EBS_freak

Or further cost saving. Marcus' basses don't have zero frets, so why bother if that's who you are using as your marketing gimmick? Saves that awkward - "but none of the basses that Marcus is known for have zero frets...

"Stevie, is that ANOTHER thrift shop guitar?"

What do you mean? I am a big deal.

Do you clean your inears properly now?! :-p

What’s happening then? Good to see the Ashdown crews customer service in action! They’ll get you back on the road in no time!

“What shall we play?” ”err... Mustang Sally?”

Hey Joe, that song where guitarists can noodle pentatonic nonsense and convince themselves that they are a better guitar player than their peers because they aren’t playing over a straight 12 bar.

I feel the same about the originals scene when the support bands and any audience they brought with them, all vanish before all the other bands have finished.

they want a Woojer each... and you can leave your amp at home again.

Was the thing that first drew me to the HD350 and TD650. Both clean, both deliver the transients with no sag or distortion. They are very, clean, almost PA like amp... which brings me onto my second suggestion.... Big fat PA amp and a nice channel strip?

Was going to say that there was some talk on Talkbass about the Dame connection. Looks like a successful operation in getting brand awareness outside of their local market. If you do a search on Dame and Sire on google, theres a fair few discussions.

Those people looking for UE900s.... http://www.accessoryjack.com/logitech-ultimate-ears-ue900s-noise-isolating-in-ear-monitor-headphone-for-iphone-ipad-blue.html Same sort of deal as eGlobal, seems to check out OK.

Doesn't mean the band is.

Glad to help where I can - as you probably realise, I'm pretty passionate about getting people onto decent monitoring solutions... and the desk is not an insignificant part of it!

Going for the "not breaking the bank as much as others" mixer options. Basically anything that has the aux count that you want is good. These will tend to give you the preferable prefader based aux feed with a compressor and main EQ on each out) - Behringer XR16/XR18/X32 family (depending upon how many auxes you need) (Android/iOS/PC/Mac) Mackie DL1608/DL806/DL32R (iOS only) QSC Touchmix 8/16/30 Allen & Heath QU family RCF M18 (iOS) The above are all ones I've used in anger and probably the key players. The Soundcraft stuff is a little hit and miss from what I read (no hands on experience for myself though) - but lovely that it has a HTML interface so pretty much remote controllable from any device. I'd also like to try the Studiomaster Digilive- seems like a good option for those scared by not having physical faders but not wanting to spend X32 or QU money. I actually tend to run a pair of Dante enabled DL32Rs and run one exclusively as FoH and one exclusively for Monitors. That's some serious I/O in two small boxes as opposed to carrying around the GLD80 and stageboxes. Why the two DL32R desks I hear you ask? Well, if gives you the option to run different DSP for FoH compared to your inears. For example, you may want to EQ the bass for your inears is different to Front of House, similarly, you can run different compressors per instrument for Front of House and monitors... Also, it presents all of it's I/O without the need for additional break out boxes (unlike the X32 Rack for example). The other powerful thing about having Dante is that if I'm doing a big corporate and they have a Dante feed, I can replicate all the FoH to my monitor desk over a single cat5e and be completely in control of our own mix, complete with all the lovely processing. Here's a good tip though, if you have a desk where you don't need to use all the channels, you can digitally patch one input to say, two channels, and EQ them differently there (but this does assume that you are sending onto your aux post EQ). Send one channel to front of house, the other to your monitor mix. For me, I need the full range of inputs that the DL32R gives me, so that's why I clone the inputs to another desk. Also gives me nice redundancy on a gig. Best value for money mixer? Hard to beat the XR16 and XR18 - if it suits your I/O needs (main different is that the XR18 has more auxes, is a multitrack recording interface and has Ultranet (which in itself is a pretty cool monitoring solution))

Should probably also mention that the quality of your IEM feed is largely down to what desk you are running. Digital desks are king here - but for example, if you want to start running stereo ears, then your aux count on your desk quickly gets eaten up.

I think as a rule of thumb (a quad balanced armature with double bass drivers) is where you want to be to start getting some quality monitors on the go. Others will do the job - but that headroom in the lows is what starts to give you the heavier bass and more control.

Same with me - they don’t cut it for bass in my opinion! Same with the M6s.

215s are a good entry point however, there’s a lot of bang for buck in the KZ ZS10 - 5 driver hybrid for circa 40 quid. Anybody looking for inear pointers, check out the thread in the Accessories and Misc section. I don’t think you’ll find as much information in one place as you’ll find there! 100 quid based on a hard wired connection.

I think that the crux of the problem is a certain choice of component in these class D amps. Class D as a whole is not the problem - you only have to witness Powersoft amps to clarify that. Certainly no lack of that "heft" that people talk of.

Sounds about right. I would say most jam nights are more damaging to your enjoyment of music than you'd think.

No rig is the best rig! Put your money into PA (get it to do the work for the whole band - it will sound more balanced and easier to control in more difficult venues) inears (or decent wedge - eg don’t skimp and buy a cheap one) and a decent modeller (and that doesn’t mean expensive!)

Speak to Paul at CIEM company. He’ll be able to get one on a shipment from either JH or 64 if you don’t want to go to them direct.

Not really - they stop the sound getting in to the mic from elsewhere on the stage.