kiat

I've been using inexpensive wireless bass and IEMs systems together in pub gigs for a few months with no problems. I've would hope the more expensive systems in the OP and comments would be even better. Just added a pro, rebadged Mi-Pro wireless bass system (the t.bone) recently and been testing 3 wireless systems on my new (and first) pedalboard, all coexisting without noticeable noise. * 2.4GHz variable - bass guitar * 2.4GHz fixed (afaict) - stereo IEMs * 5.8GHz variable - pedaboard to amp

My first ever pedalboard which I'm really chuffed about. It's been a long, long while in the planning, but now reality and just a few days old. The design goals prioritise cableless audio and power, rather than lots of individual pedals. My board will be used for pub/function gigs, trialed yesterday at a pub jam and worked a treat. Only one actual audio processing pedal on it! Will be interested to hear your thoughts and ideas for similar. Hope some of this is of interest to others here. Fully cableless: * Powerbank powered, no mains at all * Wireless bass (signal in) * Wireless IEM system (stereo mix out to IEM earbuds) * Wireless DI (Post) to stage bass amp (signal out) Optional wires: * DI to band IEM mixer (Pre out) - the band IEM mixer also splits all incoming signals so that FOH can take my Pre signal from there, if desired * band IEM (stereo mix in) to headphone amp * DI to FOH (Post out) Functions: * Wireless bass, stereo IEMs and hot signal to amp * Separate bass signal out to always on tuner * When my bandmates don't use a band IEM mixer, I can still mix in my own Pre signal to my IEMs to hear myself optimally - and if they do, I get a mix feed, stereo or mono back by cable to my headphone amp, mixed with bass Pre to my IEMs * Both Post and Pre options for DI * USB hub underslung and powered by the powerbank * The whole board and all three pairs of battery powered audio devices (transmitters and receivers) lasts at least 6 hours, currently. I'm basically a multi-pedal guy and am not don't have a lot of time to perfecting sounds. When I need a sound I use or create one close enough that I'm happy with and my bandmates or sound engineer can tweak my amp or FOH. This Valeton GP-5 came today and completed my board. If I really, really need a particular pedal (had early lust for the new MXR synth pedal!) it can replace the GP-5 for the gig. My bass has a custom extension cable with a Neutrik silent right-angle jack to Neutrik female socket - connected to the wireless transmitter. Using a Thomann Finally, my cables are custom made (do the majority of us do this?) where I used very compact, low profile asymmetric TS jacks with a single screw and soldered with Sommer Tricone MkII cable which is a perfect fit. Here's a size comparison with a HiCON J63MA05.

I've been (pub, function) gigging with my B3 these past 12 months and it's been a godsend (every basic effect I need and an integrated DI). However, I've decided to go my first pedalboard (power, wireless guitar, wirless IEM, DI, dedicated tuner) and the B3 won't fit on my compact design, so I've ordered a Valeton GP-5. But I'll continue to use my B3 wherever possible, including for experimentation whether the patch ideas and settings end up on the GP-5 as well. Tips that work for me are: assigning patches to single pedals (Compression, Octave, etc) as well as the multi-pedals. using the DI which can do PRE or POST (depending on the gig and band, I use PRE when DI'ing to IEM headphone amps and POST when DI'ing to a PA/FOH). preserve the ability to restore patches and their settings to their factory setting - otherwise the only way to do it is to reset the entire unit (the factory settings have to be first saved to an attached computer and reimported via connected Edit&Share B3 software). keep full batteries in it as a backup, but run it off power don't drop your B3 (again)! On the outside it is built like a small tank, but inside it is not - my battery holder shattered into 3 pieces and only careful supergluing got it back working, avoiding having to hunt online for a replacement part (had little hope they are still being made or even a published model, 3d printed).

True. It depends if the solution solves a specific problem and if the tradeoff for a player makes it worth it. For me it does as: I have an active bass and it helps having a wireless transmitter (dongle or, later, a body pack like that with Mi-Pro M58) that is tucked away from the guitar jack socket and not swinging around etc. I prefer having a Neutrik silent jack on my bass irrespective of the length of cable I need to use - this way I only need to buy one of them. Nice, would that be two jacked cables into one stereo socket?

You certainly have done your bit! Plenty of these new MXR Bass Synths purchased in the UK since all the retailers have sold out. I've got a Zoom B3 so only 3, but I do want to try and emulate bass synth sounds and that, from what I can glean from those who do it, is to use 4-5 effects to do so (Drive, Fuzz, Octave, Compressor, etc). The MXR is out of my budget atm.

Just did this and the latency differential seems really high, at 14ms. It just does not feel like that when playing and listening. Same in a band setting with the singer also using the 2nd reciever. Hmm, maybe our ears are out or there's an issue with Ardour's selection calculation if the range is in the milliseconds. Test rig: Phone playing Footloose (its fast and better than listening to a metronome!) using Moises just bass and vocals but with added autogenerated click track USB-C out to a minijack splitter one stereo to mono cable to input 1 on an Audio Interface (Scarlett 4i4 3rd Gen) one stereo to mono cable to the M-Wave WP-12 transmitter. Receiver into input 2.

At rehearsal last night the lead singer shared my stereo mix on the 2nd receiver and was blown away at the portability and audio quality for the price. The XVive U4 is a little to heavy for her performance style, mono and relatively pricey, given we are just starting out getting paid gigs. I cautioned that multiple sets together might well have issues (being able to purchase extra receivers and they only have a scan button, no select, I reason makes that likely) but she wanted one anyway. I guess as she can always use it with her other bands and it's not breaking the bank.

