EBS_freak

[quote name='SH73' timestamp='1497986314' post='3321840'] When I was in late teens I owned a black widow Pavey.The sound tech turned my bass down coming out the PA so I just turned the Pavey right up onstage.The gig was in a medium sized theatre and Pavey was loud enough for the circumstances. Stuff you sound techs. [/quote] Was that some sort of rip off Peavey?

Here's some fun figures... for the average person, the maximum acceptable latency at your ear, is 10ms. That means that as soon as you exceed that, you'll notice a big disconnect between what you are playing and what you hear. The average latency for bluetooth is in the region of 30ms... so instantly, you will see that this is a non starter for IEM. Couple with the fact that the OP is using a Smooth Hound - which has terrible latency figures for a wireless system (8ms vs the typical figures of 3ms and below for it's competitors), the OP is on to a bit of a loser from the word go. In fact, having done some investigation into the OP's bluetooth device - the latency is 40ms. So with a Smooth Hound and Bluetooth solution, you have approaching 50ms latency from those two devices alone... Are you going through a digital desk? Expect to add anything between 0.5ms and 3ms latency. What about digital fx pedals? again, 0.5-3ms per pedal... and in particularly processor heavy functions - such as pedals that transpose (excluding octaves), expect to at least double that. So what BigRedX is saying is true - however, on higher end systems, there are some incredible advances where the audio does stay in the digital domain - there's dedicated Dante PCIe cards that allows for a round trip of digital comfortably under 1ms. Its far from cheap though. But once you are in this domain, you can run through specialist plugins with uber low latency (think figures around 2ms - many of which are run in parallel - so round trip within the digital domain is well under 4ms post all processing). Add the desk latency and you are still way, way under the 10ms target for IEM monitoring. So, for example, if you were using a pro digital desk (Digico, A&H iLive, Avid etc...), something like a Shure ULXD and say some Wave plugins, your could get your bass sounding whatever your wanted at under 5-6ms latency. The ONLY acceptable digital IEM system is the newly introduced Lectrosonics Duet IEM - [url="http://www.lectrosonics.com/US/Wireless-IFB/category/218-iem-in-ear-monitor.html"]http://www.lectroson...ar-monitor.html[/url] - (latency figures are incredibly low for a digital wireless - 1.4ms for analogue sources, 1ms for digital (Dante)) expect to pay over 2k a channel... and in the UK, you will need a specific event or fixed site license as it is only available in frequency ranges that fall outside of the normal channel 38 and 70 license range. All other IEM solutions are analogue - like your standard FM radio. There are some IEMs that proclaim they are "digital" - in reality, that refers to the DSP that happens on the audio whilst it is in-between the radio transmission phase of the process - that radio transmission - yes, it's analogue, purely to keep the latency figures down. With regard to digital over WiFi - the process is similar to analogue with the exception that instead of a compander (that squishes the signal into a payload that will fit in the available bandwidth) at the transmitter and a decompander at the receiver end (that tries to restore the signal to be comparable to the original signal pre-compander), it goes through two lots of digital/analogue conversion (with the resulting radio transmission transmission being digitally encoded). The advantage is that there is enough bandwidth to convert the analogue to digital and vice versa with no discernible loss of quality - however, you will introduce latency into the transmission as this conversion takes place. If you look at the specs of wifi compared to bluetooth, the available data transfer rate is 10 times that of bluetooth... hence you can soon understand why bluetooth has an impact on overall quality. Its worth noting that it's the quality of the compander that you pay for in analogue systems - some are great... some are terrible... and on bass, the first thing you'll notice on a cheaper system is the lack of low frequencies. On top end systems, you can actually cram a lot more channels of audio into the same radio spectrum... which means you can run channels of wireless systems in a smaller frequency range... and you can also encrypt... which means that people can't tune into the radio frequency and eavesdrop. Not so much of a problem for music... but it could be for conference rooms etc. In short, BT is handy for phones and streaming audio - but it's a no go for real time performance. Go get a decent set of wired headphones!

