EBS_freak

Completely understand where you are coming from, it's a huge investment and one that I was very wary of taking myself. I had put it off for a while but my comfort on stage and tinitus was getting worse and I had to do something about it before things got really bad. To put it into context, I have a 1u rack with my guitar and iem wireless systems in. With the headphones, that's 3k worth of gear. That's a substantial investment but the key bit I wanted to get across is the bits in the ear are the singularly most important thing to getting a good sound to your ears on stage. I thought a set of headphones were near enough damn it the same to the next one... I quickly learnt that live audio is actually really demanding for a set of headphones to reproduce reliably... and the key bit is being able to get it into your lugs. No point in getting the signal to just before your ears if it fails at the last hurdle. The thing is, that last hurdle is the hardest thing to beat. A wired solution direct from the desk is going to get you the source to you ears as good as all the top end wireless systems but at a fraction of the cost. Alot of people seem to focus on the radio aspect of an IEM system - and in reality, unless you really need the wireless function, it's the least important bit. A wired connection as stated earlier is going to beat all other solutions. Without trying to undermine the cheaper units, you do notice a big difference in the RF performance and limiters - even though the PSM900 limiter is really, really good, the extra tweakable control from the A&H desk still knocks it into touch. I've noticed that RF at big events can be a real issue... but even at the most remote venues, I've had RF issues with the gear not on channel 38. It's really weird. Most of the time things are OK... but, well you know. Luck of the draw. The only reason I have all this stuff is because it is paying for itself on the gigs that we have got coming in and to safeguard my bad ear... and of course the comfort factor when you are doing the number of gigs is really a bonus. The days of difficult on stage sounds have gone, I can play at much lower volumes despite the backline pushing it out like billy-o in some stages... you get it... It's just really, really comfortable and enables you to get on with your playing rather than struggling to hear cues from others etc. That new A&H really kicks ass and offers an incredible amount of functionality in a really portable package. Hopefully things work out for you man because once you have this kind of setup, it'll transform everything. Seriously. I can't recommend it enough. I would defo say save up for it in stages because as they say, buy cheap, buy twice - as proven by Gunsfreddy who went through a whole chain of events getting the final bit - the IEM bit, right. I'm sure he'll back me up in saying it's the most important component of the setup.

I don't know if I'd go quite as far as that... Just wish they'd hurry up with their ambient processor! Just as a response to the OP - make sure you have enough *pre* send auxes to run as many mixes as you need. For example, for 3 mono monitor mixes, you'd need 3 aux sends, 6 if stereo. There's not many small desks with a high aux count - most will only have 2 or 3... Even touring grade analogue desks have typically 6-8... and they are gernerally the size of a car. It's only when you get to the digital realm does your bus count start to go through the roof whilst retaining a small footprint.

My aussie friend let me know. She was a killer front(wo)man.

