EBS_freak

Bernie Goodfellow - his instruments just feel right to my hands... and of course, nobody else has a preamp that sounds like the one in the GBs. If I ever order another custom bass, it is likely to be a Schack... for similar reasons - nothing sounds like their preamps either.... and again, they are coupled to some beautiful instruments.

I'm guessing theres not enough tension in your string if you are using an E string detuned to C. Try a higher tension set of strings - maybe something like DR Low Riders, a 5 string set (45-125), but as you are detuning the whole lot, use the 65, 85, 105 and 125 and not bother with the 45. Should you not be detuning the whole lot (I'm not sure what you are doing tuning wise - are you just dropping the E string or the whole lot?) and just the lowest string, then just replace what you have for a B string and go from there (although you can't get separate DRs off the shelf).

[quote name='Dynamic' timestamp='1476291172' post='3153118']In order to minimise the low f losses we'll work with the customer to design a canal providing a form of 'crossover', this is the what SLED achieves. In use you hear the ambient sound come in as the monitor sound drops. [/quote] I've reread this comment and I'm not sure my understanding is correct so hopefully you can clarify... Am I right in thinking that the bass response that is lost from the monitor feed is replaced by what you are hearing from the ambient side...? What happens if you are running a silent stage, say where I have no bass amp - there is no ambient bass to make up for the loss that you would get from the piped in mix....?

You can even tolex a dolly if you want it to match... You may want to put a strap around it depending on what terrain you are going over though.

Hello!

Can't really get cleaner than 2x12 EBS Neo.

Yes - some Adam Hall 100mm blue wheels should see you fine... or just buy a premade dolly board!

Very pleasing design - lets hope it sounds the business too!

[quote name='51m0n' timestamp='1476286024' post='3153026'] Fair enough, I've used them and found different settings to work better in different rooms, saving me time at the desk, which means a faster set up for me, each to his own. [/quote] Can you explain further what they do - are they literally a pre shaped set of EQs? I could understand their worth more if say there was a setting for say, speech, where the common troublesome frequencies are reduced to prevent the chance of feedback? Would be useful if you were running off a pretty primitive analogue desk for example...?

[quote name='stevie' timestamp='1476279139' post='3152965'] If you already have a power amp in-cab, you are throwing away a lot of the benefits of digital technology and DSP by not using an internal active crossover. The HF power amp section doesn't have to be as powerful as the main one - so the weight penalty isn't huge. An electronic crossover allows you to time-align the drivers accurately and use steeper slopes than you would otherwise use. Plus, you can then tailor your limiting so that it acts independently on each individual driver, which helps with reliability. [/quote] A lot of powered cabs do indeed have two amps split with various power outputs for driving the woofer(s) and the horn. I don't think the FR800 has this - it's certainly not clear by the specs, so I would figure it's potentially running some sort of passive crossover. I would certainly like to know if the limiting that is apparently in the DSP programmes is for each individual driver or the sum of the drivers - because if it's the latter, it's not as effective as it could be... as the limits for horns and cones are not equal! DSP has really enabled cab designers to have a little play - DSP can iron out and unwanted lumps and bumps in the response of the cabs (or even add those lumps and bumps if they want to create a sound signature to their products). EDIT - found the spec - [url="http://www.hypex.nl/docs/PSC2400_manual.pdf"]http://www.hypex.nl/...2400_manual.pdf[/url] It's actually 2x400W power amps... so would be interested to know how the power has been divided between the tops and the low. 400W is some serious power for a tweeter. It may have been bridged and then a passive crossover utilised?

[quote name='51m0n' timestamp='1476271030' post='3152841'] Yes and no, the DSP is heavily targeted to the cab, and it isn't just eq, there is also some soft limiting and compression algorithms in there as you get near to what the cabs max delivery is if I understand it correctly. [/quote] But so does pretty much does every other active cab with DSP on the market... and they don't have the 4 settings - they tend to have a low or deep setting at most - and again, you can do a more controlled job from the desk anyway. You would hope the soft limiting and compression algorithms are present on every setting as a given, as protection for the speakers. I get the low setting - if you want to utilise the cab as a subwoofer... but as for the others... as of yet, I'm not sold on their necessity.

The drum mics are clipped onto the toms and snare.

[quote name='charic' timestamp='1476275263' post='3152888'] Wow! You like to hear yourself a LOT! Each to their own though, whats your setup time like? [/quote] Ha! No struggling to hear and no turning up of any amps! Setup time is actually really quick, certainly no longer than it would be to set up any other band (and there's less worry about monitor wedges and potential feedback woes that they cause) - the inears mixes don't change that much from gig to gig. It's prudent to have a technical rehearsal to get everybody's inear mix in the ballpark... and because of the close micing, nothing really changes that much from venue to venue, so just a few tweaks to taste sorts it. All the IEMs are wireless and all the vocal mics are wireless... so there's not that much cabling across stage to actually do. The IEMs are in a rack - connected via a loom... as are the microphones. The thing that takes the longest is probably micing the kit up - but again, 7 is probably quite a lot for inears, but the venue was quite big, so I used those mics for front of house anyway... so it makes sense to put them in the ears mix. Otherwise, a kick and an overhead would do for most gigs... a couple of mins at most to set those up?

