EBS_freak

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!

It would help them pull out of that 80s Tandy's look... especially with the logo that is on the bass cabs.

I think the biggest one is the person behind the desk!

Interesting stuff - if this works as described, that should start to sort out some of the nasty directional situations you get in the pubs. Logo is better too.

Bit of tape over the top if you concerned about it falling out.

Perfect

Remember - playing recorded music through a PA isn’t representative of a band playing through it. One has been through compressors/limiters/mastering... the other... not. You can apply some processing - but not like a studio.

AKG WMS40 isn't digital - therefore isn't subject to the analogue to digital conversion (and vice versa) (and the latency with which it brings) that the other systems in this thread mention. The downside is however, they have a compander - which can lead to you being robbed of botom frequencies and the higher frequencies being harsh and brittle. Of course, each implementation of the compander implementation is generally unique to each manufactuer (and model) which means results can vary substantially.

There should be no capacitance that you get on a standard length of cable. It should actually sound better from that point of view... but whether that is something you like is debatable. Basically, wireless should reproduce top end better than a cable.

Lectrosonics D Squared trumps it... Massively faster at 1.4ms :p I think Axient is still industry leader though, at sub 1ms.

This is pretty much it. Digital wireless can be a complete nightmare for some people - some units have stupidly high latency. A lot of modern name brand units are now under 2ms with the vast majority being under 3ms. Digital pedals, fx units etc all have their A/D D/A conversion which all add latency. So if you have enough of those in a line, the ms all start to add up. Latency can crop up from a lot of sources in the studio - the conversion process itself, the power of the host, latency on plugins... and thats before we start talking about latency before it hits the DAW - things like digital pedals, modellers, VB99s etc. Most people have a tolerance between 7ms and 10ms latency. The most extreme cases, people have a tolerance of 4ms. But there are very, very, very edge case. This is why I say that a Smooth Hound with a latency of 8ms is pretty poor - and by adding in a digital pedal or two can blow that 10ms limit. It always makes me smile when I read comments like "no latency" or "no perceivable latency" with regard to that particular unit, as thats more a comment on their user's sense of timing...! Should probably say though, if you are standing on top of your amplifier going in direct, then something like a SmoothHound is likely to be OK for a good many. IEM users? Digital pedal users... err... I'd err on the side of caution.