kiat

This one? (source)

Good to see a person's name above the shop, it makes it more personal for me.

Been to GAK many times when I had GAS 😁. A dedicated bass room. It was there that I realised new Fender vintage models cost an awful lot of money.......

Do you enable your bandmates to adjust their own IEM feeds (mix, levels) from their phones (over WiFi) or control units (over twisted pair)?

End result. I'm using a very low latency Giga Pro (by "the t.bone", a rebadged Mi-Pro) for my wireless bass signal with the WP-12 getting full stereo IEM from the band mix or playalongs and I can't hear any latency, or maybe I've just got used to it! Design (using Google drawings). I played recent gigs with the WP-12 IEM system and MA400 headphone amp on a tray, but thought it would be neat to get them all onto a compact, fully cableless pedalboard (battery power to 9V and 12V effects and units, 5V USB wireless everywhere except band IEM mixer and FOH. It's a good inexpensive dabble into wireless and stereo IEMs. I'll be interested to hear how you use yours, pros and cons etc.

I just answered here the 3 bass question (first, most practical, most "you") thread and it got me thinking about where I saw and bought my first bass. It was Macaris on Charing Cross Road in London in about 1980. I lived in a flat but was starving, no job, no money and had to sell my beautiful tenor sax* I'd previously spent half a year saving for, effectively making it difficult to fulfil my dreams of becoming a full-time musician. The owner of Macaris apologised that he could only offer me £300 for it, as he could see I was upset, so he said he'd let me have a bass, amp and lead for £100, at cost he said. A Westone Thunder 1A black and a Traynor Bloc80b (which miraculously has followed me over 20 home moves later). Although an unhappy time, it did start me on the road to being a bass player, which I think, by sheer luck, suits my character better. I went back later (in the early 80s still) to get my first and only pedal, a new Boss Chorus. On a recent trip to London I looked out for Macaris and was sad to see the shop gone, replaced with a horrendous building devoid of character. Denmark Street has held out, but the old rehearsal rooms seem to have gone. But a quick browse online today and it turns out Macaris improbably moved to Haywards Heath, which means I'll give them a visit one if these days. * Conn Connqueror 30M "Naked Lady" What shop do you have fond memories of?

* First Bass Owned: Westone Thunder 1A (black, c.1983, PXd at Macaris with my beloved Conn Conqueror "sliver lady" tenor sax) * 'Go To' Bass: Lakland JO5 Jazz Bass 5-string with roundwounds * 'Your' Bass: a 70s Fender Precision with LaBella flatwounds

Hey Mike, how are you up for being one of the team organising this? You know Louth and are familiar with getting here and the general area, hopefully! We don't know eachother (yet) but that could work in our favour as we probably know different sets of bass players. What do you think? Perhaps 3 or more of us organising aiming car/van load each? Maybe Jan/Feb? Anyone else interested? I can organise a variety of amps and cabs on site. Will sound out the general bass bash tips. As a local start I can think of 10 or so in Louth and guess half would come along, maybe more with enough notice and cajoling 😉 (we're a shy lot 'round here).

With one pub/small festival/function band I play with we now use this for rehearsals and gigs. Total cost for the critical gear in these photos, bought new for £95, excluding cables, an inexpensive way of trying out IEMs. What we have now: * all mics and instruments split in the mixer, with copies out to FOH/PA. * all 4 of us, plus occasional guest sax player, gets identical stereo IEM feeds. * All band members can tweak their own IEM booking at source. * each band member chooses wired or wireless connections to their IEMs (mostly we use £5 KZ EDX Pro models). Our wireless IEM system units are an additional £20 for two. * another optional extra each band member has is a £15 MA400 personal headphone mixer so we can add "more me" to the common stereo band mix. * the drummer likes his IEMs so much he wanted a drum mic mixer so I sourced him a 6 channel one with all the cables, so he now presents a L/R stereo feed now to the band IEM mixer, instead of mono kick and mono snare/kit. So far it's working out well, but I can see us getting an XR18 once we get gigging more.

I'm trialling a 2.4GHz wireless stereo IEM system (the M-Wave WP-12) and it's turning out reliable so far for pub and function gigs. Our singer wanted a set so, despite the caution a second set may not work independently of mine, I got one for her and I tested them at home, so far so good, both of ours coexist. That means we'll have two pairs of stereo feeds, enough for the band and/or guests. My new bass wireless system is also 2.4GHz but it's pro gear (the t.bone Giga Pro Pedal Set - a rebadged Mi-Pro), able to switch channels etc and no coexistence issues so far.

@Rich I use the KZ ZS10 PRO X Headphones (No Mic) which were under £20 on AliExpress with a pair of KZ EDX Pro X as a backup (£5). I don't find them that different from each other, but what makes a difference are the (earbud) tips used - "memory foam" ones work better for me than the silicon sets that came with them - and upgrading the cable. Like you I can still hear my bass, with overall sound of the band maybe halved. I use a personal headphone mixer to add more bass into the mix. I use the earbuds when practising nowadays and haven't been using my studio headphones for silent play for months.

How have you been getting on with the IEM mixing @warwickhunt? I'm interested in your progress as the next step on the IEM journey for one of my bands is to go from our simple, analogue mixer stereo IEM setup (common mix plus "more me") to a digital mixer (at this stage, likely an XR18) with the same basic needs to get it all working smoothly.

Honestly, I didn't seriously consider them as the adverts I saw of them were all on cables, and I wanted to make my own, especially as some of my board cables are XLR to TS. When I saw these little beauties, intrigued by the hinge design, I knew I had to try them.😁 Thanks, a design like this obviously isn't for most folks (including probably every full-time professional) who have multiple pedals and/or very pro setups, but I'm focusing on speed of setup and connectivity. I'm also wary power cables can get kicked about on the stages I go on, with my feet, multiple bands etc. Will see how it goes and whether I reintroduce power and audio cables back in.

@itu AliExpress. I've used seven of them so far and they are all of good consistent quality, zero noise. This is my order, to give you an idea of what to search for and anticipated pricing. These were shipped to me in the UK in about a week.

The question to Jean-Luc was about making a stereo cable, his jacks aren't silent.

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?