EBS_freak

Sounds like a dodgy pedal. You tried swapping XLRs?

[quote name='Wolverinebass' timestamp='1504169056' post='3363058'] Why not a pop out cigarette lighter? [/quote] USB output to charge an ipad or phone would actually not be a bad shout... the amount of gigs I have been on where people have forgotten chargers but have a charging cable in the car... (car won't charge an iPad though)

[quote name='stingrayPete1977' timestamp='1504110958' post='3362774'] Didn't "missing in action" JTUK's band basically split up and reform with everyone but him then wipe him from the Facebook pages? [/quote] Misplaced strides ended his gigging career.

Gunsfreddy - I have made comment about a similar set up in the thread a while back... but this is also an option... Soundcraft FX2 mixer... check out the direct outputs on the back - Basically, you plug everything into this mixer, and then plug all the direct outs into the FOH desk. This is your personal monitoring desk... this would replace the XLR splitters and the P16M and P16I... used about £400. You would have to phantom power off this desk in this setup.

[quote name='Gunsfreddy2003' timestamp='1504108690' post='3362743'] Would you say that the P16 is a better bet than the Allen & Heath ME1? The ME-1 looks great to me when I use it with my own band as we have a QU desk but when I am depping I am assuming that it would be pretty useless if the band didn't have an A&H desk? In which case, would the P16 be better because it looks like you can use it with any desk and it's therefore much more flexible. Only downside that I can see if lack of ambient mic which is a great feature on the ME1. [/quote] It does the same thing but you can only use the P16 Behringer with Ultranet (basically on Behringer stuff like the new Midas and Klark Teknik offerings) The ME-1 you can use with A&H dsnake (GLD and iLive), MADI, Dante, Ethersound and Aviom (e.g. all the standards in the pro audio world). What the later won't do is talk to the popular XR series mixers from Behringer... but it will talk to the X32 if the X32 has got a Dante card fitted. Again, there is a limit of 16 channels. So there is a problem - due to the differing digital audio over ethernet standards, theres no an easy way to make otherwise incompatible systems talk. Klark Teknik actually do a (very expensive) converter... but again, the notable exclusion is Ultranet. So, if you want a truly portable cross platform solution at a cheap(ish) cost (Lets do some man maths to see if we can justify all of this!), try the Behringer P16I with a P16M. [media]http://youtu.be/LxZdKh5XPwY[/media] So, two of these (or one if you just want the ability to mix 8 channels) - [url="https://www.studiospares.com/Microphones/Splitter-Combiners/Studiospares-RED800-Mic-Splitter_458950.htm"]https://www.studiosp...tter_458950.htm[/url] £130 x 2 = £260 With these, you plug everything on stage into these splitters and then onto the desk. All phantom will be sourced from desk. The tapped isolated signal (e.g. the one that can't pass phantom) is split off to the P16I via a snake. So use 2 cheap snakes (XLR to TRS <- TRS v important1) from Thomann as they aren't going to get abused... [url="https://www.thomann.de/gb/the_sssnake_mxp_8030.htm"]https://www.thomann....ke_mxp_8030.htm[/url] 2x18 = £36 Then plug the TRS ends into the P16I P16I = £200 Then plug the P16M into the P16I P16M = £275 and lastly, connect the main split into the PA using another Thomann special... [url="https://www.thomann.de/gb/the_sssnake_sk418_3_snake.htm"]https://www.thomann....418_3_snake.htm[/url] 2 x20 = £40 So for the grand total of... drumroll... £811... :-o You have a take anywhere 16b channel inear system! Yeah, probably cheaper just to buy a XR18.... That actually give me another idea... (assuming you have an iPad) Switch the P16i and P16M out and replace with an XR12 = £240 and use the headphone out off that for your headphone feed Gives you full control of 12 channels of the mix so it is completely independent of the the FOH (something that the P16 and ME1 can't do) or a XR16 = £400 (although for the extra 75 quid, the interface of the Behringer P16 stuff is probably quite appealing) Anyway, stuff to think about depending upon budget and whether you want 8 or 16 channels of monitoring in a system that you can use with anything.

