EBS_freak

Trick question... a real pro would use anything to hand. I suspect Scott was just looking to get a cash injection into his Youtube earnings knowing full well that this sort of convo would spawn. How many people have gone to Youtube to view his video from this convo alone?

I have probably seen/played 7 or 8 Foderas up close... and I was a little disappointed by the finish to be honest - sanding marks under the finish don't really float my boat. Wal is an interesting one. Certainly the woodwork is nothing amazing - it's the sound of the pre and pickups that get that "Wal" sound. Funny thing is, I'm not fussed for it... and I think the controls, for me at least, aren't intuitive enough for live use. Fenders are overpriced... *cough cough* Musicman. (How and why did they become so expensive...?)

As if most people would even know the difference.

So a rack, XR16 and a router? (It's the separate router that's annoying you isn't it? - That and you want to wire a rack panel with a power con on it! )

The keywhat? That lady's outfit. Cool stagewear. Anyway, back to the guys on the left.. whats with the cuffs... and that waistcoat? I think the clothing needs to be addressed before we even start on the instruments. (Although, isn't that one of those Dingwall Thunderbirds?)

There’s got to be a viral “smashed a Fodera” opportunity...?

Ha! Now the fun begins. The question is though... what’s in it?

That’s actually a very valid point. The new case design is actually very lovely though... Anyway, if you fancy a night of soldering club and make up lots of looms and racks, @stingrayPete1977 Is your man. (scarpers out the room)

The 9v thing is always a nightmare for wireless. They just don’t last very long. Terrible battery life on the PSM200, same with EW300 G1. If that’s your benchmark of audio, you are gonna be in for a treat with the EW300 G3/4

Performance wise, there’s nothing between them. The only upgrade so to speak is the case and the menu system. The RF and audio performance remains the same. I would pay the 47 quid based on the fact that the resale if you ever chose to, will be higher on the G4 - and will make back that 47 quid no problem.

I don't have any experience of JTS directly - personally, I wouldn't recommend anything but a Sennheiser EW300 or Shure PSM300 (with pro pack) as a benchmark (I'd take the Sennheiser over the Shure for the flexibility with the RF tuning - you don't get the same sort of flexibility until you get to the PSM900) but I do appreciate thats quite a price hike over the JTS. I know that doesn't help you in regard to the level of the JTS perfomance - but the compander is such an important aspect of a wireless IEM system, especially for a bass player (e.g. the one on the PSM200 is so poor, it doesn't do any favours for people looking to get into IEMs as it eats all the bass and makes the top end really harsh... and you have no option but stereo) that I would say you should stay wired, or save up to push for a EW300. I think that everybody that has bought an EW300 on my recommendation will be able to confirm their performance is very, very good... but having tried other systems in the past, well, they weren't for me. Are you wired at the moment (both from an IEM point of view and a bass point of view), or are you looking at getting into IEMs? The reason I say this, is that if you have a fixed budget, staying wired and investing in a decent set of customs will ultimately score you a better solution...? EDIT: just remembered, you have just bought some ZS10s so I guess you are now looking at moving your IEM solution on.

Oh yeah - stupid me... you did tell me. Yeah, the split mix should move it up a notch or two again. The dinorigs(tm)

Oh. It was an autocorrect anyway. But yeah, I'll go with your pun! 😛

?

Doesn't that support my statement? 😛

Because Brown Sugar can only be played on a Fodera HTH.

My serious answer is... it's all to do with the price that Bass Direct buys them in at! They could sell them for the same price... although I'm guessing that that would not be such a good business model for them.

Well, you could... A bridge, a nut, some tuners, some strings, a pickup or two and you are there. Would be a bit of a beach to play though.

Ha! Be careful, your playing may turn to stinky poo or something if we are led to believe all that we read. So what happens to the Genz collection now? Mind you, I'm guessing you'll be keeping at least some of it for those ad hoc gigs you may get asked to do. Next step... custom IEMs. I know you'll say, nah, happy with the ZS10s... but I remember you saying that about 4 string Stingrays I'm intrigued - so presuming that you used your split bass monitor channel, what EQ and processing have you got going - or have you not got to that bit yet? Is that whats being sorted out at the tech rehearsal? As for heft, I've got another project planned this year...

Fairplay @Chris2112, that's a decent, informative post!

That would do it.

Can’t help you on the K&M front but I’ve switched to a dg300b Hercules stand and it’s great. Also particularly good for me because it will also grip the iPad whilst it is in an Otterbox Defender case.

I played the Grace pre that was reviewed in the US Bass magazine. (I happened to pop in there and it was there along with the then new Demeter amp). I’m sure there is a pdf out there - but basically, Grace, as expensive as they are, are lovely.

You’re not alone

This is a difficult one... because the Sennheiser stuff (100/300/500) is all compander based (being analogue). In reality, it’ll probably be Ok because you are probably doing a HPF to take out some of the lows on your bass anyway, especially if using subs... but my view is I’d rather the bass got there as intended in the first place and I choose what happens to the low frequencies at the desk for FOH. My vocal mics are all EW500 G3 and have proven to be superb though. GLX is digital (full range, no compander) but on 2.4ghz which means it’s more prone to interference and personally, I don’t like the inbuilt batteries. I’d rather have something that I can nip down the petrol station and get fully charged batteries for incase I forgot to charge the inbuilt batteries. Therefore I would be more likely to go for the Line6 equivalent to give me the AA option. In reality, unless you are playing venues that have a lot of WiFi going on, you are going to be ok 99% of the time. When I was running a Sony DWZ, I only had troubles at 2 venues - 1 which was a conference based hotel that had some serious amounts of WiFi going on - and the other when I was doing a broadcast in a tv studio... which didn’t really come as a surprise given the amount of stuff they had running. That was 2 gigs in around 300 that I was using the Sony for... so hardly the end of the world. If you want to go “pro”, digital and get onto a channel 38 frequency, I think the QLXD is probably the cheapest way about doing it but still going to set you back around a grand (maybe slightly over) per channel. I went ULXD - but back then QLXD was not out. So if you were to push me as to what to do if you are looking at keeping to a budget... well I’d probably go Line6 G5/75 or something along those lines and if I get interference at a gig, well, there’s always a cable. As you probably know, my ULXD had to go back to Shure to be repaired - that just cost me £300... that would buy something Line 6 based Im sure. It’s certainly something to consider when dropping large amounts of cash on wireless. My other half runs a v75 (headset) on her spin classes and it’s proven to be a great piece of kit. Anyway, which ever way you go, the costly bit is going to be getting away from 2.4 if you think that is important to you. Funnily enough, out of all the wireless I’ve got, it would be the ULXD, the most expensive unit, that failed! Argh! So to wrap up... err... it depends! As for the Roxannes and acrylic build up - Id get the acrylic added and seamlessly polished in by JH... I’ve never personally adjusted any IEMs with err nail polish!