EBS_freak

And another one! There's only a comparatively small user base for Kemper bass users but it is an incredible piece of kit - as you've no doubt found out. And the fact that you now you can take a clone of your Heritage out without the risk of damage to the real thing is big plus right? And you can play it at volume without it going into too much overdrive (or the opposite if need be) at any volume is perfect, right? Welcome to the future... that is now! You can see why the dinosaurs became extinct can't you? re:switch. I personally would always use the switch on the back of the QSC but I can't see why you shouldn't power it on and off using the wall switch... the fuse on the power amp in the speaker should do its job just in the same way should there be a surge with the initial inrush of power. Primarily, the switch on the speakers is there - I believe - to stop any thuds so that you can power on the mixer and then power on the active cab. I'm pretty sure that the Kemper doesn't thud when it's booted up so you should be OK on that front also.

Keep telling yourself that. GAS is a terrible thing... 😛

Jeez, Tony going straight in old skool and wired. What is happening to the world?

@Me And My Bass - The Ultranet is proprietary Behringer to work with their personal monitoring mixer (eg Aviom ripoff). However, when I say proprietary, it has been reverse engineered and proven to be PCM with some framing. The reverse engineers key use for this was seen as recording from a distance (there's a limit on USB cable length for using the inbuilt interface - or you'd have to leave a laptop/multitrack recorder in the viscinity of the mixer) using ethernet... Anyway, on face value, it looks like that it wouldn't take too much to convert it back to analaogue... especially when you look through the code in the github account linked in the link I'm about to put up... but you would be at the mercy of latency I suspect. Anyway, the link from my bookmarks is here - https://reverseengineering.stackexchange.com/questions/10860/how-do-i-work-out-the-ultranet-protocol The most portable solution I can think of that would give you the most outs on a digital box would be something like a Mackie DL32R or a Behringer X32 rack/Midas Core with the expansion outs. But they still wouldn't give you a 1-1 mapping ins to out. The coolest solution would be used to split via a Dante card so you can keep everything in the digital domain between the monitor desk and foh desk - which is effectively what you are trying to achieve. In reality, this isn't likely to be that practical as you are not able to... a - guarantee all digital mixers will have a dante card installed b - an engineer who is capable of configuring dante. On the smaller scene, I can pretty much guarantee that a and b will definitely not be in your favour. So, the easiest - and still universally acceptable solution to do an analogue split, is with an isolated split - (stops phantom power being sent to between mixers and provides proper isolation to avoid ground loops etc). You may want to get an XLR loom to plug into your mixer... (whatever it may be - not really important) and buy the appropriate number of split boxes such as (trying to avoid breaking the bank here) the studiospares Red800 (£125 per 8 channels), Orchid mic split (£215 per 8 channels), Art S8 (around £230 per 8 channels).... Considering a Dante card is circa £500+ depending upon your mixer and even then, not guaranteed to be useful... and will add to the complexity when working with other people... the Red800 is quite appealing don't you think?

Yup. The basschat staple intro to IEM setup!

You want to get something like a Behringer P2 for live use.

You don't need the mic.

Man, I need to tell you about this gig I did on Tues in London. Pie tonight.

Ooh drum screen user - sight off topic - are they worth lugging around in your opinion, given the weight of them?

Your favourite component powering it?

You can add to my pet peeves bands that abuse a free bar.

I'm probably on my own here... but I always think that the focus that function bands place on food is very rude. Weddings are very expensive affairs and paying for bands to have a meal when you've already paid for the band is very presumptuous of the band. I can't think of any other job where there's such demands on being fed. If you are a tradesman for example and working on site all day, you make provisions for food. You don't go to your employer and demand food. I see it like this, if there's no plans for food set out, take your own. If you are invited to partake in the buffet, then good - but only when told to... never before the guests unless told to do so. I've played with some miserable bands that just shock me when it comes to their expectations and "right" to food to the point where they cause a scene. It particularly annoys me when bands visibly baulk when presented with a tray of sandwiches. If you want a hot meal, get one on the way to the gig. Early conversations with the clients way before the events can avoid awkwardness - such as asking if there's opportunity to get food at the facilities in advance, will usually avoid embarrassment and win you friends. I know a lot of bands put it into contracts... but that doesn't mean a great deal. And you aren't going to win any friends at a wedding if you start talking food and "in the contract". In some cases, you may actually win for being polite - I remember a wedding where we asked in advance about the food situation and when we got there, there was an envelope waiting for us - "Sorry, there's no space for you guys to eat anywhere and the post breakfast buffet is only finger food, so please find some cash enclosed to get yourself into town and get some food before showtime." - The contents of the envelope worked out to be £30 a head.