[quote name='Lee-Man' timestamp='1504109455' post='3362754'] What settings do you use on your output? Not been super happy with anything I've tried so far. [/quote] Depends on the band Im playing with - but for me, recessing the highs off at 10k and above with help loads with ear fatigue... also, clean up the mud in the lows and for me, 2-4k is a hot spot... recess that but not too much because that is where all the details and stuff is in the vocals but it is where you war is sensitive so can tire you ears quickly. I think a good quality headphone amp helps also - running the inears straight off an aux is not great as there's mismatched impedance and an introduction of distortion if your drivers aren't powered correctly. A decent headphone amp will help you out no end. (Maybe that is the justification for the Shure as the amp in that is actually really nice) Loads of people tend to compress the hell out of IEMs... thats not good for ear fatigue either... the less compression in your ears the better really - a limiter for protection is good but don't get carried away with loads of multi band compressors and limiters to get mega loud mixes - they will destroy your ears in no time When I talk about compressors btw, I am talking about what you do with the output bus for your monitor sends as opposed to the individual channels - I would expect a certain amount of compression on the individual channels - but don't mush your inear mix into a tiresome mush. This is also one of the reasons why decent companders are so important - pants companders will squish the hell out of your mix and give you an overly compressed mess. Also- make sure there is no clipping anywhere...! Go stereo if you can! Mono mixes are more fatiguing - separate those instruments out so they don't just clump in the centre of the mix.

If you want a "filler panel" get the mesh type - not the closed off type.

Powercon is a much better option than IEC for racks... just don't lose the power cord for it!

The P16 is a really great solution... if you are big into your inears, its great, it's just that auxes are cheaper... but yeah, P16 would be the killer move if you can afford it. Also worth mentioning, you are limited to 16 channels. The reason I didn't go down the Ultranet route is that mind band tends to use 30 channels... so half to the mix would be missing for IEM users.

[quote name='Lee-Man' timestamp='1504106547' post='3362729'] Also, not sure about the Rev 33, but by the end of 3x one hour sets on IEM's I'd try anything that might cut ear fatigue. [/quote] Learn how to EQ and compress for inears... say goodbye to ear fatigue... oh and the volume at which you listen to your ear mix is the greatest influencer of how quickly your ears fatigue. There's not a great deal that you can do about it.

[quote name='Lee-Man' timestamp='1504100487' post='3362687'] The P9HW does look nice, but your right about the cable and I won't the eq. The 64 Audio pack looks interesting if priced right, but that magnetic connector seems a faff + potentially expensive. I'm thinking of a Fischer Ear Stick + Rev33 as a better solution. Wireless doesn't really appeal as I'm stood on a bass board with an MD mic and a couple of iPads so can't move too far. [/quote] Exactly the same concerns about the 64 Audio pack. What is it with all these specialist cables?

Get OBBM to build you a Y cable into which you can insert a standard XLR lead. The XLR lead going to you pack is the one that is going to take the abuse, so you may as well make that bit standard and leave the OBBM magic at the mixer side.

Amazon... Box of Frogs...???

[quote name='Lee-Man' timestamp='1504019579' post='3362154'] What about the Shure p9hw, is it really worth the significant price difference? [/quote] Its a really nice piece of kit. Worth the money? Probably not - as it gives you nothing but a nice case, an LED screen, a limiter and umm.... an expensive bill if you need to replace the propriety cable. Oh - it also has an EQ... but you'd always use the EQ off the aux sends anyway as that will be far more useful than the one which is built into the Shure pack. If it was 200 quid, it would be a nice purchase... £400? Well, with £400 you may aswell keep going and aim for an EW300 - or cheaper, a PSM300 premium.

