EBS_freak

[quote name='funkypenguin' timestamp='1368214340' post='2074638'] what will a kingbass enable you to achieve that your current basses wont? [/quote] Pose in your bedroom mirror and pretend that you are Mark King obviously. The boy has a man crush :-p

He's still, he's still Andy from the 'nock. Welcome.

Good stuff. This is the start of a good journey!

Dirty!

Exactly. The Sony transmitter is all metal for starters...

Seriously?!?!

In that case, Neumann KMS104... but that's killed by your budget... remarkably great mic for £400. Female singer in my band has one and it's really great for feedback rejection for a condenser (still not as good as the Heil) and it has smoothed of the top end of the voice that was quite harsh with the SM58... Still think you should be looking at the Heil though... Oh yeah, phantom power is generally required for condensers.

[quote name='RhysP' timestamp='1367931945' post='2071135'] I'll never use EBS gear again after my GORM combo crapped out & both EBS & the UK supplier refused to have anything to do with it even though it was still under warranty. [/quote] Pretty crap to hear. :/

If anybody is wondering, corners are Adam Hall 4009

[quote name='51m0n' timestamp='1367919555' post='2070898'] Heil PR35 [/quote] There you go. That's the one. It's now my main mic and it's great on literally everything... if it's a little over your budget, the HEIL PR-22UT (no frills packaging, just the mic) will still see you better than your SM58 and most of the competition. ...and the Heil PR35 feels dead Schmexy in your hands...

Crosstalk? Broken cab corners? Broken handle spring? Man, you seem very unlucky. Touch wood, I've had none of those problems - and my gear is out and about all the time. I've only had one issue on my TD650 - which was an earthing problem causing cracking through the speakers. Easy remedy, the board had become loose - a quick tighten of the screws and a dab of silicon over the screw and I was good to go.

[quote name='MoJoKe' timestamp='1367858005' post='2070301'] I really appreciate your feedback. Our guitarist has just bought a new LD MEI1000 from ebay. It arrived yesterday and he says he is happy enough with it to have rack mounted it in the PA rack already. He says the earbuds are a bit tinny, but going by all said here, that was to be expected! [/quote] Could be the system - the PSM200s for example, sound really tinny compared to the PSM900s (that's my experience when running the systems through the same pair of T1 buds anyway) - you can can run an eq in line though and that helps to beef it up. [quote] We discussed the relative merit of the "budget" options, and decided the MEI 1000 was worth a punt over the t.Bone because it has a switchable stereo option - as we only have 2 aux's at the moment this will allow us to have backline/drums in one channel and all vocals in the other, so each band member will be able to blend the band/vocals to suit until we have more money! [/quote] Good call - works well as long as you can all agree on a mix. One of the big IM positives for me is that you can run an unbalanced mix though - I like having loads of bass and loads of my own vocal in the mix. Singing with a mix like that is a breeze as you can tell when you are out instantly and adjust appropriately. [quote] So, we have a rehearsal on Wednesday, I shall check out for myself, and if also happy I will invest in a receiver and a pair of earbuds. Going with the masses of great advice here, these will not be the cheapest; I'm thinking Shure 315's... does anyone have experience of these? [/quote] Cool - let us know how you get on. No experience of the Shures I am afraid though... but if they do sound great, you have the option of getting them inset into a molded slip from ACS to get the ultimate attenuation you may be looking for down the line. [url="http://www.hearingprotection.co.uk/images/ACS-Custom-Earphones.pdf"]http://www.hearingprotection.co.uk/images/ACS-Custom-Earphones.pdf[/url]

