EBS_freak

Just to clarify - in my response, I was trying to say that the whole package needs to be right with regards to shifting boxes. There's the product that has to be right, the correct distributor and the correct retailers that are chosen (to some extent) by the distributor to correctly push and act in a reputable manner that won't put the product (rightly or wrongly) in a bad light. As proven here, a mistake by the retailer has unfairly painted the product manufactuer in a bad light.. however, I have to say, it's up to all parties along the distribution chain to make sure that they are acting in each other's interests. In this case - and it may be isolated - this doesn't seem to be the case.

Give Larry a call. Point him to this thread. I wouldn't want to be buying any Hartke gear at the moment based on this report. Amps go wrong no matter who makes them... but if you can't get them fixed and if the dealer network/distribution/repair facility isn't in place to enable a quick repair, it can't be regarded as a pro piece of kit and anybody who relies on their gear to make a living, would be a fool to buy one.

I agree with regard to gold and black...

It depends on the sizing of the filters and the IEM you want to use. For example, these - http://www.acscustom.com/uk/index.php?option=com_content&view=article&id=38&Itemid=48 - fit in place of the standard filters. Without knowing what filters you are using, I could only say proceed with caution because whatever IEM you use may not fit.

http://shop.warwick.de/?&c=35352344224&lang=en&smk=1&nm=D0405358001321517424A43801|Warwick|D0525953001321517425A44262|D0316465001321517426A44586&modul=shop&site=shop_overview

Im not sure what to suggest playing wise... but I suggest it may be worth getting the bass to a good luthier to get the bass fretdressed, nut cut precisely and get the action as low as possible to get the speed of the neck up for hammer ons. A fret wrap may help with ringing strings.

For some there is active. For others there is passive. For all other lost souls, there is Bose.

The biggest advantage of active cabs is the space saving when it comes to transporting racked up amps to make the passive cabs work. To be honest, the issues of plugs is a bit of a non issue in reality. Get some of these - [url="http://www.lindy.co.uk/cables-adapters-c1/power-c136/iec-mains-cables-c137/20m-mains-power-lead-uk-3-pin-plug-black-p4564"]http://www.lindy.co....lug-black-p4564[/url] and either zip tie an xlr to it or if you really want a pro job, cable braid the whole lot. Y cable off for any lights or other electrical items you need to power. All this talk of multiple mains leads everywhere is nonesense - it's all down to a bit of planning; right cables for the right jobs. For example, in my function bands, all the power is run off a line of plugs behind the band. Any power going forward is done from long leads. No power sockets for the audience to be near and all the power sockets are in one place, as you would expect with a passive setup. Simple... and you haven't got external amps to lug about. Active power cabs really are very useful - no worrying about minium loads on the amps, just keep on daisy chaining away... We also carry a stack of XLR cables. Having not to worry about dedicated speaker cables means that we have a load of redundancy against duff cables. Just a different view really - not saying there is a wrong or a right, but the power lead thing really isn't a reason to stop you using active. We've got two power lines going forward to the subs - everything is Yed of from there.

Ooh. Nice.

In addition - Priory in Canwell, Birmingham - Greg is a superb engineer and has experience mixing from acoustic, function bands, indie, to metal... and Jane McDonald. Old Smithy, Worcester - Wood is amongst the best engineers I have ever worked with. Lightning fast - which is important when you are paying for time - and a fantastic ear. Old Smithy probably edges it for me out of those too. Also consider Summerfield Studios, Birmingham - a newish studio with a lovely live room and vocal booth. Always remember, the studio is more about the guy behind the desk than the studio itself.

Yup. OBBM. I've had a fair few off him now... and the only guy who has managed to provide an XLR cable for the singist's microphone... that she hasn't killed.

That is as it is. Mine came like that so I think its a caae of Thomanm shifting boxes. I dont think the Sony unit is changong. It just looks like Thomann is pulling out of selling Sony. They can probably get better pricings and higher sales on the Line6 stuff.

12. Rules are to be broken. F**k em.

In what way have they broken?

OBBMs speakers cables are ace. Proper thick bad boys... not this telephone wire tat you get from music shops.

Just out of interest, why did you get the Stageclix? Not that there is anything wrong with it, just trying to understand why people choose what they choose. For example, for me, not having the ability to put new batteries in would be a big no for me. If it all turns into a nightmare, sack it off and get a Sony DWZB30GB,

Saw it on facebook. It's as arse now as it was when I saw it on facebook.