I kinda see it from all angles. DI is simple, quick to change over... and any sound guy should be able to get a great bass sound from it because it hasn't be swamped with stupid amounts of low end, or nasally treble. Amping is great but what you hear on stage may not sound good in the mix. At all. If you are going through a PA, then your amp is your monitor. I can pretty much guarantee that the sound you want for your monitor to hear yourself, is not what you want to hear out front. Modelling - if you must have your sound, get a modeller... and then you can send all your modulation, overdrive etc... to the front of house. If you think that modellers don't cut it compared to your amp... well, you need to check them out again... because on a gig, you'd never notice the difference between an amp generated tone and the modelled tone. Maybe in the studio... but live, no way. The greatest way to get a good sound is to leave it to the sound guy (assuming that he isn't complete tosh - then you are on to a loser regardless). They know the PA, they know the room... and they have the ears out front. OK, your bass may not have the same grind or fx as on the record... but the truth is, most people in the audience won't notice/care. A big bass sound is a big sound with or without distortion... but a clean guitar vs a distorted guitar are two very different things. Of course, you want everything to be perfect... but in multi band setups and the like, it's just not usually practical. This is why a lot of bands have their own soundguy - you've schooled them on what you want... and they are paid to get it. Very different to when you are passing through a small time venue.

[quote name='DaytonaRik' timestamp='1497885754' post='3321112'] Well - the A3s arrived and it was straight upstairs to try them with some audio - my word! It's like seeing an Imax cinema screen after watching a black and white TV. I can hear things in a mix that were just background noise before - bass lines pop out and become easy to distinguish, vocals sit pretty much in the front of the mix too. I really can't wait to try these at a rehearsal soon. Worth every single penny. I never had a problem with the fit of the 215s and the generic olives but these are something else. The Custom IEM Co turned the order around inside 2 weeks too. I've back to back tested them with my 215s and I'm not even sure I want to use those for audio either - I feel very spoiled! [/quote] Nice one. I'm pleased that you get it. Its really hard to describe how night and day a set of customs are compared to the 215s. Not saying the 215s are bad per se, it's just that as soon as you get into the custom multi driver realm, things REALLY start to take off. Enjoy!!

[quote name='Woodinblack' timestamp='1497362238' post='3317534'] Same issue here - I send mine back as the jack came loose - lost a screw or something, now it feels loose again. I keep mine in a bag now with the jack folded back on itself but obviously you have to move the hinge to get the batteries in and out. I am not that active on stage, and gig about 20-30 times a year (but practice with it every week). It does seem like a weak spot [/quote] Seriously? Man.

What are you doing to it for it to break?

Heil PR20 is a good all round mic, sounds great, not too expensive (compared to whats out there) and good feedback rejection.

Looks like a rattle can finish to me. I would expect a bass like that to have a polyester finish. If you want to get it back to a stock look, then you'd need to strip it and then send it off to a company that are set up for the two pack polyester process... somebody like Bow Finishing or Martin Sims. Not cheap, but the finish will be flawless.

You may find this of interest (if you are a mac user) [url="https://www.google.co.uk/url?sa=t&rct=j&q=&esrc=s&source=web&cd=2&cad=rja&uact=8&ved=0ahUKEwiTkJjmwqvUAhWLIMAKHQBrA1oQtwIIMDAB&url=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D2DsYcd7Xmus&usg=AFQjCNGxrBm3deFBRBIPnZAGQtkx0xZWGw&sig2=x8_OZdJNi44Agk_hgFh-hQ"]How to Run Backing Tracks In MainStage - YouTube[/url]

[quote name='Leonard Smalls' timestamp='1496676426' post='3313133'] I've also discovered that the committee has decided £3500plus VAT should be more than enough, as someone's mate specced a Yamaha DXR10 system at that price; I've pointed out that it would run out of steam very quickly in the main hall... [/quote] Just two DXR10s?