[quote name='P-T-P' timestamp='1367838511' post='2069988'] I agree with the idea that the biggest contributor to the sound quality is going to be the buds, but I disagree that you need custom fit, triple driver system to get a consistently usable solution. [/quote] Agreed - I mentioned above that more drivers does not equal a better sound. Gunsfreddy was talking about ACS specifically on that one and he told me that in his experience the AT buds that he got with the unit developed more bass than the T2s. Audio apart, the biggest benefit for me and ACS is the fit - they dont cause me any irritation at all and are very comfortable in my ear and as an addition, the attenuation that they provide. I have yet to find any buds that give anywhere near the same amount. What this latter point means is lower in ear volume = less danger to your ears. [quote] First, the IEM systems... The t-bones are great for the price. Our singer uses one of these and I've used them too in the past and they're fine. They are a little shy on bottom end bass response however - not catastrophically so, but depending on your preference, maybe not acceptable either. [/quote] I would love to try a T-Bone system to get an idea of how they sound. The lack of bass doesn't surprise me as the compounding issue common to IEM systems is unlikely to be as fine tuned as the higher end systems. I know for example, that Shure have invested a lot of times fine tuning their compounder - especially in their top end stuff - and the difference between the PSM200 and PSM900 is night and day - as you would hope given the difference in their cost. [quote] The monitors/phones/buds... If you can afford the custom fit jobs, absolutely go for it. If not, I've quite happily used a set of Shure E3c and when they got nicked a set of Shure SCL3s. I wear them with the yellow foam tops which provide a decent seal in your ear canal, which is one of the secrets to good low end reproduction with IEM use. These (and I believe most of the Shure phones) are intended to be worn with the the cable running over the ear to help them stay in place and maintain that seal. These foam tips also cut outside noise by about 40dB so provide excellent hearing protection. [/quote] What sort of dirty m***er nicks in ear headphones? Anyway, yes, agree - best bass response comes from getting the buds as deep as you can in your ear and getting a good seal. Over the ear cable paths can be troublesome for some - if they haven't come with cable guides, they are a worthwhile investment. You can find them for about a fiver a pair. [quote] That being said, I have a set of iBeats which I use on my phone and I tried them on my IEM system once and the difference was astonishing. The bass response was massive. Unfortunately they don't stay in place very well so not ideal for stage use, but if they could, I'd be wearing them. It'd be interesting to know how much the difference in bass response is down to the specific design of the iBeats and how much is simply a product of the advances in technology since the Shures were designed (6+ years ago). [/quote] iBeats are voiced bass with a heavy bass bias... which is not so good for the audiophile... but may be perfect for us bass players wanting a nice big deep end in their IEM mix. I am guessing Shure are trying to get a less hyped bass response and are going for a more even, flat response with their headphones.

[quote name='OBT1000_S12' timestamp='1367873637' post='2070574'] I was using it at a practice the other week and came out of the room at the end and someone said you're using a line 6 wireless aren't you! I said yea how did you guess? I had selected channel 1 and so had he so my bass started coming out of his speaker in the next room haha. Easy fix just choose a different channel [/quote] Ha ha - been there. This is where the emerging trend of digital encryption is going to come in useful - it's already in some professional products but it is creeping into prosumer markets - common in the lavlier systems for keeping the business presentations behind closed doors.

They don't look like 30s to me...?

£700? Ouch. These babies have flown through the roof haven't they?

The way my function band works is that the band leader takes a mgmt fee for all the bullshizz that they have to deal with it before the event. I couldn't be bothered with all that, so I have no problem with him taking that fee. Everything else is made clear - a dep gets exactly the same as everybody else, the fee that is paid to every other member. That way, there are no arguments and it's clear to see that nobody is trying to get one over the other. If you don't like that, don't dep with us... or if you demand more money, don't expect any futher deps for us. If you've learnt the stuff well, you will get the call when it comes to deps. Simple. And with a band that has 70 odd gigs between now and the end of the year, you will get the call at some point. If the PA needs repairing, cost is split between the band members - afterall, they all need it to be there otherwise there is no gig.

[quote name='shizznit' timestamp='1366986285' post='2059934'] I thought I might be spending over £400 for a good system (as I have done in the past with UHF systems), but looks like I will come under it quite comfortably and use something far superior to what I have owned and used previously. I can get my hands on a Line 6 Relay quite easily as I know a few people that use them and wouldn't mind me road testing it, but the Sony DWZ is not stocked at a store anywhere near me. It would be a blind purchase if I go for it. The Sony DWZ is a bit cheaper though. Hmmmm. [/quote] I guarantee that you will not be dissapointed with the DWZ. I had the first one in Europe delivered to me after seeing it at Sony's stand at a trade fair - I was that impressed. Given Sony's experience in the wireless video audio world, you can trust it to deliver... and Sony's products look so good too. Do it, do it, do it!

I would recommend the DWZ over the Line6 systems - and the build of the belt pack is far superior to the Line6 offerings - when you feel the pack and see it in real life, it's a sturdy pro looking unit. The photos don't really do it that much justice. I've used it in anger and the Sony has never failed to deliver. To be fair, they are much of a muchness in sound quality but prefer the Sony build over the Line6 stuff. In fact, having also got a Shure ULX-D, I have to say that the Sony DWZ matches it in terms of sound quality (but obviously lacks the extra features that the ULX-D has). You may however, wish to wait a couple of months for the Shure GLXD series of gear - the GLX-D6 is a great reciever in the GLXD series, featuring an all metal construction and built in tuner. Certainly opens up the competition a bit and weighs in at a similar pricepoint... The new digital transmitter stuff is great - it really is a great time to go wireless.

