EBS_freak

That's actually a very good point. Worth mentioning that you really need some trousers that aren't going to move anywhere.. with a cable hanging from it, it does make a good attempt to head for the ground. Not as big deal for blokes as women... (Last gig, the singer in the band I was playing for turned up in a dress and had nowhere to hang her monitor stick from. At the rehearsal before the gig she had been wearing jeans and a sturdy belt.... her flimsy little black number didn't give much in the way of options...!)

@dood - Yes - you need to lift pin 3 on the two XLR jacks that you put into the mixer. Been there done that - I've made up some cables for a band that was having such difficulties! With regard to the your comment about XLR to TRS - it holds for the QSC touchmix mixers - I'll put a pic in below. http://portalnaglosnieniowy.eu/images/stories/Prezentacje/QSC-TouchMix16-OS3/QSC-TouchMix16-OS3-10-stereo-mono-AUX-7-10.png If you check this pic, (for some reason it's not automatically converting it to a pic to show in the post), you'll see that it's got a TRS jack socket for auxes 7/8 and 9/10. Effectively this is an unbalanced stereo out... so using a single TRS jack to XLR will give you a stereo mix on the Fischer/P2... but granted, this is not overly common for a mixer! Most mixers will either be a mono balanced TRS jack output per channel, or a standard XLR balanced out per channel - in both cases you would expect to need two to give you a stereo feed, either balanced... or non balanced with "the special lead". With the QSC Touchmix mixers, if you were to use the auxes on the back, you would have to use "the special lead" - as they are balanced XLR (unlike the ones that are on the front of the unit as shown above). So... in summary, two balanced XLRs would need to be summed to a single unbalanced stereo XLR. It's an abuse of the cables really - as I'm a bit of a believer that a XLR should always be balanced and mono (unless its the 5 pin variant that breaks out into 2 2 pin mono XLRs)... but hey, it does the job I guess. So for the QSC, that adapter that I posted a few posts above, works nicely... take a XLR cable, stick the adapter on the end and plug that into the QSC and the other end into your monitoring stick... job done... but you are lugging around less cables and it's a standard XLR cable you are carrying around. I would urge people that are making up a Y adapter, to not make a long cable... that way, you just have a Y cable (or pair if you want to keep a spare) and into that you can plug a standard XLR... which should be readily available at a gig. I'm always a firm believer that carrying around custom cables is a nightmare waiting to happen when that cable breaks... especially if it's a cable that is going to be moving around with your and will subsequently have a higher chance of breaking/being stepped on etc. Anyway... most mixers will either be a mono balanced TRS jack output, or a standard XLR balanced out - in both cases you would expect to need two to give you a stereo feed, either balanced - or non balanced with "the special lead". The QSC is one exception. I *think* that makes sense.... 😛 (especially now that I've edited to be more coherent! )

Ha! 😛 Was that a smidge of sarcasm I detected there? :P:P:P

Given where the 2.4Ghz frequency is going, I would now be looking at the 5Ghz alternatives... which doesn't leave you with many options. The Stageclix is about all that is servicing that part of the spectrum at the moment. In reality, if 2.4Ghz is currently working for you, then moving to any of the newer systems on 2.4Ghz shouldn't leave with you with any less performance RF wise. The main updates since the G30 is that the more modern systems have less latency (not that the G30 is bad by any meands) and a change in form factor. Line 6 are pretty much still leading the way in terms of minimal latency and the same is probably true for performance/cost ratio. Other things that you may want to consider is the ease of changing batteries. If you are caught short and forgot to charge the sealed unit systems, your game is over... but for example the AA system, you'll always be able to find a petrol station or something similar to get some precharged AAs to save the day. What were your issues with the Smooth hound?

Oh. Well, that's just ruined my mental image.

You've cut most of it out of the picture. Take a good few steps back son... and get a wider lens.

Ha enjoy - what are you using at the moment? It looks like a Behringer restock has landed in the UK!

Did you play it particularly badly or something? The punter may have been stone cold sober... in which case, he's a sarcastic genius.

Ha - that's the lamest GAS coverup I've ever seen. You just want a new gadget don't ya?