[sup]Good stuff. Glad to hear that it's working well for you.[/sup] [sup]The PSU thing I've never really thought about before... but most of the things that I buy want a kettle lead. I don't really know what to think about this - Thomann are just shifting boxes I guess and bought in a load of European spec units. It's the UK that is out of line with the market I guess. The probability is that if the price was the same in the UK, you would have bought from the UK... but this time, it just made sense to import. You'll see that Thomann don't really cater for UK CH38 wireless - probably cos they wouldn't shift boxes. I am guessing the Thomann game is all about shifting boxes... hence they can/could offer the bargainous prices that they have done.[/sup] [sup]Batteries - again, never really thought about that either. I have a stash of procells and eneloops that I would put in over any freebie batteries... but yeah, if you wanted to get started straight away, I could see the annoyance. I have always got batteries around me now... but I certainly remember the days of "batteries not included" and the absolute frustration of having none around to get whatever electrical item operational from the word go.[/sup] [sup]Still, despite the minor annoyances stated above, you still got an absolute stonker of a deal! (always glass half full eh?) . An adaptor off eBay and a set of batteries to get you started is still going to come in at under £15 or less.[/sup] [sup]But all in all, good stuff![/sup]

my favoured "go to" current system is - GB Bass -> Shure ULXD1 -> Shure ULXD4 -> TD650 (DI out, or in parallel with an Orchid Electronics DI) -> A&H AR2412 -> A&H GLD80 (Stereo Aux, with processing for EQ, reverb, compression etc) -> Shure P9T (PSM900 transmitter) -> Shure P9RA (PSM900 Receiver) -> ACS Ambient Pack -> ACS T1 Lives! Vocals -> Sennheiser SKM500-945 -> Sennheiser A1031-U -> Sennheiser ASA1-> Sennheiser EM500 G3 -> A&H AR84 -> etc...

[quote name='lowregisterhead' timestamp='1391757432' post='2360896'] [color=#000000][font=Helvetica]I just bought a StageClix Pack system, and although the overall sound quality is good, there is an audible 'fizz' behind the sound when I play my basses through it. It's not present when I stop playing (when no audio signal is being sent). I have adjusted the outputs of the different basses I've used to ensure the transmitter or receiver aren't being overdriven, but the fizzing sound persists.[/font][/color] [color=#000000][font=Helvetica]When I use a cable, the sound isn't there, which would eliminate the amp or cabinet. I use an EBS TD650 and EBS Proline 410 cabinets. I have tried a variety of active and passive basses, but there is no difference. It's not excessively loud, and in a live setting it probably wouldn't be too noticeable, but it's still irritating.[/font][/color] [color=#000000][font=Helvetica]Is this normal, i.e. some sort of background carrier signal, or is the unit faulty and should I return it to the supplier?[/font][/color] [/quote] Doesn't sound right to me... all my digital systems are super quiet - as in faultless transmission, no fizz or anything.

[url="http://www.youtube.com/watch?v=NyUYCjN2Tng"]www.youtube.com/watch?v=NyUYCjN2Tng[/url]

