EBS_freak

Try an audix d6 and a great deal of your eq will be taken care of before it hits the desk. Super good kick mic.

Looks like there has been a refresh of the ACS lineup - the notable addition is the new Encore 5 driver (2 treble, 2 mid, 1 bass - 1 bass why??) in at 799 with the live mics built in. T1 been renamed to Evolve and the T3 is renamed the Evoke. I think this is a great step forward for the UK company because they seem to be falling behind in the driver count war and tbh, pricing. Will be interested to hear the Encore 5 to see if it can handle tonnes of bass that the T1 couldn't. On paper, I'm disappointed they didnt go with the dual low... but no doubt the response is that theyve used a bigger balanced armature for the bass. Will also be intrigued to see if the mids and highs are true doubles or the "two in one" balanced armatures.

Must admit when the OP stated the genre of music, I would say that the PA sounds a bit on the skinny side...

The correct solution would be to upgrade your desk.... However... If you just want it for kick and want to keep expenditure low, put the kick mic into a little mixer and just put the kick drum into that. Output from the mini desk to powered sub. Probably would be good to put a DI in there bass too if you want to take advantage of extended lows.

i would say if its for your own use, knock yourself out and build what you want!

[quote name='Chrismanbass' timestamp='1422803366' post='2676902'] ahh cool okay. sorry realised my comment might have seemed a bit off but i was just genuinely interested thanks for the info [/quote] no, not at all, no offence taken! Typically analogue systems have much lower dynamic range and then shoved through a compounder... so really, now, unless you require there to be minimal latency, it makes sense to move to digital. It really is the best form of virtual cable if you will.

[quote name='Chrismanbass' timestamp='1422757299' post='2676560'] ????? how does that work then? [/quote] Typically digital systems have 120db gain (dynamic range) available to them... so basically you have far more bandwidth available for you overdrive the channel - so essentially, what you get in, is what get out. (low gain in, low gain out... high gain in, high gain out).

[quote name='obbm' timestamp='1422778406' post='2676589'] The photo is the OP's link very misleading showing a TA type connector when it should be a TRS jack. Details are on the Line 6 Web Site and in the User manuals which are all on-line. The bottom of the range of the Line 6 systems have always used jacks for the transmitter input. The remainder use TA4F connectors the same as Shure and Ashdown. Only AKG use the TA3F. [/quote] Sorry - you are quite right TA4F not TA3F - shall change my post to avoid confusion for anybody who doesn't read further down the thread.

Anyway, you should be getting one of these. http://www.thomann.de/gb/sony_dwz_b30gb_guitar_set.htm

There rarely is a gain setting on digital packs - they don't need them. That actually looks like a TA4F connector in the pic too... so it's a bit misleading whether it's a jack or a mini xlr connector. It could be the case that the lav mic actually has a 1/4" mic on the end - but I would be surprised. Shure's system for example, use the TA4F connector irrespective of whether the transmitter is being used for guitar (in which case it will be a T4F connector to 1/4" jack) or lav mic - which will have the TA4F connector on. I can't image for one minute that Line6 would build this transmitter with two input connector types... so the answer is... who knows? Edited - for correct connector type! Thanks OBBM.

They look good - I've also used http://www.ebay.co.uk/itm/ACS-Pacato-Universal-Hearing-Protector-Earplugs-Music-Festivals-Concerts-Gift-/221529991088?pt=UK_MusicalInstr_Access_RL&hash=item33943767b0 - which are great, low profile plugs also and don't sap too much bass or top end...

http://blog.rfvenue.com/iem-ultimate-guide/ Some of you guys may find the above quite interesting - having been there in a heavy rf environment, I can certainly say that I have been through the pain that they talk about. Shure Wireless Workbench soon changed that

[quote name='JTUK' timestamp='1422278058' post='2670539'] Not sure about the SM58 today..even at pub level you are beginning to see more and more discerning vocalists give it a miss. [/quote] I don't know whether I'd agree with this! Yes, more people are trying different stuff but the sm 58 still dominated by far. People need to get the Heil pr35 in their life...

Looking sweet... even though it's not going to be a genuine Vox, I'm hoping you can get hold of a logo to top it off

Excellent thread. Just wondering - if amp needs servicing, how do you remove it? Are the screws hidden under the corners? Or the carpet?!

Ah... The fretking of the cab world. Ugllllllleeeeeeeeeee

I still look at the white one at bass direct and ponder buying it. Talking of which- anybody else find the bass direct "demo" videos incredibly annoying?