EDIT: If you are reading this from the word go and new to the world of IEMs, ACS aren't particularly great - they have a massive market share in the UK... but are prone to distortion for bass players - and the microphones in their Live! systems can't cope with high SPLs. Oh. And the cables will prove to be unreliable and break even if you just look at them. The information at the start of this thread is pretty old now... and tech has moved on MASSIVELY. In short, have this in mind when reading through the thread: Quads as a minimum (dual low drivers, med, top). Customs will give you a better seal and mean you dont drive the ears as hard. Hi, I see my name was cited above so I suppose I better step in and say something although I have to say, my rig is touring grade so it may not suit everybody's budget - but needless to say, some of my experiences may be able to help you. I will state what I use and how I got there... and also comment on other things that I have found out along the way. Hope it helps and of course, feel free to ask me any questions - I'll help where I can. OK, here is the setup I use in my function outfit (ranges from 5-13 in size) IEMs, I use ACS T1 Lives. (www.acscustom.com) Monitor system I use the Shure PSM900 Desk I use Allen and Heath GLD80 The ACS monitors are a triple driver unit with an ambient mic option (not released yet - but allows the signal from inbuilt mic in the ear pieces to be blended with the incoming in ears mix to reduce the feeling of isolation that some people complain about using in ears. For example, the best in ears should have as close to as perfect isolation as possible - but this means you get the situation where you move around the stage and say, move closer to the drums but they don't get louder... or if people come to talk into your ear, you can't hear them. I can't comment on how good it is at this stage but I am interested in trying one out. Hopefully I'll be able to use them as fine tunable earplugs!). I went to ACS to talk to them at length and wasn't given the hard sell - they wanted to know exactly what I would use it for and I ended up with the T1s for the extended bass response. For example, they said that alot of singer actually like the T2s because of the way the voice sits in the mix. I really liked the honesty and the experience there... and to top it off, they sound amazing. The first thing I did was listen to my favourite reference tracks and they really do show up all the detail... to the point where some tracks do reveal the slight little imperfections. Anyway, the key thing for bass players, is the depth of the tubing on the in ears - the further you can get the tube into your skull, the better the isolation and bass response. ACS appear to be better as the softer tube which goes deeper into your ears is good at reducing the coupling between the sound and your skull. (You know when you put your finger in your ear and then speak you can hear your voice being pulled towards that side of your head - that doesn't happen with the ACS monitors). Sound isolating headphones will get you some of the way but from all the ones that I have tried, you will always comprimise on the bass response - and boosting the low end eq (if you can, more on this later) - only seems to wreck the sound, add distortion and kill your drivers. With IEMs, it really is, you get what you pay for. OK - the units. I've gigged a fair few - these are the latest I've tried out. The Shure PSM900 really is the mutts nuts. It's also really expensive and when running on channel 38 will cost you a license to run. It's transmitting range is absolutely ridiculous and above all, crystal clear. Stereo loveliness! No intereference whatsoever and the sound quality is near enough damn it the same as a wired system. Can't really say a great deal more about it - it just works, perfectly, every time without fail. Crystal clear, no hiss, buzz, rf interference, nothing. To all intents and purposes, it's as good as wire but without a wire. I've also run PSM200s which are a league apart from the PSM900s. They are mono but also are prone to RF intereference. There have been some gigs where they can't be used because there is no clean space to enable a clean(ish)_signal. I say cleanish because there is always a hint of "radioness" about it. The fuzz, slight drop out, odd bits of distortion with are experienced with large transients - especially when the limiter kicks in. Also, the PSM200 seems really funny about hot signals... I've had to use an inline XLR attenuator to cut the distortion out of these units. Senn EW300s - pretty much the competition to the PSM900. No complaints. I would be happy with this system alongside the PSM900. The main reason I didn't keep with this system is down to the lack of a removable aerial on a transmitter pack. I would be bummed to think there is a costly repair if the aerial got damaged. The Shure enables you to screw in a new one in seconds. Audio Technica M3s (M2s with more selectable frequencies, a prettier interface and better aerials) - pretty good but the inbuilt limiter is not as pleasing as the EW300s or the PSM900. Lots of frequencies to choose from but we have had the odd venue (very occassional) where the unit found it difficult to get a signal clear of RF interference (but not to the point where you would consider not using them). The sound quality is a little more harsh than the EW300 and PSM900 also. There is definately a noticable difference in the sound quality between the M3s, the PSM200 and the EW300 and PSM900. They are stereo though and bridge the gap between the PSM200 and the big boys in all aspects - e.g. sound quality, RF performance, build quality... but they still don't perform quite as good as the EW300 and PSM900. A good desk is pretty much critical to the icing on the cake of your IEM solution. The GLD80 can give me up to 20 dedicated mono auxes or 10 stereo auxes... or a combination of mono and stereo. The compressor on the desk is a far superior limiter to the ones built into the packs - so the band's packs run with no limiters and the desk takes care of the soft knee compression/brick wall limiting to protect the ears of everybody in the band. The desk enables each user to have their own monitor mix to completely tailor their sound... and with each monitor mix, users can run a completely dry mix or reverb/gate/compress/eq each channel in their mix as well as EQ the final mix that goes to their ears. All very, very powerful stuff. So yes, I can get a completely mastered signal into my ears which is completely to my taste and completely different to FOH. Running a dry mix certainly feels very primative now in comparison. All of this is controllable via iPad too so I can mix on the fly mid set. Yes, it's a very expensive setup... but it certainly as good as it gets. We could even free up all those auxes by runing the A&H ME system. Astonishingly good - similar to the Behringer system mentioned above or Aviom. If you want to look at upgrading your desk to get somewhere near this functionality, there is the Behringer X32... or if 16 channels will do you, wait for the Allen and Heath QU16...Street price is about 1700 so just short of 500 quid cheaper than the Behringer... but obvs without the channel count. Understanding that not everbody is going to be dropping the sort of money on a desk like that, I would have to say, if you are looking to do IEM systems on a budget... don't. Get some really good ear plugs instead - especially if you are looking at going radio. You won't be happy with the performance out of poor earbuds and a poor radio system. You'll end up struggling even with a localised mix. 100% I would invest my money into the IEMs you put in your ears (ideally molded, the best you can afford) and run a wired system unless you want to spend the money on the top end stuff. You won't get the problems associated with RF drop out and poor sounding systems. I've had people report that their budget radio in ears sound amazing... then they try the PSM900s and somewhat rethink their definition of amazing. Something like the Fischer headphone amp is what I'd look at with a limited budget (important that it has a built in limiter! - especially if you are running off a desk with just an aux send on a rotary because you have no control on compression or eq!). Invest all you money in the monitors alongside a wired solution and it's going to sound as best as it can. Unless you are running a wireless bass or a standalone singer, you aren't going to gain much by running a wireless monitor system (just don't forget to unplug yourself when you have taken your bass off and are walking off the stage!). You may think it's a pain - but it's quite easy to run up a stereo cable up to your bass and splitter it off into the belt pack or cable tie two cables together (one to your belt pack, one to your bass). Trust me... IEMS to a tight budget, this is the best way of doing it. I love my IEMs, I can't imagine life without them now. Whistle free ears, CD quality monitoring. No stuggling to hear. It's an absolute dream... and if you are a singer... well, I can see why singers love them. Being able to hear yourself really clear means pitching is so much easier. Oh - and in terms of batteries, I can get 5-6 hours approx out of the PSM900... Either stock up on Procells... or get some Eneloops. They can be charged days before the gig and they will hold their charge no problem... and they last nearly near enough as damn it as their non rechargable counterparts. Any other problems, give me a shout. I've probably been there, done that. Hope this helps.