OK - comfort - it all comes down to how sensitive your ears are and how good the fit is. From what I can tell, the ACS have a more immediate comfort about them. Acrylics can be a bit of a shock to the ear to begin with but as you get used to them, I would say comfortwise, neither bother me, acrylic or silicon. Some guys say there is no difference, some say acrylic is painful, some say that the attenuation from a silicon plug is better... but it's all down to the individual. Silicon probably has it for me slightly on the comfort side at a push... but it's also about what drivers are in the IEM and the features on top (e.g. the mics in the T1) I went for the T1 lives from the word go because I figured that if I ever wanted to get the ambient pack, paying the difference from the word go would be a hell of a lot cheaper than a remould and introduction of the mic elements. I figured if I didn't use the ambient pack, the added cost of the mics was fairly minimal in the grand scale of things. The ambient pack is a pricey bit of kit - it may drop in price once the have recovered some of the costs of development... but I don't know. At the moment, I still think they are struggling to supply them fast enough and I know a fair few people chomping at the bit to get them. I guess in summing up the performance of the T1s with the ambient pack is as follows - 1. for gigs where the sound is like you are in a swimming baths, forget the ambient pack because all you are going to do is introduce mush into your nice clean ambient mix. 2. for gigs where the sound is dead - like a marquee for example, the ambient pack doesn't really add that much apart from a positional image on stage... e.g. you walk closer to the drummer, he gets louder. It won't give you that big gig feeling... it will still sound pretty dead unless you are introducing reverbs from your desk mix. 3. for gigs where there is a natural amount of ambient reverb = magic. The blending of the the desk mix with the ambient sound from the venue is sublime. It doesn't really get much better. Ambient mics around stage or open mics don't really capture what this system captures. It's sublime. Simple as. 4. for gigs where there is no IEM feed. I've used the ambient pack as a variable volume control ear plug. Very cool. Great for leaving in after the gig also just so you protect your ears yet can still hear whats going on about you. I've actually worn these to a gig in the audience... and they sound ace. 5. Guitar amps sounds magic through the ambient pack. A close miced amp sounds rubbish in a monitor mix compared to hearing the amp through the ambient pack. OK, this all depends where you are compared to the guitar amp but guitarists should love hearing themselves through a Tx/Live setup. In terms what would I do... well... it depends upon the gig... and how many you do of each type that I have mentioned above. If you play swimming pools every week, the ambient pack isn't going to do what you want it to do. Similarly if you are playing marquees - you may aswell stick with the mic bleed. If you enjoy moving around, and hearing the audience and having the ability to sense where the sound is coming from, then you'll love them. I suppose in short, they aren't the be all and end all... but they are the icing on the cake if you want the best you can get. The other thing is, if you haven't got the luxury of adding reverb into your mix the ambient pack is a good way of addressing the problem and making your personal mix more natural sounding. I do a lot of gigs and change my monitoring based on my experience of playing similar gigs. I guess I would be sad to lose the ambient pack... but I could live without it... but nobody wants to do that after using one. The T1s aren't actually my favourite sounding IEM (I actually like a more bass biased sound but I know that ACS aren't keen on adding drivers as their ethos is more about protecting your ears than blasting them (I can sympathise as a fellow T suffer)) but they offer something in the ambient pack that none of the others offer. I guess it depends on budget and what you really want to end up with it. Remember, you will have another pack to wear - it's like wearing another pack of cards on your waist... and it's another couple of AAs to worry about - however, I must stress that the ambient pack is completely pass through, so if the ambient pack dies, the signal coming in from your Sennheiser system will continue into your IEMs no problem. PS - you're hooked. My advice is, don't be afraid to spend because you will always regret it if you don't. Save up and get it right first time. You can't do effective wireless IEMs on the cheap. Those who say that they can, aren't getting the full experience. You've done well with scoring the Sennheiser G2. It's a great system - I've currently got a G2 in my stable too - whilst it's got a slightly higher noise floor than the G3, the cost to change isn't going to be worth it I don't think... so all is good there. Concentrate on getting the stuff in your ears right... because thats where you are now going to hear the biggest difference. If you are running out of auxes (if your singer gets on board), you may want to look at potentially running in mono, running two receivers off a stereo transmitter. I know it's not as good but if you do go down the ambient pack route, you will then get your sense of stereo back. Again, it all stems back to your source... the desk. As I said, you can't do IEMs to their best ability on the cheap :/

me zed - very glad to hear! It sounds like you had a great entry into the world of IEM monitoring. I'm with you - the amount of open mics I think will influence that feeling of isolation greatly. I have 4 open vocal mics with 2 overheads too - and if we have the horn section with it, there's more spill from them also. I'm really enjoying a mix of setups at the moment - the ACS live system is fantastic... but sometimes I like the more isolated feel that I get without the live pack. I'm beginning to recognise what room characteristics will work best with the live system or without the live system. Talking of mics, I'm really enjoying the extra wirelessness of the band too - I've just invested in rack of EW500s and really liking the lack of cables across the stage. Need to really sort out getting an IEM rack sorted as they are all over the stage at the moment - for example, I have the guitarists EW300 IEM in my bass amp rack as I had a free 1u available! Getting all the units to talk without RF interference was a mission though...! I'm sure it must be easier with all one brand... but getting a mix of Sennheiser and Shure all within one channel co-operating with each other was a steep learning curve. I think the solution will be at one point to make the jump to all one wireless brand so all the scanning functionality works hand in hand with each other. Anyway, good for you, hope that you have many, many more successful IEM gigs! (Great to read you were running stereo also!)

I'd have to swap the knobs... they just don't look as good. :/ Want it. With 5 strings. :/