EBS_freak

Hang on... Markbass. Ugly? Maybe they do look like they lifted their image from Tonka toys... but there's some far uglier cabs out there.

https://drive.google.com/drive/folders/0B2_tqOG3lexBb0dMYTluOTczZUE

D5 seems to be a very good mic - theres a band with that use them across all the vocalists and they seem to be very consistent in their performance. I dont recall ever having any battles with feedback - mind you, this particular band runs a silent stage with the exception of the drums. Oh and the other great things about those mic - they don't break the bank. The more and more mics that I use, the more I am turned off Shure. The 58 and 58a really don't do it for me - although I do like a 57/a on the snare. The majority of my vocal mics are 935s and 945s. The 965 tends to be a bit on edge unless we are talking big stages. Mind you, I find that when using all condensers as vocal mics. I tend to think that they are more hassle than they are worth because all the extra air and clarity you end up rolling off anyway, especially if there's a kit behind the singer. Historically my fave dynamic was the Heil PR45 but I am more turned on to the sounds of the OM5 and OM7 from Audix. They are ridiculously good on loud stages - unfortunately they tend to come up a substantially higher price. I'm really impressed by the Audix range... and very tempted to change my drum mic setup to Audix too.

I'm intrigued. What vocal mics do people use and why? Im guessing the 58 will make a strong appearance.... but the question remains, why the 58?

Free as a Bird John Lennon stylee

I I doubt it has anything to do with needing money. For example Frida got 75 million in addition to her own Anna based wealth when her husband von Plauen passed. I think all of them are earning enough from royalities (no pun intended) to not be caring about the money aspect.

Agreed - the wired connection is always something that should be available to you. Get out of jail card for that time you know stuff is going to go wrong. Links to Amazon posted above in my earlier post if anybody looking to hardwire!

I know! - I'm not too mad keen on the response curve but I guess the proof is in the eating (although I don't think eating IEMs are the tastiest things to be consuming). Certainly got to be a better option than a 215 or M6 - at least these have a chance of being a bit more meaty... and the inclusion of the dynamic is nice.

Already have. Just cant be arsed to take it to gigs!

Quite possibly - I think it's one of those pedals that you have to spend a lot of time with and have the right bass. Some people get some very results - I personally find it a bit glitchy for my liking. A dedicated synth wins - but then where's the fun in that?

I think you're gonna get a very split opinion on that one!

I think the problem with entry level digital is that manufacturers are trying to deliver something at a cut price. Look at the XR12. Incredibly feature rich and unbelievably cheap. It has a built in router. Now given that a typical quality router would cost nearly half the selling price of the xr12 you can see where the savings have been made. Prosumer desks haven't even got routers built in. It's merely a means of getting people going. Of course people can expect too much. Sometimes I think it would be better if routers didn't come bolted onto mixers out the box full stop!

Well, this looks quite promising.

The Allen and Heath QU is a great mixer! Big fan of A&H - as you can probably tell with the GLD80 mention (it's just a bit big to carry around with all the external stage boxes for smaller gigs) Anyway - the Alto gear is great, especially for the money. Having looked at the Alto 1604, I see that it has inserts available to you... there's nothing stopping you cabling out to the UI12 and using the auxes and main outs as fx processors (with hard pans on the outs of the mains) - this will certainly supercharge your Alto with kit you already own. (Kind of the same software based fx processing approach as using Waves multirack I guess). Talking of which - and I don't know how much of a gear head that you are - if you have a multi input sound card and a decent computer, you could run some processing via Live Professor... so you have the simplicity of faders but with the additional functionality of some heavyweight processing plugins. Anyway... I guess it's got to that point where I'm geeking out again with regards to all the above... But its a shame you didn't go the Behringer route because you could have added some physical faders with the X Touch. Just looking at your initial post though, I do think you may be going backwards going analogue - for example, to properly EQ a kick drum, you'd want a minimum of EQ, compression and most importantly, a gate.

Your bass. Whatever makes you happy!

Although I have to say, I prefer the HD350 to the HD360 - they changed something in the top end, that for me, doesn't quite work as well.

From https://www.zoom.co.jp/B3n-update-Dec2017 For users of the B3n, Zoom Guitar Lab offers monthly updates featuring new Amp+Cabinet combinations, Stompboxes, and preset patches. Here’s a list of new patches, emulators, and effects featured in the December 2017 release: NEW AMP + CABINET EBH360 - This models the sound of the EBS HD360 bass amplifier. EB4x10TW - This models an EBS ProLine 410 cabinet with four 10" speakers and a tweeter. Download in the above link.

It will be interesting to hear - as alot of the "famous" EBS sound comes from the Proline cabs.

I never knew people bothered modelleling EBS amps - I didn't think they were considered mainstream enough!

I have. HD350! Although I do tend to use a couple of profiles that I made at a very tasty recording studio using Neve, SSL and Chandler channels strips.

Remove the spill completely (apart from drums unless you go electric on that front) and take the leap into the world of in ears! Stereo, processed loveliness in your ears, no ringing post gig either. I play with a percussionist sometimes - being able to hear a shaker in your inears is beautiful. There's no way I'd hear that over all the noise that the drummer is spewing out (remembering theres no amps on stage too!) Stick your drummer on IEMs - he'll be able to hear what he wants then. And even better, if he plays too loud, keep pushing the volume of the kit up in his ears and then he will be a bit more reluctant to hit them as hard. Are you seeing the benefits yet?!

Not exactly the point I was going for - but yes, true. I was more going for the spill into the mics and over powering the front of house mix!

Just as the other side to the story - I use IEMs and put all my faith in the 745s (I also use the same setup regularly with a K-Array, D&B and L-Acoustics setup) out front. And it works well. Much better than any other setup that I've ever sported for the reasons that I've mentioned in the thread. I've also run my Kemper through a 745 more than a few times. It works as a guitar rig. It works as a bass rig. It works without breaking a sweat - I think this was one of the swaying points for BigRedX - he uses his setup to replace both a guitar and bass setup. With regards to Pete's setup, he's using 2 735s as front of house. When he bought them, he already owned his backline. If he was to sell the backline, he would lose a lot of money to replace them with say another 735. For monitoring purposes, the traditional small combo does him fine - but he uses the 735s to push the bass out at volume - as he does for the rest of the band (when he finally got the guitarist to turn down and rely on the PA to get his guitar heard). I think I already know his answer to the question I posed above... if he hadn't already have bought his backline, I don't think he would be running the same setup now. So I don't think it has anything to do with convenience - its more to do with the fact the 735s do all the hard work and his combo gives him enough on stage as a monitor - and replacing it doesn't really make that much economical sense. I don't think the point goes unnoticed - of course, there's options - including traditional backline. But those that have ventured into using PA cabs (either for FOH or on stage in a more traditional setup) and modern modellers are certainly seeing the rewards. If I had my way, nobody would be using amps unless they are on a large stage... the sound you can get without them is much more controlled and better when it comes to a balanced mix. I still think there is an underlying cross purpose in this thread...

I'm guessing you are up to speed with the monster IEM thread then!