EBS_freak

I actually quite like his youtube channel. Some nice skills there.

Bingo!

Love this thread. Some talent amongst us.

Indeed - but theres not many bands out there that will invest in a 2k mixer. Just sayin'. I'm agreeing it's a ridiculous piece of equipment for 2k... but it's still 2k.

Its still 2k no matter what it does!

[quote name='Chris2112' timestamp='1359335961' post='1953329'] I've never known their basses to command a great price at resale. Mainly because they've never been that great in the past and sold very poorly. I doubt these will be a huge seller either. They'll be priced in line with the rest of the PRS range, and with that, I doubt they'll sell a great deal. Bassists looking to spend that sort of money are spoilt for choice now, with the best luthiers in the world ready to take their money. I doubt they will turn to PRS. Whereas PRS have a well established fanbase for their guitars, hence why they don't struggle to sell them. [/quote] Whether they are great basses or not, resale being high or not, you'll always get those buyers who will pay a premium because they must have "PRS" on the headstock. Simple as. Doesn't matter what else is out there, better or not, only a PRS says PRS on the headstock (unless you get a fake of course).

Would be interested in a pair of 112s if production ever comes around... but I can wait.

My first ever bass, built by the late Jim Cairnes. It's a 4 string and I play only 5 strings nowadays so it doesn't get a look in. It's probably not worth a great deal from a monetary point of view but it sounds great and I played some of my most memorable gigs on that bass. I will never sell it. Jim was the guy that really kicked off my bass playing career and built me this bass when a shop screwed me over by selling a bass that I had put a deposit down on. That was his nature - he couldn't believe that a shop would do that to a youngster who had saved hard, had gone back the next day to pick it up only to be handed back his deposit... so he built me one better. All my other basses get played on rotation and the only bass that I have moved on in recent times was my Status and Lakland DJ5. I'm ok with all the basses that I have moved on... but I do miss my Yammy BBNE2.

[quote name='Chris Horton' timestamp='1359898665' post='1961727'] This bass looks great! I love White bass guitars with maple boards and White block inlays , they look the best ! [/quote] Yes - I miss my DJ5. The white, maple with white blocks... it's the business.

Put it at the front of the chain or at the end depending upon application. Front of chain is no good if you are using effects that rely on triggering dynamics e.g. envelope filters - but a compressor after the envelope filter reigns in the peaks so it's more friendly on your ear and speakers. (Anybody who has owned a funk a duck knows what I mean). Front of chain is good for reigning in the dyanmic range so you can boost your signal without peaking out... What are you trying to achieve with the compressor?

Dont forget your bank charges for currency conversion!

[quote name='silddx' timestamp='1359669545' post='1958688'] Jesus Christ. What the actual f***? I think I have just rendered myself infertile and pallid-looking through expansive feelings of human inadequacy. [/quote] It's the future... If you actually listen to the artist, the rigger actually forgot to mention the Antares autotune...

This one is especially for Bilbo... talking of the future, get your head around this - http://www.youtube.com/watch?v=wVV72uhPNIQ

The question is... will they ever release a 32 channel version...?

Ha ha. Pete. You pike!

Nice work. Thanks.

[quote name='Bassman Sam' timestamp='1359389836' post='1954007'] Why? [/quote] Science.

[quote name='swanbrook' timestamp='1359387874' post='1953959'] The first one is the mackie. Have it, use it, love it .... Sometimes ! [/quote] My posting order was intentional.

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.