[quote name='uzzell' timestamp='1504004950' post='3362034'] Wow, this is all great advice so thank you very much. I will have to check out some of these recommendations later this evening but off the top of my head I was suspecting that the nut might have something to do with it. I have never actually got around to replacing the nut as I kind of assumed (perhaps erroneously) that the zero fret would negate the need for addressing the nut. However, I am happy to be be wrong on this. So as a general suggestion, is it wise to get the nut sorted out before doing anything else more drastic? Whilst I am at it, does anyone happen to know which string brands offer a complete 5 string set with the high C option? Up to now I have been mix 'n' matching a standard D'Addario 4 string set with an extra string for the C? Thanks again all. [/quote] I would wager that a correct nut slot for the B will improve the situation drastically (in fact all of the slots should probably be refilled/refiled or the nut itself replaced (although this can come with a risk if there if the lacquer has been blown over post the install of the nut - if in doubt go and see a luthier)). You are in same game as me... I have to buy sets of 4s and then buy in my separate Bs. Can be a hassle but it's worth it.

Ideas to try - Bump the low E up a gauge. I do this with my 5 strings with the B - e.g. 125, 100, 80, 60, 40 - because for how I play, I always noticed that the matching 120 seemed less weighty than the rest of the strings. The E string needs to be closer to the pickup - try raising the pickup up to get a better balance across all the strings. Don't assume that you pickup has to be seated level to the fascia of the bass... they are adjustable for this reason. If you play with a high action, it may also be the case that you need to lower the E string at the bridge. Not all string brands are the same - it may be worth trying different strings to settle on a strings that perform uniformly for each respective string. I tried a load of strings before I settled on DR. For me, they work the best for my technique and my basses. Have you had the nut replaced? If the nut was cut for a B and you are now using an E, then there will be too much play in the string at the nut, which will lead to a loss of sustain and volume. You may want to look into this - it's quite easy to build up a nut without replacing it (e.g. mix up sanding dust from another nut, mix with epoxy glue and fill into the existing nut and refile it for your E string). A compression pedal would help to some extent - but it's really a masking of the problem as opposed to being a solution to the problem at the source... and unless you really know how to use a compression pedal, you could introduce yourself some more problems - as thats a few extra variables to throw into the mix.

You are onto a loser if you think there's going to be any come back. :-/

[quote name='mep' timestamp='1503905366' post='3361380'] I was at Silverstone this weekend. At the campsite the bands in the big top had loud bass drum and bass the vocals were fine. The guitars were lost for the most part until the sound guy realised you need to hear their solos and slightly raised the volume. Overall it was quite annoying. [/quote] That's nothing to do with loud lower frequencies... just a sh1t soundman behind the desk!

Its a shame you couldn't come down - the PA proper pounded it out... chest thumpy goodness!

I always thought this version sat better with the lyrics... https://youtu.be/masNmZy5d6Y

I love loud kick and bass... it tells you that you are at a gig... and feeling the gig through your body is something that you generally don't get at home. There is a caveat though... it has to be tight bass, not mushy bass. I'm talking about pinning the fundamental of the kick and not boosting all the mush frequencies around it.

oo-er blush. I think Pete is referring to this... yes, dep drummer, dep female vocalist. And this was the first time we had played this (its not in our set) - decided just before we went on stage we would give it a go, based on the fact the male singer said he knew the rap. I didn't realise how much of a fun tune this is to play... a little embellishment here and there gives the chance to give the fingers a little work out! [media]http://www.youtube.com/watch?v=TG5ZJdSZJCY[/media]

If you aren't using phantom, standard XLR splitters will do you. If you are using phantom, you'll need isolated splitters. https://www.studiospares.com/Microphones/Splitter-Combiners/Studiospares-RED800-Mic-Splitter_458950.htm and a cheapy snake from Thomanns will do you for the odd recording. the cheapest was to get multitrack recordings in a mixer is the Behringer stuff already mentioned.

[quote name='CameronJ' timestamp='1503576908' post='3359311'] Looks like there are signature cabs too. Look closely from 50 seconds in. The 210 on the top of the cab stack has offset drivers and a yellow Marcus Miller silhouette graphic on the bottom right corner. [/quote] Indeed - looks like they've changed the tweeter too... which should help them get closer to the signature Marcus sound...

No shipping dates that I can find at the moment - just the announcement. Stereo is good - but the lack of a balanced connection for stereo is not so good. 5 pin XLR would be good - but then I guess we are into the realms of custom cables. Still... I guess for limited cable runs unbalanced will do the business. And apologies dood - just opened your link and it would seem that the casing has changed... this is the original Fischer casing that I am making reference to-