What a great first mic to do backing vox on!

all this talk of 935s... they are not normally available at £100 or what you'd call budget... however, as if by magic.... it's black friday, cyber Monday... https://www.gear4music.com/PA-DJ-and-Lighting/Sennheiser-E935-Dynamic-Vocal-Microphone-with-Stand-and-Cable/2Q9Y?origin=product-ads&campaign=PLA+Shop+-+GENERIC&adgroup=GENERIC&medium=vertical_search&network=google&merchant_id=1279443&product_id=127366d1&product_country=GB&product_partition_id=84781792332&gclid=CjwKCAiA0O7fBRASEiwAYI9QAnEsP6Z8jp2MqXQIkZCJ8rJgL68Bt6aZCT0NZtynPJ_QicsF_Zj-gxoCcYMQAvD_BwE

You are looking at the likes of Shure ULXD and Axient for digital pro use - and certainly not something on the 2.4Ghz or channel 70 channels. You are realistically looking over £1k+ channel. If you are playing a big event, hired sound won't appreciate you turning up with your own RF devices... it disrupts their RF co-ordination and makes their life more difficult. If you must have wireless at such an event, talk with the sound company in advance so that they can factor in a transmitter and receiver from their inventory for you...

Talk about Boss and SmoothHound in here - And also here - Latency for your particular application/setup is your primary concern I would have thought.

Theres a few big threads detailing the Boss and Smoothound systems - a quick search should give you all he answers you'd want - and probably a lot more!

As long as you have an aux available... Behringer P2 off Gear4Music - £26 ZS10s off Amazon - £35 Decent cable, mixer to P2 - £20 £81.

X32 Rack, RCF 735x2 with a suitcase of XLR cables (do not skimp here, expect to pay at least £20 for a 6m XLR, preferably something like Vandamme, Klotz, Sommer - handmade, as tag machine soldered XLRs will fail), a pair of hotcovers for the cabs, a rack case for the X32, a few DIs (look at Orchid Electronics), a couple of stands, some Behringer P2 wired inear packs all for under 3k should get you quite a formidable, portable wedding rig - with the provision for stereo IEMs too! Those tops will happily have bass and kick through them, as well as the rest of the band. No need for subs unless you stepping up to play some big venues. Just those tops will do 95% of wedding venues without a sweat. Dont forget lots of power leads with lots of sockets on too. You didn't mention mics, but a set of AKG Session Ones (factor in two stands for overheads) for the drums are great, as are D5s for vocals.

It all depends on budget on what you intend on using the PA for - for example, is it for vocals only, or are you wanting to put the whole band through it? Are you looking to get a desk, or are you talking just speakers?

Why would you buy something that doesn't give you scope to expand in the future?

Careful, there will be people along with pitchforks soon telling you that it's all in your mind! In todays digital world, there should be a lot of focus on the latency figures, especially with more and more digital offerings coming in at almost knock off prices. Latency is a real thing... and I always raise an eyebrow when musicians say "there's no latency" and "I can't feel the feel 8ms" especially when they are also standing a considerable distance from their bass cab...

Deco! I love the reviews and the videos about it - but tell me, how do you use it personally, with bass? Worth the investment?

Cos... gear. Ha. Well spotted. I haven't got my Sony unit anymore and completely forgot about that!

PS latency makes a BIG difference if you are an inears user. Even worse if you are singing at the same time.