 😛

And let me guess, you feel it out of phase? Or should I say, with a significant delay.

Nick describes one of the best "hacks" (for want of a better word) that you can do with a digital desk. That split on a single desk gives you a monitor world and foh desk in one (obviously you'll need enough channels on the desk to double up on stuff that you'll want to process differently for your inears). It's very rare that what you want to hear in your IEMs is the same as what you'll want foh. Some of the time, we just have to deal with it - eg, just come off the aux with only a master EQ and maybe a compressor over that aux bus. Lets face it, that's still pretty cool. As Nick states however, the ability to put a cab emulation in place, or different EQs per channel for example, is a powerful way of supercharing your IEM mix. Think about this - if you boost the bass for you IEMs, especially in the low end, to give you that big thumpy bass we all like, you are going to be killing people out front - especially if you are running subwoofers. You aren't going to be wanting that bass EQ to the vocal however, which is what you are limited to with just the final EQ over the aux bus output. Again, being able to run different processing in your ears, in terms of reverbs etc, is also really nice. A lot of the time you'll want mono out front, but things like tight stereo delays can really help thicken up that IEM mix. Digital desks are modellers are so good now, its a great way to simplify your setup, give you a better sound out front... and save your ears. I hate gigging without my IEM mix.

Ah cool - so are you doing a FOH/Monitor split? To be honest, unless you are doing anything particularly fancy with your tones, you should give a DI straight into the desk ago. If you have a separate desk, you can manipulate your bass EQ/comp etc for your ears til the cows come home... and then you have a clean DI feed for your FoH engineer.

Just realised I've never answered the OP question - I send everything to the PA and do a separate monitor mix for myself (I actually run a second desk just for IEMs for extra processing independent of FOH -- but that is overkill for most people) where I can set the volume and stereo position for every instrument on the stage. I also have another aux that feeds a haptic bass board that enables me to put in a blend of kick and my bass. (Some people like just bass, I like to feel the kick too). - I find this the most intuitive way of doing things... but what @Higgie describes is also a popular alternative, especially if you haven't got immediate control of your monitor mix - this is "the more me" setup.. however, you will then be running in mono unless you put another submixer in the setup. The only downside of this, is that if you are blending the bass signal with what is coming back from a (digital) mixer, you can introduce phasing issues, as the processing through A/D and D/A conversion will add latency, shifting the signals out of phase. In reality, most people won't even notice this.

"Feeling the bass" is a bit of over exaggerated term in my experience. When you stand in front of your amp, you aren't really capturing that feeling of "big air". Try it with your amp - pump that volume up and see how hard you have to drive it to get even the remotest feeling of "trouser flap". You are more likely feeling the vibrations through the attached surfaces. In which case, get a haptic feedback device, be it something like a platform, woojer or backbeat. Conversely - a rehearsal room is nowhere representative of gigging environments. Or maybe that's my experience. Rehearsal rooms - smallish, highly reflective rooms where you don't play or even want to play at gig volumes...or certainly shouldn't be if you want to avoid a mic swarming with feedback. I'd be surprised it you run your gear at gig volumes in a rehearsal room to get a representative idea of whats going on. The big, big plus for IEMs is that within reason, it keeps your monitoring in a much tighter ballpark - with very little changes from gig to gig or even rehearsal room to gig. It effectively takes the room (the biggest variable) out of the equation. Yes, it can be a bit of a change to get used to... but for the vast majority of people doing IEMs properly (and this is the key word - properly) - they'll never go back to the tinnitus and lumping of backline.

I've got to the stage where if it's an unknown dep guitarist and I have no idea about how disciplined they are with their amp, it's a modeller with inears only.

...and clearly didn't give a hoot about what that was doing to the foh sound that is ultimately, what should be given the priority.

You've told me quite an important piece of information there. The fact that you are saying that the guitar is the right level for the drums... on stage, I would expect the drums to be the loudest instrument and the guitar to be significantly lower in volume than the drums. My thinking is like this - Guitar cabs are VERY directional. This means, if you audience are standing right in front of the stage area with the guitar amp, they are going to get blasted. If they stand off axis, eg are watching from the other end of the stage, the likelihood is that the guitar will be low in the mix and the drums will be swamping the sound. Consider bringing the volume right down and letting the PA do all the work. You'll get a better dispersion meaning no hot or dead spots for the audience. I understand about driving amps and getting the "tone". But the tone is no use if the band sound pants as a consequence. With the modellers that are out there, there is zero reason you can't get a killer guitar tone with a silent/near silent stage. If the guitarist wants a traditional amp, get it into an iso box and mic it up - -and again, put it through the PA. You need to work as a band. Bands don't always play large stadiums.. so be smart and work to the size venues you have. If that means going quieter onstage and going down the modelling route - do it, your band will sound infinitely better for it too.

I had a look on Youtube and there didn't seem to be anything quite like the above video so I thought... well... why not. And this thread, as mighty as it is... I suppose if like finding needles in haystacks for people. I'm hoping that the intro videos that I have done will get people up to speed. It'll certainly take you longer than an hour to find all the above info in this thread for example. Having said that, there will still be people who want instant answers without watching the vid! But hey.

Here's some things to try - 1. Different tips - you may not be getting the best isolation from the stock KZ tips 2. Turn the amp down and let the PA do the work 3. Consider ditching the amp and going the modelling route 4. Deploy the acrylic screens of shame in front of the amps to try and block the intensity of the sound coming from the amp (assuming that the amp is miced). 5. Start saving for some customs

I think that the ampless thing is mostly about simplifying setups and making the PA easier to deal with. The less mics the better. Let’s face it, most people can’t deal with their own rig let alone a PA.