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JPJ

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Everything posted by JPJ

  1. So after experimenting with the combination of KZ ZS10 pros and X-Vive U4 and generally enjoying the experience, I think I am ready to upgrade the ZS10's to a custom moulded solution as I have, like many, struggled to achieve good isolation with the ZS10's irregardless of the rubber or foam tips I use. I already have a pair of ACS custom moulded ear plugs that I use when IEM is not possible so I have been looking at the various ACS IEM products and I have a question. ACS offer a 'ambient' IEM that includes a port with their 17db filter - the same filter I use in my plugs. It seems the idea is that you only need to feed your instrument into the IEM with everything else on stage coming from the ambient port (or you can feed as much of the rest of the band as you need and top up with the ambient). This would work great for me as both my bands are still reliant on backline and acoustic drums. Given the amount of knowledge and experience on here, what is the collected wisdom on ambient IEM solutions?
  2. Next up in the ‘I have too much gear’ sale is my SWR Marcus Miller Preamp. This is a fully featured 2U bass preamp with just about every conceivable feature including: 1) gain control, mute switch, and input pad (-10db). Two input jacks on the front panel with a switch to choose between them, and a third parallel input on the back panel. 2) The famous (or infamous) SWR aural enhancer tweaked for Marcus’s preferred response, but including a pull to defeat feature. 3) five-band eq including three (low mid, mid, and high mid) semi-parametric mid control foot switchable should you wish to. This thing is a tone monster - whatever you want its in there. 4) Parallel FX loop blend control and foot switchable effects loop. 5) master volume. 6) foot switchable fully featured compressor including controls for threshold, ratio, attack, and release. Push button switch to choose between the compressor being before or after the eq. 7) foot switchable boost with boost control for the level of boost required (subtle for playing under a guitar solo, or max out for your bass solo). 8} foot switchable ‘bass intensifier’ circuit with level and cut-off controls 9) Back panel features a pre-amp out to power amp with ground lift, a DI out to the PA including a level control, ground lift, phase inversion switch and a switch to select the DI source (pre eq, post compressor, or line with everything), effects loop send and return jacks, tuner out, foot switch jack, and that parallel input jack for the full rack mount setup with your favourite wireless etc. The preamp comes with the original four button foot switch that connects with a standard jack-to-jack instrument lead. I’ve owned this preamp twice in its life time, but as its not getting the use it deserves, and as I am drowning in too much gear and not enough space, it’s got to go. Note: this sale is for the SWR Marcus Miller Preamp and foot switch only and does not include the SWR Grand Prix preamp, the SWR Amplite power amp, or the rack case, but if you fancy a deal on more than one item - drop me a pm. Price is based on collection from Killingworth (just north east of Newcastle upon Tyne) but I have sufficient packing materials so the preamp can be posted at the buyers risk and expense. Any questions, drop me a pm.
  3. Keep an eye out for one of the Ashdown Neo combos they made a few years ago. I snaffled one last year and I love it. 400W into the built-in 8 ohm 1x15 speaker (so probably 200W) but loud enough for my Country/Americana band, then I pair it with a matching Neo series 8 ohm 1x15 to get the ohms down to 4 ohms and the full 400W into both cabs - loud enough for my Southern Rock band. Both the combo and the cab are an easy one-hand lift 😎
  4. So even I have to admit I have too much gear these days and its time to thin the herd a little, and first in the “least used must go category” is my Warwick Rockbass Alien 5 string electro-acoustic bass. The bass is pretty much in perfect condition with only a few surface scratches in the high gloss black finish on the back of the beautifully bound body, a solid 9.5 out of 10. These basses are amazing value for money new, and here’s the opportunity to pick one up with a Stagg semi-hard case at two-thirds the price of a new one without the case. The bass sounds great acoustically and will hold its own for the old acoustic house practice. Amplified, it has a big open acoustic tone, and a powerful active Fishman preamp with the controls tastefully hidden inside the sound hole comprising of a master volume and tone control. The bass will come wearing Warwick Black Label flatwound strings that get rid of the horrible finger noise typical of those phosphor bronze strings that manufacturers seem to favour for acoustic basses. The neck also has the wonderful Warwick adjust-a-nut which means you can get a super low action across the whole neck. Price is firm, it’s a lot of bass for this money and is collection only. Obviously, as it has a case and I have a suitable packing box, postage is an option but only at the buyers cost and risk (the bass survived being shipped to me in the case and a box). Any questions - please ask!