Sig update!

[quote name='xilddx' timestamp='1366375695' post='2051729'] Ahh, that ol 'victimless crime' sh*t. Do you insure your car? Ever wondered why it costs so f***ing much? [/quote] Agreed. My bloomin' musical instrument insurance costs me enough as it is already. Doesn't mean I'm cool with people nicking my stuff. I insure against damage primarily and hope that I would never ever have to claim on anything due to theft. Wishful thinking I guess. I suspect that post from that clown was out and out trolling though.

Started so he'll finish. He was committed.

This may help - [url="http://basschat.co.uk/topic/72529-string-wrap-colours/"]http://basschat.co.uk/topic/72529-string-wrap-colours/[/url]

[quote name='stingrayPete1977' timestamp='1366279301' post='2050376'] ... [/quote] PMSL!

[quote name='jonunders' timestamp='1366235549' post='2050076'] And a decent person to talk to aswell [/quote] It's just like... he's your mate? You know, Dave, not Dave off the tele?

Line6. Jeez. And why is it, in the age of 1080p, are CCTV images still so shockingly bad...?

It's always a worry... having done shows, it's the unwritten law that you know everything is going to be as you left it in the morning... but there is always that worry in your head until you get back to the stand and see everything in place. Tough times, hope they find it and the f*cker who touched it. To get something out of Messe is quite a mission... and this sounds like it could have been somebody who should have been in the circle of trust :/

Bass strings

[quote name='xilddx' timestamp='1366117565' post='2048506'] They seem fine, I carry my own of course [/quote] Same - Orchid Electronics for me. Best I've found for the money.

[quote name='stingrayPete1977' timestamp='1366117664' post='2048509'] I'd play through any old sh*t as long as there is a buffet [/quote] Bang on. Talking of which... bring on the pie. I can't wait...

[quote name='xilddx' timestamp='1366116330' post='2048464'] I usually see Behringer DI boxes at gigs, I see them everywhere, nowt wrong with them. [/quote] Its cos they cheap and get the job done. Lets face it, spending alot of money on a DI seems quite a dull thing to do, especially when live, it's hard to appreciate the difference between a good DI and a poor DI.

I like the quirk of it. Would have to have a lick of paint on it if I had one though. I like it... Very Prince.

Joebass - that was sublime. Going to take a look at that, it's defo on my list of stuff to have a go at!

[quote name='Rumple' timestamp='1365767458' post='2044148'] No I didn't So I could get a 5 knob pre that I like and replace the Volume and Balance pot with one stacked pot? [/quote] Correct.

[quote name='Rumple' timestamp='1365766077' post='2044094'] I'm on the look out for a pre amp for a bass I'm having built and I've been looking at lots of options including not bothering and just having it passive, if I do go down the pre amp route I'd really like a 4 pot system with separate Bass, Mid & Treble pots and a stacked Vol/Bal or Vol/Vol but most of the pre's I've looked at don't come in that configuration, anyone know why that would be? Feel free to point me in the right direction if I've missed something that fits the bill. Cheers [/quote] You do realise that you can combine pots onto a stacked pot if it doesn't fit your wanted configuration (assuming the values on the stock pots are the same as the stacked)?

Spyro Gyra?

Fieldy from Korn... Not my type of music but bleugh anyway.

Its all about the A&H QU-16 this year For me at least...

Ashdown... oh dear, oh dear, oh dear.

[quote name='sprocketflup' timestamp='1365428918' post='2039421'] I suspected it might be something like this......or worse [/quote] I'm guessing that it will be on the old public channel meaning that it's now illegal for use. In reality, nothing will happen if you use it... it's more if you get caught using it. The penalty is a hefty fine and in some circumstances, you could be arrested for it. It's a VHF system right? Old school!