EBS_freak

I dunno.. this was my highlight of NAMM... good old Behringer are all over Mackie again. Behringer : Mackie :

Sounds like the wrong singer for your band to be honest.

[quote name='LiamPodmore' timestamp='1359368538' post='1953507'] I don't have any as i can't afford one at the moment, but between me and a lot of other guys i know we've tested most of the name ones around that price range, and think the Line 6 is the best all round. As soon as i can afford one, there's a G50 going on my pedalboard. Liam [/quote] Tested - as in playing on real life gigs... where you can comment on the reliability of connections and the impact that wifi systems (like found in hotels) can have on these type of systems? You know about battery life, the ease of replacing components? I'm not intending to single you out but recommendations on here when people haven't used them in anger in the field don't hold much water...

[quote name='LiamPodmore' timestamp='1359367807' post='1953490'] Another vote for Line 6 here. They just beat all competition in their price range (Except possibly Stageclix but that's out of budget) Liam [/quote] How do you know? Have you tried them all? Or are you just saying this because you have Line6?

Atelier also have a hand in an old brand coming back from the dead... http://www.rockinn.co.jp/goodfellow-londonderry.html

My vote goes for the Sony DWZ-B30GB. All the advantages of the StageClix but in a nicer package.The transmitter unit in particular is a really good hard wearing piece of kit. I can't fault it - no compounder, excellent range and low latency figures for a digital device. Love the fact that you can shove another pair of batteries in it - StageClix doesn't let you do this, a bit of a let down if you forget to charge your device before the gig. AAs are easily sourced. Even the reciever can work off a 9v battery should you forget/damage/not have enough sockets. Low battery indicator is also on the unit so you don't get caught out. Wide and narrow RF connections means that you have plenty of availble channels for connection should you ever witness interference. A really well thought out piece of kit. And it's Sony. You know it's good. No drop outs experienced, I've taken it as far as 50m from the stage and it's still good - although latency (that of physical distance away from the sound source as opposed to that introduced by the wireless itself) means playing with a band is pretty hard unless you are using in ears... I also like the connectivity options - tuner out, main out, xlr out... and unique to this unit is the mic/instrument switch and attenuation switch - you can use this device as a lavier mic system and the attenuator switch is really useful if you have super hot output basses. To be honest, these units are so good, you can't really go wrong. If you get the Line6, Stageclix or the Sony, they will all serve your purpose. Go for the one that you like the look of best.

[quote name='paul_5' timestamp='1359160632' post='1951130'] To be fair though, if you were having an instrument made to your exacting specs you shouldn't really be considering the resale value. Why have it made if you're even considering selling it? Even a little bit? [/quote] True. But there are always people that want to buy say, a Fender, despite being able to get something more appropriate to them being made. Some people just like brand names... and that's OK. As for your argument about considering resale value, people's tastes change... you only have to look at the number of custom made luthier basses for sale on here...

[quote name='LukeFRC' timestamp='1359129004' post='1950361'] My guess is that you would be able to get a top UK luthier to make you two basses for the price these will be. [/quote] But then you still wouldn't have a PRS... and two basses that wouldn't have the resale value of a PRS.

I don't think for one minute that it does... the marketing is surely a bit deceptive though. Take the Behringer X32 product page - [indent=1]DIGITAL MIXER X32 40-Input, 25-Bus Digital Mixing Console with 32 Programmable MIDAS Preamps, 25 Motorized Faders, Channel LCD's, FireWire/USB Audio Interface and iPad/iPhone* Remote Control[/indent] It's clear to see in black and white, there is a claim that they are MIDAS Preamps... but further down in the description, it's watered down to[list] [*]32 MIDAS-designed, fully programmable mic preamps for audiophile sound quality [/list] Then further down - [indent=1]When we began development on the X32, we called on our sister companies, MIDAS and KLARK TEKNIK, recognized the world over for their digital consoles and EQ/FX processing, for implementation support. The programmable, high-grade mic preamps found in the X32 are based on a genuine MIDAS design, all the way down to their A/D converters.[/indent] Now being the marketing cynic that I am, they are now a genuine MIDAS design - but that could be mean a design that wouldn't make the grade to be put in a MIDAS desk... and if it's based on a MIDAS design, I'm now more likely to believe that they have been tweaked to meet cost constraints. It's just as well they didn't mention any MIDAS further as it could end up with... "we mentioned to MIDAS that we had built our own pres". Marketing. A game of BS since time began. A bit odd given the capabilities of the desk anyway.

