Jakester

I took one of those wire cable ties and wrapped it round a few times. Works fine on both sets of my IEMS. You can still slide it up and down to change the tension too.

Let us know how you get on!

Basically, now you have asserted you are the legal owner of the bass, as a matter of civil law, Cash Generator can’t legally sell it and give good title to any purchaser. You need to be clear with them that they need to hold on to it, and that if they do sell it, or try to deny your title (I.E. your right of ownership) you will sue them for conversion (essentially the civil name for handling stolen goods). Make sure you give them full details of how it was stolen from you so they can’t try to say that they were unaware it was stolen. I would also notify the police and, if you can afford it, speak to a solicitor about how best to recover it.

So I did try them last weekend; the isolation was much better than the large size, but ultimately I still ended up going back to the Etymotics with the 'christmas tree' triple flange tips. I do think that the 'stage' volume (and in particular the bass - I was playing drums) was just too loud, so I was having to turn the IEMs up and I was worried about the volume levels. The actual sound was brilliant though - noticeably clearer and 'more present' than the Etymotics. Going to try to get some flanged tips which, if I can find some that fit, should deal with the isolation issue for me.

It hasn’t so much fixed it, as reduced it’s so it’s less of an issue. It’ll still feedback, but the point at which it does so is higher volume and it’s less affected by hollow stages. I have still ended up turning the bass down on my preamp but less so.

Make sure you document the condition closely before sending it back so as not to find the seller suggesting some of the damage was caused in the returns process...

I ended up with a digital desk with a smallish physical control surface - I found trying to adjust on an iPad while playing next to impossible. I replaced my XR18 with a QSC Touchmix which has all the features of the XR18 but IME/O easier access to the controls while playing. It also does the iPad/phone control if required. Definitely.

I've taken a more benevolent approach now and release it back into the wild....

Chris, I have a feedback destroyer which I *think* used to be @Happy Jack's which is not in use any more, if you'd like me to send more details over?

Looks like my rock covers band is about to implode so this weekend will be our last gig. I thought I'd put myself out and about to the fine members of Basschat as a drummer in case anyone's looking. Lots of experience in many different styles - pop, rock, blues, jazz, funk, soul etc. Have own pro gear and reliable transport, home studio/recording facilities. I also play bass, so I know where you're coming from! Looking for rock covers, blues, soul/funk bands but happy to consider anything. Vids etc available on request.

It depends what it is. If it's a genuine masterclass, i.e. small numbers, actual teaching, then I think that's more than reasonable. If it's just a performance, then perhaps a tad steep.

That’s the badger! Thanks.

I have one - it definitely won't fit. Works really well though! I do remember someone installing some kind of sprung mute on a short-scale Fender - possibly a Mustang? - and it sort of 'popping' on and off with the heel of the hand to activate it. It might be possible to jury-rig something on the inside of the bridge cover like that, but no idea where you'd start!

Looks like Source Audio are launching a MIDI adapter for use with their pedals: https://www.soundonsound.com/news/source-audio-launch-midi-adapter Interesting it uses the 'standard' MIDI plugs rather than USB. I guess that means less of the need for ugly kludges like the collection of USB cables daisy chained between my C4 and DMC Micro, and means a wider range of controllers can be used. Surprised it took this long, TBH.

Can you not use the new X-tender with the old bushing?

Ah well, it could be worse. Just had messages from the singer saying 'we need to talk'. No doubt to be followed by "it's not you, it's me" and "we need to see other bands". Rehearsal on Weds is going to be fun.

In fairness to the supplier, it has no obligation to you to do anything. Your arrangement is with Andertons, and they are the ones that should be liaising on your behalf with the supplier. Sounds to me like it's got knackered at Andertons and they're trying to pass you on to the supplier. Sounds like they don't want to be out of pocket while leaving you a considerable sum of money worse off.

Yep. We go through ages of discussion about the tunes, draw up a list, learn them, and then they seem to just ‘drop out’ of the set. Funny how it’s the singer who didn’t like them and then has drawn up the set to miss all of them out…🙄

Yep, they work well for monitoring, but essentially all they are is an XY configuration in the crotch position with a trigger for the bass drum. You could do the same with a Zoom recorder and a cheap piezo trigger - apart from all the clever processing in the EAD10 module. Good point about the stands, but I've got a great live sound with just a kick and single overhead mic. I generally mic two overheads, kick and snare and that does me fine. I think if someone is starting from scratch, the EAD10 might be a good option. If they already have mics, then essentially you're replicating what they already have.

Oh, and just to say the determinative factor between it and the Zoom was size - the Zoom is quite a bit bigger physically. Otherwise, that looked like (and still looks like!) a great option.

Just to come back to this, I found a pre-owned TM16 at one of the bigger music stores - about £500 off the retail price, so I've gone with that. Hopefully I can recoup most of my outlay by selling the XR18, accessories and backup mixer, and have the backup at least of a bigger store, rather than buying 2nd hand privately. Initial playing with it suggests it's light years ahead of the Behringer in terms of interface and usability. For me, at least, everything is logically laid out and there's context-dependent info pages if you need help - essentially an online manual. I have been able to replicate the setup of the XR18 in about half-an-hour - obviously it helps when you've spent the last few years trial-and-erroring into what you think sounds good! And I guess I have build that experience up the hard way via the XR18! The main draw for me was the physical adjustability and just playing with it on the table in front of me suggests I have made the right choice. It's easy to select a channel and then tweak the levels using the main control wheel, and there are four user-configurable hard buttons on the front, one of which I've assigned to 'all but iPod off' - so it's an immediate kill switch for all live stage inputs. When you need that immediate 'off' instantly, the iPad/XR18 can be a real pain! I still don't see why they didn't just include a master vol dial on the outside of the XR18 like they did the XR32. The QSC also has a built in feedback analyser/destroyer, and has up to 10 Aux outs - two of which are already configured for stereo, meaning I can use my stereo in-ears without faffing and without affecting the number of channels available to the other guys. There's also built-in multitrack recording and playback - something else which is a pain on the XR18, and it has wifi (though like all these things, it's flaky). It's still controllable via an iPad, so there's no functionality lost there at all, and I can set up the other guys for their own wireless monitor control easily. First gig soon - will report back!

Yep, they’re great if you don’t already have a drum mic setup. If you have, they’re probably a better bet in the long term.

I play drums, and for gigs where I want to use my IEMS but it’s not going to FOH I do one of 3 things. The easiest is to use a ‘wurst’ mic - i.e. something like an SM57 positioned over the batter head of the kick pointed at the drummer’s crotch. This will give a surprisingly good drum sound which is fine for monitoring. I tend to have my kick mic internally mounted so it’s always ready to go, so I just connect that and use a single overhead too, positioned over the snare. He might want to have a low mic stand, or one of the clamps that holds a mic in place so h could do the same. There’s a cheap Gibraltar internal mount which is easy to fit. Or, finally, you could just point a mic a couple of feet away at the kit. Probably easiest to do but runs the risk of a) getting knocked over or b) picking up too much other stuff. If he likes spending money, the Yamaha EAD10 is an all in one mic/monitoring solution.

Hi Mick, I found (and @Smanth put me on to) these Rotosounds: https://www.amazon.co.uk/Rotosound-Standard-Flatwound-Strings-65-135/dp/B0002GO1QQ/ Took a punt and will report back. They certainly seem the only widely available set for less than the cost of a kidney or so.