Ha ha - do it! Digital desks are really one of the most exciting developing products at the moment - there are no bad desks out there. There's a hefty battle going on in the prosumer market between Behringer x32 (this has really shaken up the market for it's functions and price and now appears on a lot of pro hire lists - in fact, the only downpoint seems to be the brandname but touchwood, it seems to be holding up OK), Presonus Studiolive (these were the guys that really shook the market with their feature rich desks - and they've just released a 32 channel version at NAMM (which the Presonus fans have been looking forward to for years!)), Soundcraft Sis, the Yamahas and now Allen and Heath with their entry level (but seriously specced QU16 - undercutting the X32 is a smart move, it puts people in that tricky situation... "Allen and Heath" or the channel count of the Behringer). Of course, we've also got the likes of Mackie and Line6 doing their own take on Digital desks also (if Mackie did a 32 channel version of their iPad mixer, I'm convinced they would corner the weekend warrior market). Very exciting times - and it means that even bands used to running straight into a desk with no outboard and maybe just applying a little onboard reverb to the final mix find themselves having the option of running compressors, more powerful eq per channel, inbuilt 31 channel eq across any output etc without actually carrying any more gear (and in lot of cases digital desks are a lot lighter and compact then their analogue counterparts due to the layers instead of individual sliders for each channel). Immediately the sound is going to tighten up - you'll be able to really get the most out of that SM58 thrown into the bass drum (in fact, once you hear what these desks can do, the drummer will be out buying dedicated drum mics) - and the battling with feedback is a lot easier. With the high aux count and digital monitoring options, the trend of wedges will eventually go to in-ears, especially as prices continue to fall... (except for the touring grade stuff which seems to still be going up in price - grr! - although to be fair, it's down to the inclusion of features that are great for massive gigs but wouldn't get a look in usually... e.g. the remote network control of the units, Dante... etc) I am tempted to fit a Dante card to my desk just to open up the possibility of high channel count in-out recording (I think Dante supports up to 128in out over a standard cat5 cable into your computers rj45 port) however I'm waiting to see if the firmware update for the GLD80 will support multichannel direct to USB like the QU16. OK, it's not got the channel count or functionality of the Dante card but its a start and would give me an indication of how much I'd use it. As for Dante, have a look at the A&H iLive system built for the Camryn tour on YouTube - it'll blow your mind. I have been having a series of conversations about digital desks with another member on here and when you cost up say, a 32 channel analogue desk with all the outboard (that you find embedded on digital desks) you will soon see digital is a steal in comparison... and a lot more compact. You only have to see the horrific low resale prices of large analogue desks on eBay to see where the industry is going. There are however, some things to think about when running digital desks. People always seem to ask why digital IEM radio packs don't seem to be very popular. Well, the answer is pretty simple - latency. OK, you do get percieved latency from a wedge running off an analogue desk - but it's a lot different when the monitor mix is being plugged straight into your ear, especially if you are a singer. As soon as you start increasing latency into your signal chain, then the delay can cause you problems (have you ever tried talking against yourself when you hear a delay on the phone? It confuses your brain and will make you stumble). Ideally, for you to use IEMs off a digital desk, you want a monitor signal to be 5ms or better (some people can cope with larger latency figures though). So, as an example, if you are using a digital radio mic with say a latency of 2.5ms (this is top end figures), the desk introduces say, a 2ms delay in it's DAC conversion... and then if you were to use a digital monitoring system with say a 2.5ms (optimisitic!) delay, you can see you are beginning to get past the limits. I can't see digital IEMs being used in the pro scene whilst latency figures are riding this high.... so there you go, thats why digitial IEM systems haven't bit yet! I have to laugh when you read on the Line6 forums about guys pushing them to release a digital monitoring system - especially when the latency figures that Line6 are getting on their wireless mics aren't really representative of the latency figures that you get before going to the desk (I'd have to look again but I seem to recall them quoting latency for each pack - which of course you would effectively double as you go through the transmitter phase and the receiver phase). Having said all of that, there is no real world problem with latency... running digital mics, transmitters on your bass etc... is not going going to give you any problems whatsoever - in fact, I would defy anybody to notice any difference when on stage... it's only when the monitor source ends up directly in your ears. If you are used to using wedges, using wedges with a digital system is not going to introduce any real world noticable difference... in reality, it's like taking half a step backwards away from the monitor. I think the market is more concerned on the source transmission at the moment... and especially trying to factor in the encryption element whilst keeping the latency figures low. Only Sony and Shure seem to have nailed it with the DWZ and ULX-D systems. I have both. They are simply amazing. I was also thinking last night how cheap you could get an IEM solution for should you have the right desk... and I have used this system so can confirm it works. The drummer in my band has used a small Behringer mixing desk (the sort of thing you could pick off eBay for twenty quid) taking an XLR feed from my A&H aux and plugged his headphones into that. A simple headphone amp for little money - of course (and crucially!) the limiter is implemented on the desk.