The thing is, when you look at the mainstream amps out there dedicated to bass, they are small fry compared to the electronics found in top studios. Most of these amps are built to satisfy profit margins, not the best uncomprismed sounds. Even that asise, trouble is, nobody ever seems to want transparent... if they did, Neve, SSL et al wouldn't exist. B15 certainly has to be up there... for looks alone, let alone it's tone shaping abilities.

PS - I cannot sing ACS praises enough. They have transferred my playing comfort. Their moulded plugs and IEM systems are second to none!

Well,well,well... Namm brings us a 32ch Presonus... A gld80 ipad app and awesome personal monitoring system... A new soundcraft si with cheaper stage boxes... Looks like the competition has bitten back.

[quote name='oggiesnr' timestamp='1359034608' post='1948744'] All of which is good advice except that the first rule in any H&S assessment is to eliminate the problem if psooible. In this case the problem would appear to be excessive noise. Volume switches go down as well as up! If I go to a gig and need ear protection then it's too loud, if I'm playing and need ear protection then I'm too loud. What is the point of playing loud if all that's happening is that punters need ear plugs! Steve [/quote] Theres a slight difference between you standing a metre from your amp and somebody else standing ten metres from your amp... I can't ever recall seeing a volume switch either? Would a dial this is set at 0 or 11?

It's gone! Enjoy!

Is the neck already polyestered? e.g. on the back? Oil won't get you anywhere with that and speed. To get a fast neck, wet and dry it with say, 1200 grit. As for fingerboards, rosewood isn't finished. Maple generally is... unless you are with the Musicman crowd and like your necks getting grubby.

So given the history of the original company... its good to see yet another J bass coming to market... :-/ http://www.rockinn.co.jp/goodfellow-londonderry.html

Perfect. Buy with confidence. You cant go wrong. Inexpensive, quality and great protection. Thanks for the heads up. My only comment is that the inside material seems a bit thinner compared to what I would expect but to fair, the at risk points (e.g. at the point of the machine heads) there is thicker material. It's £23. I've seen worse gig bags at £80.

[quote name='charic' timestamp='1358950820' post='1947492'] To me it read as if they've "adopted" the same manufacturing techniques/standards to improve quality (in the form of robustness) and reliability. [/quote] This is the point. When people think Midas, I would wager that they think audio excellence, not manufacturing excellence (although that is a given with Midas anyway).

Excellent to see Joe on here. The sales figures are impressive - but it's easy to see why when you audition the desk. The only desk for the money that comes close is the Presonus - but to be honest, the feature set of the X32 simply blows the Presonus back out of the water. Presonus really needed a 32 channel desk that would support firewire recording. It's still not here. It may not ever come. Even if it does, it's too late, the train has left the station. I would be very concerned if I was Presonus - I know from the activity on their forum that they have been "cleansing" the forum of any glowing references to the X32. Speaks volumes by itself. It's interesting to see the X32 compared against the LS9, it's impressive that they are mentioned in the same breath as I would have thought the GLD80 would be the LS9s main competitor. To have the X32 snapping at the LS9 must be making Behringer very happy. Very happy indeed. That's both the semi-pro and pro market in their radar. Even A&H should be concerned about the X32 and how it stacks against their GLD80 - they really need to get their iPad app out very quickly I think! I wonder if Joe could be more specific about the Midas involvement? I know that Midas are effectively owned by Behringer now - but spouting the Midas name without clarification as to what their involvement is, to me at least, name dropping without substance. What does manufacturing to Midas standards actually mean?... because at the end of the day, we're talking PCBs here. As you can appreciate, for example, using a Midas pre (as found in their desks) would be a big selling point... but that is different to say a Midas designed pre. What does that really mean? Is that a Midas pre designed to be the most cost effective as opposed to being the best sounding? Is that using components that aren't necessarily the best but are used to keep the price down to keep the X32 attractive to buyers?

[quote name='discreet' timestamp='1358940184' post='1947268'] Not for the first time. [/quote] Nor the last.

He he!

Spitfires!

Rumour updates!

[quote name='charic' timestamp='1358769560' post='1944567'] This may seem like an odd question but how do the faders feel on it? I hate light faders on mixers, the nicest "feeling" desk I've had the pleasure to use was a mackie onyx (1640 I think) [/quote] They feel as you would expect from a motorised fader desk at this price point - they are OK but in no means the best.

I got the Sony unit imported - it really stomps on the other digital systems and the body pack is a proper metal unit. Great stuff.