EBS_freak

Depends upon what sound you want. The EBS can do a hi zing that the Hartke can't. But the Hartke gives you a fat ballsy tone in anger. Depends how versatile you want to be. Both great choices.

Can't get cheaper than setting the volume tone at max on your bass for the "boost" and roll it back for the standard volume.

I've been down this route too - here you go... http://uk.matrixamplification.com/amplifier-modules/gm-50.html (Didn't go there in the end)

http://neotechstraps.com/wireless-pouch.html These are great and fit on most straps. If you want to have a dedicated strap made with pouch, people like ethos custom brands and brookwood leather make some incredible straps.

Wired is not really that big a deal if you already have a wired bass - you can run the in ear feed along the same cable. I'm sure OBBM has made some up for some people on here. It will sound a lot better and be a lot cheaper too. TonyF runs with the LD systems IEM system - it may be worth him chirping in or dropping him a note. They are classed as budget systems but he seems to be very pleased with it... and he runs it with an incredible pair of moulded in ears (1964 v8s). I have no experience with this particular system so can't comment. What I will say though, is the Shure PSM200 which a lot of people go with, is not very clever in my books and I would urge you to look elsewhere. Now the PSM900s, PSM1000 on the other hand.... and the Sennheiser EW300s...

You need to buy systems that run within 863-865Mhz (Channel 70) or 606-614Mhz (Channel 38). It's worth noting that channel 38 needs a license - without looking, it's circa 75 for a year or 135 for two? Anyway, a quick glance gives you the T Bone IEM 75 if you are staying in the free zone... and you can run 3 mixes with 3 of those systems within that part of the spectrum. The 100 ends at 863Mhz, so you can run one of those (although I'm not sure you are meant to run bang on the nose at 863, I'm sure you are meant to be 0.5Mhz off the boundary - that's the case with channel 38 anyway. The 200 doesn't seem to have a system that will run on channel 70. That's if you want to stay legal anyway. So if you want to run higher numbers of units, you will probably want to go down the Channel 38 route. However, I would disagree about it all being about the earphones - it's the sum of all the components. If you have a weak transport, it's going to sound pretty rank. Typically, on cheaper units, you are prone to more RF drop out, leading to loss of transmission of radio interference. Also, the quality of the compounder on cheaper units, means that you are likely to have a toppy transmission that is lacking in bass. Sadly, in this game, it's all about what you pay for. I personally wouldn't be bothering with IEMs unless you are willing to drop the cash on decent radio. If it's just to try, buy something like this and a headphone extension cable - http://www.thomann.de/gb/millenium_hpa_in_ear.htm - it'll give you a better sound and a better idea if you want to invest in decent radio.

[quote name='Conan' timestamp='1405081641' post='2498648'] With respect, there is more to sounding like Mark King than using a Status series II strung with superwound 30s.... I know - I tried back in the late eighties! I don't find my Status to be at all "brittle", "sterile", "hi-fi", "soul-less" or any of the other words used to attempt to describe tone. I find it to be rich, clear and musical - whatever strings I put on it. [/quote] Good for you. I was merely suggesting that more people will have heard a status with 30s than say 45s. Science dictates that they will sound very different with those gauge strings. Stick some 30s on a jazz or p bass and I'm sure people would start making some interesting comments about the tone from it... And those are 34" scale as opposed to 32" that a load of Statii are. I'm not saying Status are good or bad, I'm just saying that a 32" scale bass (irrespective of brand) strung with 30s is not going to sound as authoritive as it could with meatier strings or a beefier scale. However, it does depends what application you are using it for - Many people have got a great thud from a short scale bass with flats.

I think the problem with carbon and sounding brittle is because most people associate it with a Status strung up with 30s. Playing traditional bass lines on a bass that is setup to play like Mark King is never going to sound anything but brittle. Along with string gauge, martthebass is right, electronics are the biggest player.

[quote name='BigRedX' timestamp='1404898188' post='2496720'] Carbon Fibre skins over a wooden core is how Gus Guitars have been made for the last 15+ years and the necks that Simon Farmer also makes for Enfield Basses are done in the same way. I suspect that his top secret wood will be something like Cedar which is an acoustic instrument tone wood but not normally strong enough for solid instruments on its own. [/quote] You took the words right outta my mouth.

That's the thing to do. I could say go for this or that but what I like may be well different to you. I'm a bit of a bass junkie and like to hear hyped bass. You may not. It's the classic in the JH line - jh13 or jh16. Both equally capable but bass junkies tend to go for he 16s and purists the 13! I'm guessing it will be similar with the v6 and v8 for most, although the sound signature of the 64s is different to the JH Audios. So yeah, in short, if you don't want to plump and settle, make that trip!

