EBS_freak

Not cheap those Reed Audio... I remember the separation from ACS and its interesting to see that he's gone down the acrylic route given that ACS are obviously known for their softer silicon. On the plus point, he didn't take the unreliable connectors with him also! Quick turn around, not bad. Which did you go for, the dual or the triples?

Nice touch... although a port of the DL4 would have been quite a cool addition. Kemper has a loop function. Never use it... probably because it's not as good/straightforward as a dedicated loop pedal.

I'm swaying towards 64 this time... partly for a change, partly because I was really, really impressed with the 12 when I heard that. The N8 is a bit of a curve ball but in my head I'm thinking 12. The 18 is too flat for me I think... I like the personality in the bass (that's why the N8 with it's dynamic interests me)... and if I was going to spend that sort of money... I think I'd be looking at cans...

OK, N8s are landing in the UK this week. Looking forward to giving them a listen!

Sims (Enfield) and Bow Finishing will both do a boss job.

I know it's the obvious answer but whats Line 6 UK saying?

So... Fender have now joined the dynamic driver band wagon... NINE–(9.25mm Dynamic) - £89.00 NINE-1–(9.25mm Dynamic + 1 BA) - £215.00 TEN-3–(10mm Dynamic + 3 BA) - £699.00 TEN-5–(10mm Dynamic + 5 BA) - £999.00 THIRTEEN-6–(13.6mm Dynamic + 6BA)- £1549.00 I wonder how much of the knowhow of Aurisonics are still with them. Certainly seems strange that now, everybody seems to be focusing on hybrid designs. What's happened to cause this knee jerk? That thirteen-6 though - thats some big dynamic to have sporting at your ear. Certainly an interesting prospect.

No worries - let us know how you get on.

1. Cool, open or semi open are good for singing. 2. Pulling your ear back will definitely help you get a better seal until you get used to how it all feels. Until you get used to them, I would expect them to be a little tricky getting them in and out. 3. If they don't seal properly, there's 2 things, either your aren't inserting them right... or the quality of impression or the final sleeve is not representative of your ear. The first one is easy enough to rectify, the 2nd could require a remould or a call back to snuggs. From what you said earlier, I'm not entirely confident about the impression! What instructions was she working to? Did Snuggs provide anything? The impression for a custom IEM/sleeve etc needs to go past the second bend.

1. Were the impressions open, half open or closed impressions? 2. When you insert the inear, do you pull back on your pinna (specifically Darwin's tubercle - look at us getting all biology) as you push the in ear inside your ear canal? It should be a tight - but not painful fit. Once in, it should occlude noise from the outside world quite considerably. You will come to know when your inear is seated right and not - because the sound and seal just won't feel right. Can you post a pic up close of them in your ear and in place? 3. When you say changes from ear to ear, what do you mean? As in, some times they appear to seal better than other times... or is the fit inconsistent between your left and right ear?

OK - so I got LID figured out. @64 Audio -another question for you - can we expect a NAMM announcement that LID is going to be in the 18t very soon?!

<interval> For some bizarre reason, every time I see the letters "FRFR" written down... this song comes into my head. Which is bizarre, because there's not even any Rs in Foux Du Fa Fa. Anyway... As you were.

Aw man, you've probably hurt it's feeling now. They are sensitive souls these Markbass cabs.

The link is pretty common on PA cabs - very useful being able to daisy chain. That's a good point - I guess it depends on the noise floor of your cab to how much you can get away with. Just seems a massive oversight on that particular amp - especially considering how cheap it would be to a manual gain knob into the design.

Also, you could set the gain flat out on the amp and roll back the gain by putting this box inline. http://cpc.farnell.com/horizon/cvpblox/attenuator-variable/dp/AV17469?mckv=sBvDSns2M_dc|pcrid|224635168920|kword||match||plid||slid||product|AV17469|pgrid|46533246385|ptaid|pla-426338467408|&amp;CMP=KNC-GUK-CPC-SHOPPING&amp;gclid=CjwKCAjw68zZBRAnEiwACw0eYYz6SilL-7KG5THSFmjH_PI-RSQIbPEeK4UJlxjzCTh-RRWVsTrxUhoCB8UQAvD_BwE

https://www.ebay.co.uk/itm/Uk-13-amp-plug-to-Neutrik-powercon-blue-HO7RN-F-cable-with-heat-shrink/142352040022?hash=item2124d7c056%3Am%3AmYpq-76rVSLKlffgVfm4Bzw&amp;var=441380071577 I use these... proper cable too so they coil properly unlike that naff stuff that you usually get with IEC cables.