OK so how you set it up is that instead of plugging your headphones directly into the ME1, you'll need a longer headphone extension to plug into your ambient pack. (You'll need to buy one of these because the ACS ambient pack only comes with a short jumper cable - presumably because they assume that you'll be using the ambient pack directly next to a wireless receiver). The ME1 seems to have not been geared (from an ambient mic point of view) for sitting in loud environments. You could try the old foam stuck down with a bit of tape over the mic trick to tame the sound levels a bit to give the mic a better chance. Is all the band on in ears?

[quote name='wateroftyne' timestamp='1421777373' post='2664904'] Ed's reviews are great viewing, but I take his opinion with a pinch'o'salt these days. [/quote] He seems to have his faves yeah?

Congratulations on your purchase - I'm sure you'll love the ambient feeling that the T1 system will give you. Don't worry about the closed mouth impression - there is more give in silicon and its not unusable for the moulds be taken in a closed mouth position regardless of what you intend to do with the drivers. It's more critical with acrylic that an semi/open mouth impression is done if you intend to sing. My T1s are closed mouth impression and fit very snug and never break seal, even when singing. As for the mix - it's all dependant on your own personal preference and to some extent, the gig. For example, in rooms where the acoustics are like an echo chamber, I'll do away with the ambient pack completely. If you are caught in a bass trap, I'll tend to not use the ambient pack either - the swampy ambient bass can muddy your mix and you'll lose definition in your bass. Sometimes, if the ambient sound it too loud, it can cause distortion problems with the ambient pack even when you engage the pad settings on the mics. Sometimes those little mics just cant cope with very loud environments... and you not think you are loud but when you stand the whole band in that 1m square stage in the corner of a pub, things tend to get loud! Anyway... now that the bad environments are taken out the picture, what I tend to do is do a dry monitor mix and then blend in the ambient pack. I couldn't figure out if you understood how the ambient pack works but basically it blends the ambient mix with an incoming mix (if there is one). So without an external mix, you get just the mix from the T1 mics. If you plug in a wireless receiver or a cable from giving you the feed from the desk, the ambient pack passes through that mix but laters the ambient mix on top. It's a passive through from the desk mix meaning that if the ambient pack batteries fail, it won't take out your dry monitor mix.. only your ambient mix. I hope this makes sense.... Anyway, I find that the best monitor sounds come from having the precise mix from the desk and then adding in the hint of ambience from the pack to give it that airy, natural feel. I find if you do it the other way around, you'll find that moving your head off axis to the stage for example, can cause significant changes in monitor level and you'll find yourself messing with the mix all night. As crazy as it sounds, for me at least, the best sounding mixes are the ones that add just the tiniest of ambient mix in... that gives you the best sounding yet natural sounding mix. You get the 3d stereo positioning - like the drums becoming louder when you walk closer to them but without the cymbals suddenly taking your head off. Like everything, you have to play with it - trial and error is key but if you mix like I suggest here - I think you'll shorten your learning curve a lot and get to where you want to be. I started off with a bias towards the ambient mix and it was all over the shop. AH are on the ball - they have to be, especially with all the desks that are coming out at the moment. For example, the Mackie DL32R should mix things up nicely! (assuming you already have an iPads and iPhones in your band) Anyway, good luck on your T1 journey! Keep us all informed as to how you get on!

[quote name='stingrayPete1977' timestamp='1421769827' post='2664778'] You are the transvestite slapper and I claim my five pounds! [/quote] Bah. Rumbled.

Some people just like making videos of themselves I guess. If it makes them happy and helps them to escape what could be the monotony of their humdrum life, all power to them. Youtube is a free place... one man's trash and all that...

[quote name='pfretrock' timestamp='1421763388' post='2664651'] Works OK on my PC [/quote] Ah. User error then!

It would seem pajc72 is P Croppier... if you are taking the time to actually transcribe all these lines... maybe you should buy the book to speed up the process! (If you haven't already)

[quote name='ead' timestamp='1421760226' post='2664607'] I tried all the downloading and printing but it looks to me like the file is protected to disable printing. [/quote] Works alright on a Mac. I would wager these tabs to be a rip from this book - http://www.prestoclassical.co.uk/sm/7035109 - but formatted to be on one page. Seems a bit crazy that somebody would spend time doing this (probably breaching copyright) and then asking for paypal donations! Seems like a surefire way to get into some legal bother... Anyway, that aside, I can highly spending the 50 quid on the complete works book - all the parts, 100% spot on. One of my fave musical purchases ever.