Your thinking is correct - a dual low is the minimum you want and will sound fantastic. Certainly a lot more controlled and expansive than your current (and I guess a whole lot more comfortable!) More drivers will give you more headroom - however be aware that the quads, v6 and v8 all have different sound signatures so you may want to consider that also. Are you planning on buying on spec and rep rather than hearing? I would recommend you do hear as the variances between signatures can be quite pronounced. Brandwise, 1964 I still think give the best value and performance for the money. Tonyf runs with the V8 and he's stoked with them... to be honest, you can't go wrong - but I like lots of headroom and the fact that I don't have to push the drivers very hard... hence I like the driver count. That comes with a cost though - as you will have figured. What system are you thinking of going for at this stage?

[quote name='stingrayPete1977' timestamp='1404158891' post='2489922'] Are they still under warranty? Lol [/quote] I've never seen IEMs catch fire. That would be quite a trick for the stage.

[quote name='jimijimmi' timestamp='1404137950' post='2489612'] i use them because IMO they sound fantastic live and in the studio, no matter which bass i put through them - i always get the sound i want. They're an amazing group of people, too. the amps are greatly reliable and the support set up at Ashdown is second to none. i also use in ears, sounds like my Ashdown rig coming through them. [/quote] Tell me what in ear system you are using. That's quite an interesting claim you are making.

[quote name='JTUK' timestamp='1403641632' post='2484925'] In ears systems will be spec'd like everything else so it really goes to whether the band is permanent or not. if you leave the tour, chances are you wont keep the plugs and that is assuming the band can afford to kit the band out anyway. [/quote] The iem systems of any tour will be specced with the PA/desk. Very few, if any bands bother buying them. Take a look at the price tag of a psm1000 and an antenna combiner (plus external aerials) and on top of that the license costs for each venue (assuming they aren't running on 38). Bands aren't interested in all that. Unlikely you'll give the plugs back since every pro player using in ear monitors will have has them custom made to their ears. Virtually no, if any, resale value. Yes, some you could get reshelled.... but really? Is it worth it? Would you want somebody's ex in ear monitors?

[quote name='Ashdown Engineering' timestamp='1403868678' post='2487245'] Ha - just spat coffee everywhere reading this! ;-) [/quote] Careful you don't spit it into your amps!

Almost forgot...There's an all black version on the way too...

Sneaky peak for you. Introducing the Merlin single cut prototype. This is a 500 year old yew facing, sourced locally in Sussex, with sycamore core and purple heart feature line. Purple heart dot inlays... and a few other innovations that Bernie is yet to announce to the public (PS, it's to do with the pickups). Merlin - well, it's the engine of the Spitfire, a wizard... take your pick.

First Sony DWZ failure! Was playing in the house band at some televised awards ceremony last night and the DWZ was not happy. Tried all channels, on wide and narrow settings and whilst there was a signal getting through, it was choppy and certainly not of high enough standard to use. To put some context around it though, there was a hell of a lot of RF in use... 17 radio mics, 13 IEM transmitters and 7 wireless networks that I could detect (on my phone) - there may have been more hidden SSIDs out there. On top of this, there were wireless camera feeds and the likes which I would not even like to go into! (I suspect there may have been some wireless DMX going down also). A complete RF nightmare! Having said that, this is not your typical environment - and I still stand by the Sony being a fantastic product! Just maybe not in television studios with a ton of radio gear!!

[quote name='Gunsfreddy2003' timestamp='1402675296' post='2475908'] Hmmm - could have sworn I said exactly that yesterday! [/quote] That would be the echo resulting from poor isolation...

Hi Simon, I've replied to your PM with some of my views based on what you've said.... but also, from the above regarding isolation, those things should be snug in your ear. The isolation should be very noticable... like sticking your fingers in your ears. You should be finding it very difficult to hearing any sounds from around you. If you have a leakage, you'll be losing a lot of bottom end from the word go also.