There's 3 options from Behringer... The P2 has an amp in it... the P1M hasn't. The P1M is literally a volume cut - so strictly speaking you need an amp in front of it... although you can run a set of IEMs straight from the Aux. (Ugh). The P1 has an amp in also - but has dual XLR inputs so allows for a balanced stereo input as opposed to the stereo unbalanced limitation of the P2. In reality - this doesn't mean that big a deal - it just means you will get less signal loss with the P1 than the P2. Will you notice for the length runs that you have? Probably not - in fact, I'm going to say no. I'm also guessing that the dual input summed to mono (and controlled via the L/R pan) will also give you a "more me" function if you were to split a signal from your pedal (landing) board to the beltpack. Actually, thinking about the size of your pedal board... you may want to rethink the amount of signal you are going to lose... that pedal board is just short of a kilometer now isn't it?

Yes and no. In terms of the processing of the ws2812b chip, it looks after the addressing and processing of the RGB values... but it won't generate any patterns or anything like that. Thats where the external processor comes in.

I like it too Phil.

Hey 64 - amazing to see you guys on here... there’s not many manufacturers around these parts so it’s great that you’ve joined up. I’ve got a few extra Qs here regards to your IEMs if that’s cool? Is the 18t suitable for stage use given its audio signature, impedance (what you’ve just stated seems to suggest it would be?) - and physically how big is a custom 18t compared to say, a 12t or a N8? I’ve not seen a completed 18t in custom form in the flesh so have no idea how snug to the ear that it would typically fit. I notice that it’s not included on the stage section of your website - is there any particular reason for this? Which has the biggest bass response between the 12t and the n8? My brain tells me that it should be the 12t by a small margin - but I’ve not heard the n8 compared to the 12t... yet. I know the 18t is meant to be flat response - but all things being equal - is the headroom in the lows equal or greater than the 12ts or the n8? And finally - I understand that there is an orange apex module. If this is used, what happens to the sound signature? I’m thinking that the bass response in the earpiece should increase - but at the expense of a wider soundstage? What else could I expect? Obviously I would lose the normal functionality of the Apex... and gain greater isolation...

Neopixels are ws2812bs - basically a 5050 RGB addressable LED (so basically 3 LEDs in one that are blendable to achieve your desired tone)

Sounds like you'd prefer a Fafner if you want old school grind with top end.

Indeed- right time, right place. whizzed up people at a wedding love it. Down the pub playing blues? Well, yeah, you should get all the ribbing you deserve. Like everything, right bass for the occasion. You'd be a d i c k turning up to play blue with a 7 string bass too... 😛

The other thing that they don't tell you, is that the power drawer on that number of LEDs is horrendously high. A single neopixel at full brightness is 0.06A at 5V. So I don't know, 150 of those gives you 45W, 9A... So with a 2000mAh battery, you are looking at a run time of about 13 minutes. Plus... you've got to take into account the controller, that normally requires a 12v source. So in reality, you are looking at a 12v battery so you can power the controller... and then a buck transformer - or a number of to cater for the wattage - (with associated losses) to take it down to 5v. So all in all, you are looking at a complete mess or cavities in your bass... or you are looking at running something phantom powered up a cable. Want to run an external controller outside of the bass to control the LEDs? Well... you've got 1.5m before you get data loss... and thats not taking into account the voltage drop you'll get between your power source and the last LED in your chain. (Ever noticed on some of these LED guitars how some LEDs are not as bright as the others? - thats because they haven't injected power regularly enough in the LED chain... or they haven't got the ground only connected at the last pixel so the distance between +ve and ground for all pixels is the same). So yeah... marketing gimmick.

Of course, what these guys never tell you, is that playing the instrument is a complete waste of time - the colour changing and switching of the LEDs inject a whole lot of noise into the audio path. I have even challenged a couple of builder on Facebook to tell me otherwise... and without fail, all of them have admitted that the LEDs are pretty pointless if you actually want to play with them on and not wanting to hear a load of unwanted noise coming from the switching controllers. The only person that I know have nailed it that I know of, is Bernie at GB and his electronic guru, Richard. - Even GBs don't use the addressable Neopixels that all these other guys are using... GBs are single colour LED... for this reason. No point iin having all the showbiz if your can't use it without a load shizz coming out of you speakers. Having said that, some people would argue a load of shizz comes out of my speakers - even when I'm playing a bass without LEDs. These multicolour LEDs only serve one purpose - to get your brand noticed on Facebook.