The Laylas are actually quite a boring listen - the treble is pretty recessed and overall, it's quite dark sounding despite the piece trying to be sold as a flat reference piece... but I think I need to give them another go I think. But then again, flat can be boring. They aren't going to be used for critical mixing of listening... so I should but the one that puts a smile on my face when I use them live. But then again, I've got the means of EQing them with an inch of their life with the setup I run with. Hmm. The 18t I have a couple of reservations over - the size. I've only seen the universal version of it... and it's a bit of a beast. I'm beginning to think that the 12t is where it's at... but then again... I need to have a decent listen to them all again. The A8 has always stood out to me as one of my fave 64s... but that's gone off the table now due to the arrival of N8... but I'm not sure I want to go the dynamic route... But talking of dynamics... there's always the UEs. Decisions, decisions.

That was pretty much the solution! 😛 She didn't like the removal process much. Clearly not one for waxing.

OK - it sounds like you are wanting to step up to outside of the consumer market. I’ll give you a clue - what you are really looking for is the qlxd or ulxd units from Shure. These are channel 38 units (assuming you want to run them on a shared license channel) - that use the same ad/da conversion methods as the other units mentioned, but on the 606+ MHz range instead of the WiFi 2.4Ghz range. Of course, there is a price to pay - you are looking circa 1000 quid a channel for qlxd. ulxd will do the same job but also boast encryption and on the larger units, do high density mode (more channels in a slither of the radio spectrum) and also boast Dante connectivity. With regard to drop out issues, that’s mostly going to be down to congestion in 2.4Ghz - but other factors that differ between units is the transmission power and antenna setups they have. For example, you’d expect a system with a quarter wave or half wave external antenna setup (especially if dual diversity also) to outperform a system that has no external antenna (all other factor such as transmission power - typically 10mW for consumer wireless - being equal). The Stageclix is actually quite a decent unit but the casing can appear to be a bit “home electronics project” compared to the competition - so I can understand why you are a little apprehensive on that front. I would have no problem using one. I would never consider the Smooth Hound stuff personally - as an IEM user, the latency of that system is far too high. (10ms absolute top end figure for acceptable latency in your ears - some people can't even tolerate that). The SH 8ms latency is just not good enough, especially if you have any other digital elements in the chain that can be introducing latency. What do I use personally? ULX-D. Absolutely amazing - probably overkill for the majority of the gigs... but never had one drop out ever.

Change to Eneloops and recharge between gigs. Save the planet and all that. I use them in 13 channels of wireless every gig - and there is absolutely no issues. Similarly, they hold their charge (once charged) for over a year - so they aren’t going to run down between gigs!

@64 Audio have a good show! Looking forward to your answers, I’m buying a set of IEMs imminently and these are very much burning questions for me! I’m pretty familiar with the rest of your range (I help Paul from CIEM co) out at the shows - but these particular pieces, I’ve got very little hands on or ear time with them!

If you get a compact kit, pay very close attention to the hoop on the bass drum. Theres two designs - the hoop with an indent - and a hoop without. Make sure your son test drives the kit out, paying close attention to what his happening to the the throw and the feedback that he is getting through the bass drum pedal. The placement of the pedal on a small kick drum, changes the geometry of the kick beater compared to a standard kit... most drummers find the kits with the indent in the hoop more natural. I'm all for small kits, they are quieter and when miced up and put through the PA, they can be made to sound as big as you like. Good choice! Have a search for be bop kits. That's where I suspect you are at. Anyway, back to the kick beater... The above highlights the fact - you can see that the angles between kits are open to wide variances. Do not buy blind! Get your son to really try them out - concentrating on the kick and how it feels. Hope this helps.

In other news, courier insurance has paid out on my lost IEMs... so it's time to get busy looking... Current wishlist... JH : Lola, Roxanne, Layla 64 : N8, 12t, 18t UE : Live Noble : Kaiser Encore ...but the hardest decision is quite possibly the colour scheme! 😛

Surely that should be the Unraveling Wilburys?

Yup, well, the preamp is. As you probably know, HB ditched the loop and added in the compressor (if the compressor is a clone of the EBS compressor, than that's a pretty decent peal to have... - and even better now that they've fixed the phantom power issue!)