If the seal isn't spot on, you'll lose all the bass very quickly. If the seal isn't A1 perfect, your bass is going to be escaping quicker than a quick thing. Second, the single driver is not enough for getting the thunderous bass that you crave. I don't think there is a driver that can give you the frequency response and headroom in one package. I think Jerry Harvey was the first person to crack the bottom end - he used a balanced armature from a pace maker to get the lows instead of the traditional hearing aid balanced armatures... hence why he suddenly becaome the market leader as the sound from his monitors eclipsed others of the period. I think there's two situations here - theres the frequency response that you want as a listener to prerecorded music - and the frequency you want when playing live. The demands on the drivers are very different... in not just volume. As a listener, you probably want the best flat response you can get - although many manufacturers will tune the frequency response curves to get their signature sound. For example, a JH Audio triple sounds very different to a 1964 triple which in turn sounds very different again to ACS triple. Of course, live, as a bass player, you want to hear a dominant response in the bass... so the two situations either buy something that has the bass emphasis to begin with, or fix in the monitor mix with eq/bass levels. This is where things can get messy; pushing the bass too much can cause the balanced armatures to run out of grunt and distort. What you need is headroom - and that usually means adding more bass drivers, so you can work them less hard but get a greater overall balance of bass. Of course, live music, is going to be less perfectly compressed than the prerecorded stuff. I would wager most guys on here are going to be hearing a mix from a dry aux off the desk. Andy's view on multiple drivers is very different to mine here - he is about hearing protection - so has never entertained the idea of pushing in loads of drivers into an IEM as it can make the SPL of an IEM very high. For me, it's not about volume, it's about headroom. If I want to push a bass frequency, I want to be able to without the sound breaking up. I don't play loud in my IEMs, I just have loads of headroom. In short, the more experience I have with IEMs, the more I am convinced that in order to get the best out of them as a bass player, you really need a minimum of a quad with double bass driver. I currently rock a twelve drivers a side IEM and I have to say, it's streets ahead of the competition. However, it also costs a hell of a lot more than most of the manufacturers. I guess I am in the lucky situation where I can say I can boost the bass so that I have way, way too much bass than is comfortable - I have that much headroom now. If you are asking me, what the best solution for the money is at the moment, hands down, I would suggest a 1964 ears quad - a good couple of hundred quid cheaper than ACS flagship for example. This would be what I call the point where things sound great - anything above this is a bonus, or sonically different. It's like comparing a 1964 v8 to a JH16. They both sound fantastic but similarly, sound very different. The V8 is darker, with a more relaxed top end. The JH16 for example, is more excited in the top end. Both sound great - but you may prefer the roll off of the v8 because it is less fatiguing to listen to for long periods. Anyway... What the ACS has however, is the ambient pack for their live series of monitors. They are simply amazing. However... the bass still isn't there. So as a singer, I think it would be hard to beat the ACS with the ambient pack. As a bass player with ACS and the ambient pack, I think the in ears are still keeping the product back because the bass response simply isn't as good as it could be. Andy is a pleasure to speak to and is very passionate... if you are really serious about getting this sorted and you want to stay with ACS, you are looking at a mimimum of their T1 to get what I think you want. Otherwise, you'll have to look elsewhere. I've said it before in this thread... you simply can't do effective inears on the cheap. Anybody who proclaims otherwise, is a liar - or doesn't really know what good IEM monitoring sounds like. Simon - if you are deadly interested in IEMs done right, it's worth spending the money - drop me a PM any time if you want somebody to talk to them in detail. I don't know if you have read through the thread or not - but I run up to 7 sets of IEMs on a gig for the band - we all have differing in ears... each with proper compressed mixes, fx, eqs that are independent of front of house. If you give me a run down of what you are trying to achieve and the like, I can give you some ideas. I guarantee, anybody looking to do this and do it right, it will change you for life. There is noway I would want to play without my IEMs now. No way.

Not for a while - these are lithium-ion based. So more likely to just die (when battery is discharged) than sag as they have a relatively flat discharge curve.

Historically, the two had different circuits. The "better" circuit was reserved for the Rumour... but what happened is that the Spitfire and Rumour technologies got to the point where they were becoming very similar. Some people actually say that their fave GB circuit was the original Standard/Spitfire circuit. It still sounds distinctly GB but there is a subtle difference in the sound. It got to the point where it became sensible to move both designs onto the Rumour circuit as the development of the Spitfire circuit was prohibited by the lack of real estate on the PCB. (the original Spitfire PCBs were side mounted as opposed to flat mounted like they are in the Rumour) To get the inline effect with the modern circuit, Bernie simply puts the pots on flying leads instead of soldering the posts direct to the PCB.

Or you could get the Eneloop Pedal Juice for less than 40 quid. [url="http://www.thomann.de/gb/sanyo_eneloop_pedal_juice.htm"]http://www.thomann.d...pedal_juice.htm[/url] (looks like the same unit tbh, in nicer packaging maybe?)