New toy - these don't seem to be readily available but managed to track one down on a bit of a whim. I 've got some gigs coming up with a band that run a fair bit of a wireless and don't want to be that annoyance that turns up with a load of wireless to complicate matters! Also, they are a bit less clunky than the studiospares headphone amps Ive got... and a bit less risky than taking a P9RHW. So here it is - Behringer PM2. I have to say, having used the Fischer sticks with a band that I also play for, the Behringer *ahem* version of it is equally well built... and dare I say it, I think I prefer the uncluttered look of the Behringer version. It's certainly less busy on the white lettering front than the Fischer. I paid just under £40 for the PM2. The Fischer comes in at just over £120. That's some saving there. So for those that don't know what they are looking at, it's a belt mounted headphone amp - better than trying to drive your headphones directly from an aux.... Plus it has the some basic mono/stereo switching (essentially if you don't want your mono mix just coming out of one ear on your headphones!) So, stereo or mono operation (there's a little switch inside that changes between the two modes) - combo jack on the bottom... so TRS/XLR for UNbalanced stereo, or TRS/XLR for balanced mono... and I'm guessing - not that I've checked... a TS will give you unbalanced mono also... (with switch in mono). So, in my gig bag of goodies, I've got a long XLR, a long TS cable, balanced dual XLR split to single unbalanced XLR, Dual TRS to single XLR and a TRS to XLR adapter... (a bit like this - https://www.kenable.co.uk/en/xlr-plugs-connectors/6096-kenable-xlr-male-plug-3-pins-to-635mm-trs-balanced-jack-plug-audio-adapter-006096-5055383460960.html - useful into plugging into the QSC desks that have stereo TRS auxes especially for inears) - that should cover me for most wired situations, I should think! Good stuff. With gadgets like this and the ZS10 appearing for the price that they are, why wouldn't you be embracing IEMs?! So assuming that you have an aux available on your desk, for under £75 (and maybe add another £15 for cables for your specific mixer - so say for under £100 all in)... there's no excuse to not be ragging your ears anymore. And the upside is that you can hear absolutely everything that is going on. Win, win.

Price decreased by £500

The pic in the ad... an amp similar is behind him... but there's nothing plugged into it! (unless it's being used as a slave poweramp)

I can't vouch for the above... but what I will say is that there's an awful lot going on with regard to custom balanced armatures and tuning, getting everything in phase... so it's about as much as whats going on inside as much as the custom fit element. Certainly may be a good shout for the price though... who knows? JH11 springs to mind - £800 for a quad seems the obvious choice. Great sounding IEM.

Haha! That's fighting talk!

Hey @dood - response already - >>>> I totally understand your consent, and I’ve also asked those same questions. One thing that I can tell you is that other in ear monitors only display their impedance at 1khz, so the iem could have a drastically different impedance at other portions of the spectrum (sometimes much lower impedance than what’s measured at 1k). The N8 is built with our Linear Impedance Design technology so that the impedance posted is linear across the whole spectrum. Another thing that can give you a bit more confidence is that we test our in ears on all industry standard equipment (Shure’s PSM gear is definitely one of the units tested). One thing that you could do, if you’re ever nervous about this issue, is have an impedance adapter plug to add some resistance between the iem and the amp. The great thing about changing the impedance between the amp and the iem is that it will not change the frequency response because of the LID technology, whereas changing the impedance while using any other type of iem (A18t & A2e are the only 64 iems that don’t at this point) would change the frequency response according to its impedance curve. <<<< So I knew that the impedance drops significantly during use but still quite surprised at how low the impedance of the N8 is - I can't actually recall seeing one that low, ever! But I think the above answer is fairly to the point. Also, what I've said about impedance curves seems a bit null and void given their LID tech... which to be honest, I must read some more into because I don't know much about it. I know what it does - but don't know how - and I haven't pondered on it... yet!

Minimum impedance is not readily available in the specs. Haven't found any for Lectrosonics or Sennheiser... but the fact it's stated in the Shure one is a worry. With regards to the IEMs, it shouldn't cause them too much of an issue (although it could proper play havoc with the impedance curves)... but I wouldn't be happy if the wireless pack suddenly gave up because it wasn't presented with a large enough load on the output. The 18ts are also very low impedance. I'm not sure why they seem to be getting these impedances so low either - audiophiles generally go for higher impedance units with separate headphones amps...? I'll let you know if and when they respond!