[quote name='Chris2112' timestamp='1496624695' post='3312802'] I think he was just after a Musicman style bass without a load of deadspots on the neck. [/quote] Anybody else with me that thinking the dead spot problem is wildly over exaggerated? Yes, there are basses with dead spots... but there are not in abundance like basschat folklore would suggest?

[quote name='fretmeister' timestamp='1496660431' post='3312985'] Can you even get a new Modulus ones anymore? I keep seeing facebook things about them back in business, and then nothing more for months. [/quote] Necks - I don't believe so, which is a shame... but even then, with getting them here, the Status option is far cheaper. Modulus seem to be back manufacturing altough in a much reduced capacity.

Check the bottom of this page out - https://www.audiolinks.com/blog/line-array-vs-point-source-pa-systems-which-is-ideal-for-you/ and here - http://pro.harman.com/insights/enterprise/hospitality/house-of-worship/point-source-line-arrays-or-column-speakers-whats-best-for-your-church/ Remember, when you go and see gigs with curved arrays, they are BIG rooms... now go to a gig at a hall... likelihood is that they will be using stacked point source.

What was the problem?

I did a load of research when I looked at it. Moses are the bottom of the bunch with many horror stories out there. Modulus are the top guys closely followed by Status... although I had a horrific experience with an aftermarket neck from Status. If you haven't had experience of a graphite neck, don't invest in one without trying one first. They are a different beast and can be unfulfilling to those that love the sound of wood. I like graphite - but they can be somewhat clinical sounding... which may or may not be what you want.

Just to echo the above... unless you are prepared to fork out K-Array money (which given your budget indicated by your speaker choices), I would stay clear. Two reasons: you can get better performance out of traditional boxes... and the coverage is greater too (those portable line arrays tend to be very directional in comparison - which can be your advantage, or disadvantage depending upon the room that you are in - but without knowing more about your room, I can't comment much further). What I will say though, given what you are saying, it sounds like it could be a challenging room, so knowing how to tune the PA to you room is an essential task to learn. 2x RCF 745, 2x RCF 8003 and XR18 for a similar budget as your JBL/Behringer combo, will eat the JBL in terms of volume, vocal clarity and bass. Yes, eat your heart out all those haters that get sick of seeing the numbers 7 4 and 5 - but that box, (and the 735) is unique in the fact that they are lightweight boxes with such a high quality HF horn that is normally the reserve of cabs three times the price. RE: Requirements for sub, depends on how packed your room gets. If you put subs into a reflective, empty room, you are going to get a load of mud. If your room is full of people, you are going to get a lot of that low energy absorbed... so sub reinforcement will be required. The 735s or 745s on their own will be perfect for acoustic acts etc... but a room for 700 is a big ask for such a small PA - but again, it depends if you need the sound to be likened to that of a gig or that where you just need coverage on a dance floor. Also, remember that volume is measured in dB, not Watts... so just because you have amps capable of putting out a lot of Watts, it doesn't mean anything if it can't be converted to usable volume at the speaker.

zero rehearsal? man, I've played wedding gigs where the first time the band has met has been in the carpark. "how long have you guys been playing together?" "oh, years... we go way back"

Looking at DS' Facebook wall, I never want to have my pic taken with him. He's like the grim reaper - appearing with all these musicians that have passed.

[quote name='dood' timestamp='1495820114' post='3306899'] I'll have to check that link! You wouldn't happen to know of any battery powered (possibly even belt clip mount) IEM headphone amplifiers that can accept two STEREO signals for mixing, rather than just the usual single stereo or dual mono? [/quote] I know what you are up to (been there myself) - and nope. I think this is about the closest - http://www.rockonaudio.com/?page=past_news

OOOOHHHHHHHhhhhh. Want! http://www.prosoundweb.com/channels/av/lectrosonics-to-debut-duet-digital-wireless-monitor-system-at-nab/ Digital at last with latency figures that will work! 4 hours is pretty chuff though.