EBS_freak

Very kind of you to say. When you see stuff conversations like this on facebook, it always makes my heart sink. Function band - Tend to carry around larger PA and light systems. - As you are reach the more pro end, you factor in your own sound and lighting engineers (or hire them in). - You may carry around two desks (one foh, one monitoring) - You may carry around more pro wireless than your average band. Systems that tend to be 1k+ a unit. And that's for both mic and IEM units. Buying or hiring those doesn't come cheap. And then there's the shared mic license on top. - Set up time can be astronomical and may involve many early starts and soundchecks Promotional material - Pro videos cost pro money, videographers, editing, colourists - Pro audio cost pro audio in the studio... with the cost of engineers, mastering etc Clothes - Depending upon the band, there is a look that has to be adhered to. If you are doing an Abba band, you aren't going to get far without the outfits. I remember playing with an Elvis tribute. His clothes used to cost north of 2.5k an outfit. Function bands with everybody wearing matching suits... well, sometimes they have to be made because not everybody can fit in off the shelf for certain outfits... and a lot of time, the sort of things you see the top function bands wearing, aren't the sort of things you can just go into a shop and buy (they tend to be a bit ott spangly suits etc) Additional costs - Accountancy, Insurance, vans (either bought or hired), rehearsals, storage costs, travels costs tend to be higher. Factor in food and accommodation for band. Also, people don't seem to realise that you can spend hours speaking to client in order to land the deal... and then hours to finalise all the details of the event (which experience will tell me are mostly wishful thinking as events never run to plan) All these costs are passed onto the client or part absorbed (for example, you may lower costs if there is a particular reason that it would be beneficial to take the gig). Function bands turn to be run as a means to earn a wage in a professional capacity. Therefore the attitude should match. Loading in, your appearance, you language, attitude etc... is always part of how you are representing yourself. You have to have a plan for everything... what happens if the van breaks down. What happens if covid hits you. The contract has to be fulfilled. Pub band - Low risk. Low financial input. If I've got a date free and somebody was to ask would I like a gig playing a load of songs that are already in my repertoire for 50 quid and it's local, I'd probably consider it. All I have to do it turn up... maybe get introduced to some new players and build upon a network that could land me new work... well, there's worse things you could do to earn 50 quid. I am sure there are loads of people that argue they put a lot of money into their pub appearances, rehearsals etc... but the key thing is, there's a load of people that don't. The fee doesn't tend to change whatever the pub band is turning up with. Lots of players with a large repertoire can just sit in on a gig and busk it... and busk it a lot better than a lot of rehearsed bands. Even if a pub band has arrangements, give me a copy of the audio to listen to or the dots, I'll play it. These folks complaining about fifty quids should spend their time working on getting better paying gigs than worrying about who's taking fifty quid gigs. On facebook, if the gig isn't for you, move on. Nobody taking a pub gig is "crippling" the industry. A pub is a pub. Pubs are never going to be able to pay function prices - nor should they - because the difference between the two is astronomical. And if you look at the differences between a pub band and a function... it's quite clear to see why function bands are the price they are (having said that, there are some function bands that are just taking the p1ss.)

What about AER?

All good. But breakout cables 😕

I never understood why they went with this design. It was either crying out for locking neutiks, or side mounted sockets to be used with right angled jacks. God only knows what they are planning with this breakout cable nonsense on version 2. Anyway, nice bracket though.

I had a miserable experience with a Status neck. It's put me off Status for life. Which is a bit of a shame as I'd probably have commissioned a bass from them otherwise. I understand that things can slip through - but it's how that its handled that is the important bit. It took the input of another luthier to call them to help change their minds. Also, being told "if it's good enough for Pino, it's good enough for you", isn't going to win you any business is it?

Oh totally agree. For it's use - for TV, it would seem to hit the spot perfectly. If you can cope with the latency for bass monitoring... well, that's a nice brucie bonus!

I hate when manufacturers do this - Whispered revelations. Car chases. Or crystal-clear conference calls. Whether you're relaxing with your favourite show or working from home, these wireless over-ear TV headphones let you hear perfectly. In clear, latency-free sound. Then - A super-stable, low-latency Bluetooth connection ensures that you won't have the syncing issues that can occur when watching TV with wireless headphones. Which is it? These statements are not equal. If they are confident that they are low latency, publish the figures. I don't want to be told they are low latency, I want the actual figures. I don't want somebody elses idea of "low-latency" The bluetooth specs tells me that that the codec is SBC, which typically has latency of circa 220ms. That's enough to throw out sync with the TV. So that's standard bluetooth. What's "TV mode" entail? Lower quality sound? Some googling suggests <20ms. Which is still not great for audio applications - but I guess would be less than 1 frame in a 30fps situation... which is a lot better than nearly 7 frames with standard bluetooth. (you tend to notice syncing issues when things deviate by more than 3 frames. So in this context, Id say that they're pretty good. For reference, 7ms end to end latency is the target standard for live audio monitoring purposes. I'd imagine that you'd feel the 20ms when playing, especially if there is anything else digital in your signal path. Thanks for posting, it's made for quite an interesting google whilst munching on my lunch!

