EBS_freak

Andrew Lloyd webber? But then again, I would wager he has a fair few nice pianos. Macca has a fair few high ticket items that would be even without the Beatle/Macca link - his 60 leftie les paul and elvis acoustic bass for starters. Again, there's his Wal to throw into the mix... But if I was gonna guess... I would say Rihanna.

Defo a Nightingale. Typically they would have the name logo on the body - but given the wood, I can see why it was left off. 5 String Nightingale is quite a rarity - it would have been first official Bernie 5er Rumour design as the Goodfellow brand was sold to Lowden before he had the chance to design and tool up for a 5er.

I was being sarcastic.

D) channel all your money into offshore tax havens whilst you’re at it.

Allow for screen placement but yeah, a box is a box. Make sure sure you account for unlatched/latched switches.

Even with the most specialised accountant, I think you’ll still have trouble making any payments to the Inland Revenue

Bingo! At least get the name right and all that.

What was your argument saying that HMRC isn’t fit for purpose?

Nobody has done that since 2005.

OK - that's good.

Some of you guys clearly haven't had a non paying gig after performing. Another difference - function band - invoice raised before hand and paid before the band plays a note = creating proper audit trail of contract and payment. Pub band - all sorts of jokery to be expected.

In fact, just do something like this https://line6.com/support/topic/22680-one-g10-transmitter-with-two-base-receivers-at-the-same-time/

How about a slim cable terminated with a locking 3.5mm Sennheiser locking jack socket arrangement if the weight of a cable up to the backbeat is a problem.

What a sack. Over engineered, with a custom cable, that is prone to failure. And before anybody says, cables do - and will - fail. Especially if they aren't in a fixed installation. Looking at the connection, that could render it useless on a tour. You can't just knock up another cable from the spares box.

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.