[quote name='lowland' timestamp='1476270283' post='3152832'] For sure :-) Paul at CIEMC was great, and enabled me to audition a few sets to make a choice - I brought an iPod with some music I know well to run them. I'm a mastering engineer by day so fairly fussy about sound, and what impressed me about the JH11s was their very decent frequency response/resolution with no lack of lows, and although they're not exactly cheap they sounded better, or more usable for the purpose, to me than a set costing a couple of hundred quid more. [/quote] Yes - the dual lows really help those balanced armatures reach the lows you'd typically find in dynamics. Their quad driver stuff is pretty impressive too - they get right into the super highs!

[quote name='lowland' timestamp='1476269235' post='3152819'] IEM-wise, I have JH Audio JH11s via The Custom IEM Company - thanks for recommending them in the other thread, EBS freak. [/quote] Great choice of inears! I think I need to start claiming commission soon!

[quote name='FuNkShUi' timestamp='1476256304' post='3152665'] I cant open it in work, so will check it out later when i get home. Thanks though Russ. Super useful to have that overview too [/quote] No worries - hopefully it is some help to somebody, somewhere!

[quote name='mcnach' timestamp='1476212301' post='3152421'] I wanted to get a pair of Area J pickups, and for some reason not many places in the UK sell them. In addition, they're all black. I came across a place where you can get anything DiMarzio makes, and order custom pickups too. So if you fancy some unsual combination, this would be a good place to go. The guy I dealt with was great, and very fast to respond. My cream Area J pickups should be here some time next week... [url="http://www.pickupmagnet.co.uk/store.html"]http://www.pickupmagnet.co.uk/store.html[/url] Nothing to do with me, I just found the shop very useful and I thought others may benefit too. [/quote] That's my mate Alan - he used to do some mean swirling on guitars... but the chemicals was beginning to have an impact on his health so he gave it up. I still think he is/was the best swirl painter ever. Anyway, this is his new bag now. Top guy.

The answer is simple - just make a dolly board that you can strap to it.

[quote name='walbassist' timestamp='1476266883' post='3152782'] Damn it, I just bought the D800. If I'd known this was coming....... [/quote] That was my thoughts - there are going to be a lot of pissed off people. Mind you, when is this thing actually going to hit the UK?

That head looks hella cool.

[quote name='Lee-Man' timestamp='1476263714' post='3152732'] Sounds like a nice usable mix. What desk are you using? [/quote] I tend to use either a GLD80 or a Mackie DL32R. That mix is off the DL32R - GLD80 in a pub would be even more overkill than the rack of IEMs! The Mackie stuff is great though, very portable (unlike the GLD80 and the A2412 and AR84 that all come along with it), even better now that they have finally fixed the fairly naff reverb that was previously on it with a new much better sounding one. There's no reason you can't get a mix like this on pretty much any digital desk - although if you want to use the split trick, you will need enough channels to do it. (You don't need cables to do the split mix either - you just route one preamp input to multiple channels within the software).

When you say clean, do you mean the hifi clean, or more old school? If you want hifi clean, SWR/EBS... for the other, Aguilar cabs are where I would be heading.

[quote name='51m0n' timestamp='1476263347' post='3152726'] There are 4 eq curves baked in to the FR800 There is a little push switch on the back that you use to cycle through them. It is important to check that both cabs have the same curve They get progressively bass heavy and 'loud' on the pair I have used, I have a couple of pieces of reference material I play through the rig and go ou front have a listen and find the DSP setting that sounds best in the venue, five minutes effort maximum, before we go any further with fine tuning a band mix saves tonnes of faff with mixes. Ith the Behringer XR18 the eq curves on the different tracks, the compression and gain are all preset, I just tweak the mix and bring up the right level in the FOH and monitors and we are golden. Total mix time for a quick set up is five minutes, if we have longer I can get as precise as I like. This has been a complete game changer for me, we have never sounded as good live as we have with this PA set up.... [/quote] I get what you are saying - but essentially it's no different to changing the eq on the main outs on the desk, you are just doing it on the speakers rather than the desk (and limited to the 4 presets). Everybody should be tuning the PA to the room as best practice anyway.

I've posted this over in the big IEM thread - ---------> [url="http://basschat.co.uk/topic/205633-in-ear-monitors-help-needed/page__view__findpost__p__3152580"]IEMs at a pub gig![/url] <--------- You'll find my actual inears mix at a pub gig attached in that post.

(Should probably state that the lowend hum at the end is nothing to do with the band - when the fridges or something like that kick in at this particular venue, all the speakers, whether it be the bands or the pub's speakers, start to emit a low end rumble! (Quality filtered electrics then, right?)