EBS_freak

The video is... interesting.

I don't think anybody thought he was anything but an OK guy. He wasn't exactly hounded off the forum. People called out his fantasy BS... and he just kept digging further. He saw his own way out rather than admit he was not living the rock star life he was portraying.

Ah yes, I remember his infamous gig strides. I miss him. Legend has it, he's now working for MI5. I wonder if The Tickled Trout are aware of their infamous presence on this forum?

They asked to be... or they asked for it?

I do a pair of overheads on the drums as I run all the IEMs in stereo. Mic stands boomed over top of kit. Remember to measure the mics to be equidistant from the snare to avoid phasing issues.

I suspect it's got more to do with Jeff than the bass then anything. Put Jeff on most things and he would sound great, he's a killer player. If you think about it, there's no reason why that bass shouldn't be quality. It's Cort - who make the cheaper range basses for lots of notable companies. It's a CNC bass, so it doesn't really matter where the machine is located, it's going to cut wood the same. Even if it's not playing great out of the factory (I think they are pretty good from what I'm aware of), a quick look over and fret dress by a decent luthier will get the thing playing amazing. I suspect Jeff's personal basses would have been subject to such predelivery attention. That particular model bass comes with a nice set of Bartolini's on it... which is going to help more than most nameless pickups that appear in the competition. And lets to forget, hardware wise, it's loaded with Hipshot (maybe the licensed ones, not too sure) and a Babicz bridge - so nothing shoddy on that front. So yeah, its probably a step up from most jazz basses, especially at that price - just won't have the name on the headstock bragging rights or resale value.

I am not a fan of ambient ports on IEMs. Fine for most players - but not for bass players or those that like to hear the bass - as as you open up the the seal to the outside world, you lose bass response. This is particularly annoying especially when you are paying all the money for IEMs that are giving your the superior bass performance and it all gets lost. If you are still feeling ear fatigue, it's likely that the volumes are still too high. What tends to happen, is that as your ears fatigue, you lose treble response. In that treble range, is where all the detail mostly resides (ears most sensitive between 1-4k). What tends to happen, as you have experienced, is that people then turn up (generally guitarists as they are the first to blast their ears) to compensate. What then happens is that their ears get further fatigued... so they turn up again. All that happens is that it becomes a volume war and the mix out front is wrecked for the audience. What could be happening is that the volume on your IEMs are still high to get over the amount of noise that is leaking into the IEMs from the stage. You can probably improve this by improving the seals by trying different tips, going custom fit, or turn the volume down further on stage. The more you turn down your instruments on stage (or remove backline completely) and let a decent PA do the work, the better the band will sound out front. As for comms, consider ambient mics on the stage or maybe a talk back mic. Ambient mics on stage are quite nice for adding the room back into the mix. They can also be put on a foot switch to turn them on between songs if you don't want them in the mix when playing. I quite like playing with a "dry mix" and I find the overheads of the drums are enough to keep me happy on the ambient front.

AM1? She was suffering with ill health and passed away (June last year) from further complications courtesy of covid. Her bloke had died previously from cancer and she leaves a toddler behind. All very sad 😞

I dont think I could get anything else past the swear filters. (And that's not me just saying this out of thin air... this is me talking from experience and owning what was their flagship product)

Crap

As for the Backbeat - the most simple way of attaching it (going by the 1st version, they haven't clarified how the (ughhh) breakout cables will work on the second version) is to to plug your bass output into the Backbeat, then go out of the Backbeat into your amp or whatever you'd normally plug it into.

Of course, there are other benefits to using IEMs... IEMs.mp4

There's not necessarily a "best" IEM as all of them have positives and negatives. If budget is not an issue, I think my favourite IEM would be the 64 Audio A12t - but they are around £1750. Not heard anything I prefer to it yet. If budget is not 1750, these would be the ones I would check out Ultimate Ears UE6 - £615 UE11 - £955 UE18+ - £1280 64 Audio A4t - (although this has now been replaced by the A4s which I haven't heard this one yet (circa 900-1000 I think)) N8 - £1490 and of course the A12t JH Audio JH11 - £900 JH13 or (if you like more bass) JH16 - £1150/1320 Roxanne - £1665 Don't be put off by the lower price of the UE6 - they are actually are really good proposition if you want to stick the other side of £1000. Certainly the only custom IEM I have tried and would recommend for bass players at that price point. PM1 - will give you a wired headphone amp that can be run from a mixing desk, giving you a mono mix over a balanced connection, or a stereo mix over an unbalanced connection. Plug the PM1 into the bands desk and set a mix on there. If it's a digital desk that you are connecting into, the likelihood is that you will be able to download an app for your ipad, iphone or android device (although not all manufacturers support android) to control all the individual channels. Make sure you have a router for your desk so that you can connect remotely to it and dial in your mix independent of the physical desk itself. If you are in the A&H ecosystem and want something physical to mix on, you may want to check out the ME1 as an alternative. The overall volume of you your inears should be controlled via your PM1.

Very relevant but never mind.

You’ve not played a short scale Alembic then?

The upper horn needs to be over the 12th fret for it to sit properly for a start.

Looks pants as a bass. Plus there's no hope in hell of it balancing. Scale length is quite interesting though.

In = zip Out = zip Good ole Covid!

Soldering XLRs are one of the easiest connectors to solder... as as long as you have a jig. EDIT: underrated bits of gear... introducing the soldering jig

And no cheese and wine in sight either!

Ah-hoo!

He's not.

Beer crate amp stands

The Grolsch strap lock