EBS_freak

[quote name='ubit' timestamp='1454931911' post='2974231'] I used to play with an Ampeg 4x10 , but changed to a Barefaced 2x12 Never looked back. So light with an awesome sound! [/quote]

Forgot to mention - the audio technica IEM system has a input on the receiver for a body worn ambient lapel mic.

You read my response to your question in the thread you started in this section?

He's on YouTube. Well, not the Allstars. His previous band.

[quote name='tonyf' timestamp='1454874079' post='2973829'] One of the things Russ has suggested to me in the past is to get a couple of small condensors setup either side of the stage and use these as "ambients" to get the crowd. These are only fed into the monitor mixes, NOT out front. We've yet to purchase a couple specifically for this task but have tried a spare dynamic on the front of the stage on a small boom where the vocalists are and it really helps liven the in-ear mix up and help get back some of the feel of the audience. [/quote] This. Mics is the way. The ACS Live system is great as long as SPL on stage is low. They tend to distort if there's lots of bass or just... a lot of noise.

[quote name='dood' timestamp='1454872713' post='2973809'] Another question for IEM users. Are ACS the only company to offer 'ambient mics' in their in-ears? The reason for my question is in wondering if anyone makes a headphone amp/mixer with stereo ambient mics actually installed in the kit. I suspect demand would be limited but I am intrigued anyway. [/quote] Sensaphonics There is a historic link between Sensaphonics and ACS but not now. The ACS tech is ahead of the Sensaphonics stuff.

Reidmar/used HD350

It's the horns in SWR that put them in the EBS playing field. Some players I know actually prefer running EBS heads with SWR cabs due to the higher cross over point of the SWR. Why not go Reidmar?

Get some Eneloop AAA. Pair in, pair spare. The spare pair hold their charge. Just charge the "in use" pair after every couple of weeks or so (depending upon how much you use it), done.

Just how portable are we talking? Behringer XR12 (circa 250 quid if you shop around) is what is coming to my mind at the moment for all your processing needs in a pretty small package. Will give you all the control over your EQ, fx and dynamic (e.g. brick wall limiter if you want one and all compression in-between) that you'll need... and a 31 band eq on your output to tune to you output device. You could even sack off your head and use an AUX from the XR12 to a power amp and that can become your bass rig. Much better tone shaping than your typical standard bass head. Use the other AUX (pre) for DI to FOH. Anyway, I digress. If you wanted an extra from the headphone output, slave something like a dedicated Fiio headphone amp - but your 64s should be happy on the Behringer.

[quote name='sunburstjazz1967' timestamp='1454835131' post='2973281'] This photo isn't Glastonbury as you might think,it was actually taken on his critically acclaimed 'Kanye smashes the tickled trout world tour 2011', he's actually saying "where the f*** are my six DB monitors!?". [/quote] DB/d&b - have we established which yet?

[quote name='mike257' timestamp='1454795882' post='2973142'] This. [IMG]http://www.gitarcentrum.hu/image/cache/catalog/mx5_3763_1359015184-300x300.jpg[/IMG] Because apparently you can do whatever the hell you want with your stage levels, regardless of how it affects FOH, so there's no point brining anything decent. [/quote] At last. Some sensible talk in this thread. Right. What about the lighting rig?

[quote name='mike257' timestamp='1454795171' post='2973133'] No, he's getting a Heritage 3000 in to sub to the occasional touring band and use down at the Cock & Bull on the nights it's not hired out. [/quote] Ok so that's the monitors sorted, what about foh?

Mike states what we all have been thinking. I was kinda hoping that we would find out what desk is being used. I so hope it's an iLive.

Indeed - much my preferred method. Although many of the garage warriors don't have access to a decent PA when they play down the Tickled Trout. Knowing what I know now, investing in decent PA is where the greatest gains can be achieved for a band. Although, as stated back in the thread, nobody really seems to want to invest in PA.

Is the humour going over your head?

Why? Does your Earhart?

You are probably Wright.

If you don't like it, the exits are here, here and here. Don't inflate your life jacket until you are clear.

Small world, so am I!

That's just flighting talk!

He's just trying to add fuselage to the fire.

[quote name='mcnach' timestamp='1454581972' post='2970943'] But I imagine this gig wasn't meant to *fill* the whole hangar with loud music. A lot of the time you just want a band to be reasonably loud within a certain perimeter, but leave the venue open overall so that people can talk too... I suspect this is one of those gigs. Sometimes the band is not what people go to see, but a side entertainment. [/quote] For sure - get the dancefloor covered and you're good to go. This is JT though. Nobody puts JT's music in the corner.

[quote name='JohnFitzgerald' timestamp='1454591061' post='2971105'] Of monitors and FOH levels. Did a gig the other night at a local venue in Glasgow -The Grand Ole Opry (yes really, we have one here.) It was the venue for a 14 night folky festival. Subs were 4 18" Logic boxes. Tops were Logic LS12, 4 at the front and 2 for rear fill. Monitors were a wall of logic wedges along the stage front. Beautiful levels on stage and the rear fills on FOH worked a treat. Wrapped in warm sound, but never too loud. Fancy Midas digital desk too. [/quote] Sounds like they just lifted the rig from the Tickled Trout for a fortnight.