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Sooo, what’s the opinion of folks who have had a bit time with this pedal? @Quatschmacher… Did you get one?

There's also the reverse of the idiot sound guy situation - the band idiot(s). I went to watch a mate's band a few years ago and the venue had hired external PA with an engineer, pleasant guy who seemed to know what he was doing and had old but decent kit. I lost count of the amount of times he requested the guitars to be slightly less deafening so he could get a proper mix where everybody could be heard, eventually just shrugged his shoulders, gave up and did his best. All you could hear was drums and guitar. Getting a controllable FoH mix is instantly torpedoed when someone decides they absolutely have to have their sound at the volume they choose at the expense of everything else, add in another band member with the same outlook and you can see why handing someone an XLR can be an appealing solution to multiple potential headaches.

I think it's time there are regulations for the builders to include some reasonable (there's that word again) sound insulation, in general. A friend of mine lives in a flat and you can hear the neighbour when he opens a can in his living room. That's just silly.

My point being, they could probably see if there was a fire or smoke. They could probably see in to every room, which is more than you could.

Coming from an H&S/Fire Safety related role the above doesn`t look good. Someone who is not an employee of the business, therefore with no authority to do so, asked to shut off a fire alarm, that person not having any knowledge of if there even is a fire or not, no! Anywhere that runs like that would be on my not-return-list, and given my albeit limited experience of fires I`d be considering contacting the fire authorities, not out of spite for being banned, but from not wanting others to be injured or worse should there be an actual fire.

Was he possibly just AI wrapped up in an android body? 🤔 (sorry for your experience)

As a long term BDDI user ive recently gone over to a EBS MB 3 as well. It's like a breath of fresh air after all those years of using a much more coloured sound. Not sure I'll keep it though, as I do miss a few things ive had on other pedals. Might be going back to the Nux MLD preamp. As to the OP's question, I think the EBS has hardly any of the requirements. No on/off (its on all the time, although it does have a mute), no level control for DI at all, no IR, PSU only, Not very 'vintage', but that's subjective I guess. Ive been on a quest find something pretty close to what the OP is asking, and ended up finding it just doesn't exist.

It might become a small factory making drums, trumpets and sirens.

Yes, there are a lot of cameras... sure, if there was a raging fire it would be obvious, but I guess if cameras made good smoke detectors, we would have cameras instead of smoke detectors?

I've started a 3 piece electronica band (me on synths/controllers/bass, a chap on edrums/synth, & a female vocalist). Our first song to complete is more EDM than our other creations so far, but I'm not happy with my parts. Just the overall sound/production to my ears sounds like it was mixed by someone who doesn't even know what a DAW is. Would anyone be able to take a listen and let me know how to improve it, or recommend a good production course? I've looked at a few courses, but not sure what I need to focus on. This is the instrumental version with just my parts. Vocals and another drum part are to be added. https://on.soundcloud.com/TUX5bz62RXZmPCO1U2

Is it just me that can't see jery978's first post from 24/7/25? Edit: if it was a similar spam to archie637 above, then I understand why it's no longer there.

I'm always polite to AI because I'm worried that one day they'll be in charge and may remember who said "thank you Alexa" and "please Siri can you set an alarm. etc" Seriosly though it's really not great for Pirate to do this and they need to work on the balance between keeping the business lean and using as few paid staff as possible, and ensuring that the users and staff are safe at all times. I use a few of their studios around London and I've had mixed experiences, though on the whole they've been good. If there's a problem e.g. kit not working or air con not functional then it can be really hard to resolve. On the other hand they've been quick to sort things like dodgy xlr cables or broken drum stool by giving me the code to the storeroom. It can be infuriating trying to sort a problem by whasapp text though. The updside is that they've got a lot of locations with different levels of practise space and it's really easy to book and unbook and... it's cheap. I've also had some piss-poor experiencs in other rehearsal spaces - recently the guy who ran one didn't make eye contact with our drummer or speak to her, he'd only talk to me and the other guy there. She found that creepy as f*cK and I agree.

Indeed, and the few times I needed anything from them they responded quickly. I hope the OP's is not a sign of changes to come.

Oh gosh, Scott has really struggled with it, Victor must have a great coping mechanism

Thanks for the replies, guys. Nice to know I have an early model rather than a home custom job. BTW my Electra sounds great and is really well made - I really can't see how a California series would be much of an upgrade?

I'm wondering how many more strawmen / whataboutery / false equivalence comments that could be made. The proposed law is nothing to do with any of your post. It is to stop people moving / building / developing within earshot of a venue knowing or should have known that it is a noisy venue and then being able to complain and have it shut down. That's it. Nothing else. Land within ear shot of noisy venues often gets bought by developers very cheaply. They then build homes on the land and don't mention the venue nearby. The buyer of the new home doesn't do adequate searches about the location when they should have done as part of a survey, or does them and decides to buy the home in the anticipation of complaining enough to shut the venue. The developers know this will happen - in fact they are probably banking on it and it will likely make the venue fail and be up for sale too. Venues are often on the brink financially so they don't have the ability of say, an airport, to tell the new resident to sod off. And generally nobody can claim they didn't know an airport was there. All this law will do will make developers tell the truth about the properties they are selling, and it will stop new residents moving into a noisy area and then complaining about the noise they were already aware of. It will stop new residents lying that they didn't know about the venue / noise / etc. That's it. Nothing like any of your post at all - all of which can be avoided by not buying a home in earshot: "Your neighbours" made their own decision to move next to a live music venue. That is their choice and for them to move there, and for them to then try to change the behaviour of the people who were there first is the selfish act.

I've used backline a couple of times of late (not my idea), and both times it's reminded me of how hard it can be to get a decent stage sound without over- or under-whelming the room with bass; I've been spoiled by a mixable feed to my inears, where I can hear exactly what's going on at a reasonable volume, something that's often elusive with backline. Oh, and the ability to turn the guitarist down cannot be overstated... I should add here that for 90% of my gigs I don't care what the FOH sounds like: I tried for a while, going out front to call it, but the singist/guitard didn't listen and just turned up anyway, because from where he was standing behind the mains (without his inears in, so no monitoring at all at that point) he 'wasn't loud enough'. So I gave up. I just get the drums and me to a level, after that, whatever...

Tragically, the last time I went to see the Stranglers (admittedly a couple of years ago, the first tour with inears, so they may have got it sorted now) at the Manchester Apollo, the soundman did exactly that to JJ Burnel...