Just sharing an idea others have no doubt had, but I could not find when searching here. A simple addition to my gear to make any instrument cable silent (and right angle). * Neutrik silent right-angle jack * Sommer Spirit XXL instrument cable * Neutrik locking jack socket I got to this point having gone down the rabbithole of switching to IEMs for myself and one or more of the bands I play in. Specifically assembling dual cables into one: instrument out, mix to IEMs back. This adds a bit of effort initially but pays off with reduced cables and keeping them as a set (I have a similar cable from my multi-pedal to the personal headphone amp, so the wired IEM signal flows alongside the instrument signal route).

Or a spare (I've been using it that way)

I don't know how to measure latency accurately yet, but it's the lowest latency wireless system I've experienced from all the low cost ones (including a mate's XVive U4) using my bass and paying careful attention to plucking. It seems instant, so I assume closer to 5ms than 10. Have just had an idea for a test rig: bass wired into my 4i4, record into Ardour and out to the WP-12, transmit to receiver, then out into my laptop and Ardour again and compare the waveworms. Somehow subtract the 4i4 and laptop latency. Sound ok as a plan?

Who's got one of these Valeton GP-5? I'm looking at getting one, partly because of the 9 FX chain (my Zoom B3 "only" does 3). More basschatter feedback would help me decide!

Snap. I bought my old Precision from a guy with at least 40 of them...

Took delivery of an M-VAVE WP-12 IEM system yesterday from Aliexpress for £22 (https://www.aliexpress.com/item/1005008801254116.html). Use case: I'm exploring IEMs as a player and also for the pub cover bands I'm in. Outlay is a consideration and I'm focusing on simplicity to get everyone familiar and onboard before pulling the trigger, if ever, on pricey gear like an XR18 and Mi-Pro MI-58RT. Very pleasantly surprised by the quality: good tone, lack of hiss, imperceptible latency, rubberised plastic casings. The design is good too: it comes with a second IEM, the transmitter is also a charging station with it's own larger battery. The batteries of both the transmitter station and the IEM units last for at least 3 hours. So far so good, time will tell and I'll come back for any updates.

Hi, did Julia get back to you? I've a B3 and would love to try the settings. And have you seen the newly released MXR Bass Synth, shaped and promoted by Ian Allison? I'm sorely tempted but its a lot of dosh.

As a covers band player with a Zoom B3 multipedal this is the only pedal I've been tempted to buy, very tempted. In the USA its $270, that's about £198 at today's exchange rate - but £289 everywhere in the UK. That's a big mark up in MRP. That Ian Allison promo video is exceptional - he's unique! Very talented, direct and likeable.

Good to hear about that experience 2.4GHz v 5.8GHz. I wonder if the costs are higher with the electronics, as Xvive are charging 10-20% more for the 5.8 version in the UK.

Am curious too. I've had a J-Tone about a year and not changed these settings since I fitted it.

Is anyone using this Behringer MX882 mixer/splitter (or similar) at the heart of a band IEM solution? Interested to hear about your experiences with solutions like this. Mine arrived today and it's very promising for my use case: a cheap, easy to use reliable starter IEM solution for small bands. It provides a split for each signal (vocal mics, 2 drum mics, guitar bass) to FOH and a common mix from it's twin XLR main outs to this simple multi-headphone amp powering 4 x IEMs, wireless or wired. When I route the main XLR outs into my Scarlett 4i4 XLR ins I set them to route to the headset out (3/4) and connect that with a TRS cable to the headphone amp. Because there are 4 line outs on this audio interface I can create two extra stereo pairs for extra IEMs. And can record the whole lot live over a stereo mix to my laptop (Linux with Ardour using Pipewire). Any band member can add more of themselves with these personal monitoring amps that they use to split their own signal before it gets to the MX882. The IEMs we're trying out are the inexpensive KZ EDX Pros, in keeping with the low cost as we are experimenting with our first foray into IEMs, with a view to upgrading everything as and when.

Any recommendations for my playing situations? Which are (a) pub cover bands, (b) jam nights and open mics, (c) rehearsals and (d) home learning and practices. I'm on a budget and looking at £300 max for systems with no latency issues and reasonable audio that doesn't break up or sound shitty on the low strings. A little hiss would be ok. I'm looking at an XVive type system for (b) and (c) and a rackable system for (a) and (d)** A wireless system might come in handy as I've just got an analogue splitter/mixer to use as a band IEM mixer and we all need to get feeds from the headphone amp it feeds. **though I've got a wired setup as a backup with a MA400 personal monitor amp fed PRE from my pedal's DI out and POST into a DI box, which feeds my stage amp. FOH can take the PRE or POST from either thru port. I've read mixed reviews of the XVive U4. A sax-playing mate has one, but she doesn't like the cut-outs in a busy gig.

Could you post a link to your Lekato model?

Has anyone tried direct alternatives to the XVive U4/U45, ie with a small rechargeable transmitter with XLR or 1/4" connectors?

Great thread! Came here to find out more about Dee Murray having been gobsmacked at the beauty and complexity of the Crocodile Rock bassline that I'm learning verbatim for a covers bands. Just listened to that Madman across the Water video - astonishing. I didn't know they played that kind of music. Up to now, I've only been familiar with Elton's pop output. Thanks for starting this thread OP. I'll listen to more Dee Murray.