This was from the original release of cabs. They also did a squat 15 (ebs300) plus one with a tweeter. They weigh like the sun.

Mine didn't. I always thought it was a bit duff that the neck was held be a mm or so of CF.

That is not the industry standard of doing a monitor mix. Generally, you ARE taking a direct feed from a mix bus on the mixer. That aux will then go into a headphone amplifier to drive your IEMs, whether that be a wired solution or a wireless solution. There is a volume control on this - however, it's the change of level on the input that is of concern... whether that be changes of gains on the desk, or spikes caused by idiots shouting down mics or onset of feedback. To combat this, there are a number of options - brickwall limter on the desk that heavily compresses (eg 20:1) to limit the output, limiter on the headphone amp - very few have this and the implementations can be dubious (e.g. they can implement a proper brick wall limiter... or just limit the amount that the volume can be turned up on the device but won't actively compress any spikes that get sent through). The other option of course is go around and break the legs of anybody that dares misbehaves. If you have a competent sound engineer, there's no real reason why the risk should be high... and certainly a lot smaller than prolonged exposure to loud bands.

Because they generally don’t have an incompetent in the chain that loves pushing things until they feedback.

With the entry point of decent IEMs being so cheap, I don’t know why people would entertain not using them.

I dont know what kinda of money you have to spend but the Boss EQ200 is a good, 10 band, stereo, small pedal solution that may be right up your street. (I'm guessing you aren't in stereo off the analogue mixer - but splitting into the EQ200 may be able to compensate for both of you ears (assuming your hearing loss profile is not identical in both ears). EDIT: this is quite a good topic of conversation, I'll write some extra stuff for the bible thread.

If you are on a digital desk, check the global EQ for that channel. You should be able to carve in some EQ. You could also feed your aux into a separate 31 band EQ (eg stand-alone unit) to make your fine adjustments before going into your headphone amp. Ideally you want to run in stereo with a 31 band EQ on each side to have the appropriate EQ for each ear. Hope this helps. 🙂 Hit me up if you need some guidance.

Totally! Unlike a lot of people, I would actually encourage a year out between school and university (but not one of those gap year jollies to Ghana to find yourself or whatever nonsense it's dressed up as) to get used to the pattern of getting up, going to work and having a bit of responsibility about it all, away from the safety of the parents safety net. When I was at university, I would wager that the majority of students could have done better and actually learned more if they treated it with a job mindset... instead of getting whizzed up, living off Pot Noodle (a guy that I lived with ended up getting scurvy from his beer and pot noodle diet) and sleeping.

X32 is about 1ms (actually 0.83ms but lets call it 1) Narrow band Sony, 3ms. Xvive 5ms. Cumulative 9ms. Pro world, 7ms is the target upper limit. You'd have to try to see if you can "feel" the delay. Of course, the other thing that I don't particularly like, is that it's on the 2.4 ghz range, which means it could be prone to interference in areas where there's quite a high presence of wifi services. If you are on the want and want to go digital... it may be worth investigating the MI-58 - https://www.mipro.com.tw/webls-en-us/iem.html - it's got sub 3 milisecond latency. I've not tried one of these yet - but it could be a better recommendation than the EW300 if you have that kind of money to spend. Stereo, digital, low-ish latency, great dynamic range (plus Dante on the pro version - which I know most people here won't be interested in) - and on 5.8Ghz. Build quality reputably great too. On paper, it's wicked. I just haven't been able to get to try one. Only thing I don't like, is battery choice... but at least it's replaceable. Yes. I want one.

Oh it's gone. I haven't got time for that. My Barefaced comments aren't opinions. They are tangible observations - unless of course, your eyes are deceiving you and the tolex isn't peeling.

Go to university. Yeah, you may be one of those "sad peeps" that hang out at the library - but that's because you have lived in the real world and got acclimatised to the idea of work and maybe the 9 to 5. You are there because you want to be there for the qualification, not the lifestyle... like a lot of students do. Treat it like a job and you'll come out on top. Get equipped with the qualifications and you'll stand out at in interview as somebody that has shown willingness to learn and improve. Although it does sadden me that to be a burger flipper nowadays requires a degree

The advert from Scott which riled me is when he started dissing on Youtube. Not too long ago he was singing the praises of Youtube and the wealth of information available to you for free.

Try some Mark King tape.

What I'd do, is get something from here - https://uk.rs-online.com/web/c/power-supplies-transformers/power-supplies-psus/desktop-power-supplies/?applied-dimensions=4292047580,4293173709 This will do you - https://uk.rs-online.com/web/p/desktop-power-supplies/7212109 (Ashdown pedal requires 300mA so it's 830mA capacity is more than enough) And get a DC polarity converter cable (as Ashdown pedal requires centre negative and all these will be centre positive). Then you can get as long a IEC mains cable as you need.

Ah, that would explain why some bass players wear gloves. Leave no prints and all that.

Sounds like Santa!

Are you using just this pedal, or a number? I’d say a block PSU next to the pedal with a long trailing mains cable would be the way to go?

Fieldy. (Sounds goddam awful)