EBS_freak

All of these mixers have their plus points and negatives... but to be fair, they are so close in terms of functionality, it's almost a level playing field. The Mackie is more intuitive - but as you say, the Behringer isn't exactly that difficult if you've invested a bit of time playing with it. Sounds like you are doing well though. Psst - https://kb.musictribe.com/musickb/view/article/all/en_US/X-Air-What-Are-The-Different-Ways-To-Connect-To-My-X-Air-Mixer

Game changer, right? You'll be going inears next

Slumming it then.

The mud or shrillness of an older transmitter is down to the compander which compresses and expands the audio pre and post radio transmission. Not so good in some units - and pretty much the decent analogue systems, even now, come with the higher price tags. Ill be surprised if a digital system “adds” treble. It’s more likely to reveal treble that would typically be lost through cable capacitance when a traditional cable is in play.

For me it's simple. A decent active FRFR with all the DSP to make it a blank canvas enables me to spend time finding a pre I like to give me the tone I like without having to juggle an extra myriad of variables in tweeters, crossovers, speakers, amps etc that you get from a traditional bass setup. For example, with a traditional bass cab, the baked in sound of that speaker cab can really mess with you if you don't clock that it's that part of your setup which is dominating your tone. With the modellers that are out there, you can twiddle to your hearts content... but conversely, you can just find that one pre that you like and just concentrate on getting on with the music.... and as Frank says, the fact that you can have your core tone and then push in extra instruments and use it as a monitor also... brilliant. Vocals tend to send a bit crap through bass rigs.

If you've had it "years" - as in many years... - it may well be analogue, so the latency will sub a ms. (in reality it's a mere fraction of a fraction of a fraction of a ms)

Holy thread revival!

Just looking at another thread... here's a question... Should there be a volume control... or a "heft" control? 😛

Those LED knobs... do people play with the settings on stage that often to required LED tipped pots?

My apologies. I'm not aware of any bass heads using Powersoft amps. But they'd probably be awesome if they are out there. I thought you were going to go with all amps under the class D banner... or are you going to go with ICEpower? Or TC's effort... or a combination of to suit the argument?

It is, but I'm currently a size 6 and feel like a right monster.

I'm trying, I'm trying... but I'm a fatty that loves biscuits and donuts. No need to keep going on about it! 😛

I think all users of Powersoft strongly disagree with you

I'm beginning to think that this may be a good idea also!

That's them out the game then. The 4 string may survive... but modern amp manufacturers trying to branch into basses? (I state Modern because I know somebody is going to mention the F word. Remember that Italian company that tried to branch into PA...? I can't remember their name... but they had little yellow speakers that looked like owl's eyes... Not doing so hot right now...?

Am I the only one wanting to see b5 with some amber hunting glasses on?

He played a Precision but there was so much studio processing it didn’t really matter what he was playing...

Indeed there is - I thought I posted a link to it earlier... although it seems to have mysteriously vanished. Maybe it didn’t post - I was on the train at the time. edit - yeah, it did post! Thought I was going mad. https://www.arduino.cc/en/Tutorial/TwoPortReceive

My avatar is completely representative.

Overkill for that - have a play with PIC. ;)

Sounds like you need a Klang 3d system... (and plenty of pennies!) What you speak of isn’t common - I’m guessing your source is very variable and that causing you some problems. I’d probably be looking at some expanders and compressors to help even things out - but guessing your desk is not digital? (And maybe hasn’t got that feature set?)

They’ll do it! When I got a spare night or two, I’ll get a Nextion out and make up some code and build in some coding ability for a MIDI controller. Should’nt be too difficult - the only thing is, will need to expand to save the preset somewhere so it’s not lost on powerdown. Shouldn’t be an issue though. One of the things I’ve been meaning to do for ages is create a looper. Never got round to it. Not enough hours in the day!

Gosh - there's quite a lot to this. If you are riding the faders that much that a hand off monitor mix can't be established... there's something fundamentally different going on with your band. Im guessing guitar patches for different songs are radically different. Remember, your monitor feeds should be pre fader, so whatever is happening FoH shouldnt be impacting your monitor mix. So lets have a look - 1. What drums are miced? It's nice to have a full miced kit in your ears, so it can all be panned nicely etc... As a minimum, I'd be looking at a kick and overhead, positioned over the opposite shoulder to the one nearest the snare, pointing across the kit, pointing at the snare and hihat. This will give you the most coverage of the kit but enable you to hear the detail in the hi hat. 2. I don't quite know what to suggest here. If everything is close miced up, you shouldn't have a radically different sound in terms of volume. If you are riding the faders as much as you, there's something wrong with the patches or the dynamics of the players. 3. Full isolation is possible - it's whats you feed into your mix which is crucial. Want to hear the audience? Mic them up. Vocal introductions? Introduce a talk back mic.. possibly on an optogate. 4. This sounds like a TRS/TS issue. Are you trying to use a stereo jack on a mono output or something - and was the guitar panned where the others weren't? Pulling the jack would sum to mono and would result in what you describe. 5. Are you all on a shared mix or something? Or have you not got your own aux? What mixer are you using? I suspect you aren't giving IEMs a fair chance because it sounds like you could be being limited by the equipment that you are using? Always assume you can hear nothing unless it's miced up - and go from there. If you need to hear the guitars, mic them up. If you need to hear synths - make sure you have a feed from them going into your aux bus... same with bass DI. Think that we've covered the kit - but again, the more you can mic up, the better control you will have over the balance. You don't even need to push things through FoH - for example, you could have a Vox blaring away on stage at such a volume it doesn't need to be miced to go through the FoH, it's only miced so it can go through your IEMs.