EBS_freak

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.

That’s the fault of the monitor guy, not the wedges. If set up properly, the mix from them should make the backline insignificant.

Or you could just run decent wedges along the front of the length of the stage without the hassle of all the backline spilling into the vocal mics. i think wedges get a bad press because it’s the first area where cost savings are made. A prolevel wedge usually runs at a cost similar to most pub bands complete PA. They sound awesome.

The results of the PSM200 don't surprise me. That thing should never have got to market. Tips wise, give spin fits a whirl - they last longer than the comply tips - and don't disintegrate!

Many ways!

Can't hear you. My ears are going wheeeeeeeeeeeeeeeeeeeeeeeeeee....

Well, you've got to pretend at least you know what you are doing when you are trying to get your kit over the volume of a backline of amps all running full tilt. Screw everything else! :-p

Exactly - it's odd that it's the loudest element (depending upon cymbals in use) of the kit that most drummers insist on micing as a priority... especially when a miced snare doesn't always sound the best without the wires miced...

It all depends on the sound you want and what ideas you subscribe to. Does it pick up more bass? Yup. Do you want more bass - well, maybe not. With all those lows comes a lack of control. For when that sort of thing is required, a trigger reigns supreme. Otherwise, In addition to the standard gate, eq and compressor, get on the transient designer in parallel to up the attack on the kick. Or you could run a subharmonic generator with the kick... Or if you want the tightest lowest bass, run a low sinewave that is triggered from the kickdrum gate.

I reckon you could take that down to a kick and oh with the right oh condenser coming over the drummer shoulder pointing towards the snare. I say reckon, I often do!

Kick in - mic inside the kick drum Kick out - mic outside the kickdrum One will give you the subby lows without the attack, one gives you less sub but will give you more thwack! Typically Id use a Sennheiser e901 internally and something like a D6 on the outside - although the D6 is a great one mic solution as it gives a great bass and click sound on its own (some people find the D6s sound a little too prebaked for some genres of music however). Historically the subkick would have done the same role as the kick in mic... but in itself won't give enough beater/click sound to give the kick a lot of definition.

And that's why everybody is deaf. Screw rock and roll, I say. Let the dinosaurs have that mind numblingly bad mix and non stop ringing in their ears - Cos that's dead cool. Why on earth anybody would want to go to a gig where they could hear anything portrayed in a balanced mix is beyond me. Theres a reason why the dinosaurs became extinct. I never understand why people don't embrace knowledge and technology.