  5. So long story short, I first tried a Vanderkley 2x12 cab a few years ago over at Overwater in Carlisle. I was impressed by how ‘smooth’ the cab sounded and it’s been on my ‘itch to scratch’ list ever since. As some of you might know, I have assembled all the components to build a Basschat 2x12 but I’m so time poor at the moment that those components have been moved up to the loft ‘for future use’. So, when this came up for sale relatively close to me, I jumped on it. No chance to fire it up in anger yet, but I can’t wait to hear my Ashdown Geezer head through this 😎
  6. Yes I’ve looked at those but no physical faders, so not what I’m looking for
  7. Well I haven’t ran out of either on the XR18 so 16 in, 6 out plus main L&R out of course. I do use input 17&18 for break music so a similar facility would be nice.
  8. So I've been a (mostly) happy Behringer XR18 user almost since they first appeared on these shores. It does everything I need it to do, and a few things I don't (such as automix) but Behringer's support for the necessary software has been patchy at best (no pun intended) and, following numerous threads on the XR18 user groups on Facebook, it seems there is an underlying reliability issue with the power supply board. Mine lives in a flight case with a Driverack, the router, and a draw for necessary bits and pieces, and I have an X-Touch in a separate flight case as physical faders are much easier to adjust on the fly when mixing side of stage whilst playing. Given my earlier comment about reliability, I am thinking of where I might go next, and I think I'll probably move away from the stage box style mixers to something more conventional. Given that I know and I am comfortable with the Behringer workflow, the most obvious next step is an x32 Compact but the x32 range is getting on in age too, and maybe there is a better solution out there. So here's the question, which digital desk would you move to next?
  9. So as I've said on here before, my rig consists of two EV ZLX15P's and two old Peavey active 15" subs rated at 400W. We put the whole five piece band through this via a Behringer XR18 and a DBX Drvierack PA360, and I seem to get a decent sound out of this setup as I have had compliments from more knowledgeable sound people. The heat that the ZLX's run at worries me (no fan, just passive heat sink through the amp backplate) but for the number of gigs I do (circa 20 per annum) this system is all I want to pay for. I have been tempted by the JBL JRX mentioned previously as a single box per side, but the size/weight puts me off. It does make me think that with the advancement in loudspeaker components (a good 12" now beating an older 15 etc) whether one of our intrepid loudspeaker cabinet designers couldn't come up with a passive solution using a combination of say 8" and 12" cones in a box that is physically large enough to impress the ladies, whilst providing a much better single box-per-side solution (yes I know the subs should be centred, and having tried this, I know that this works so much better but doesnt work in the average pub setting).
  10. For bass, I always prefer DI into the desk. Mic’ing bass cabs live is a challenge, especially where you have limited space. Recording is a different matter, but I’d still take a DI feed, plus at least one close mic, and one or possibly two a metre or so away from the cab. Then mix the three signals to get your desired recorded sound.
  11. In one of my bands the drummer uses a P2 fed from Aux 3 and reports no problems (but then he is a drummer). In my other band our fiddle player uses the same setup and she’s a pro player featuring in the Edinburgh tattoo every year and again no complaints from her. If you have no joy identifying the source of the noise, you could try sticking the RTA on the affected aux out and eq’ing out the worst of the noise?
  12. Most of the older SWR cabs I’ve owned have suffered from detachment and shrinkage of the carpet covering, particularly on the bottom of the cabs. My recommendation would be to remove the carpet, but I’ve done this once and will never do it again voluntarily as it was a complete PITA. I ended up having to belt sand the whole cab to get the sticky glue residue and the remainder of the carpet off.
  13. So are we to conclude you have unlocked the ‘secret source’ of the Wal sound? Does this mean the people at Wal will either: a) take out a contract on you; b) send you a cease and desist; c) buy you out for mega bucks then bury your research? 😂
  14. The majority of gigs I play these days are with a country/Americana band and I use the combo on its own, albeit with PA support.
  15. I managed to pick up a 400W ABM Neo 1x15 combo, quite a rare beast by all accounts, which has turned me from being an Ashdown disliker to Ashdown lover. Paired with the matching Neo 1x15 cab on bigger gigs, I find this combo covers all my needs.
  16. My first proper amp was an Ohm GB60, a horrendously underpowered 60W 1x15 combo with an H&H driver, but a lovely sound.
  17. They are rechargeable as well 😉
  18. What you can’t see is the CIOKS DC7 strapped to the underside of the board which appears to cope admirably with the kit above.
  19. Sure, here’s my bijou little ‘does it all’ board, used with EUB, and fretted and fretless electric basses. Wireless from the basses, hardwire for the EUB, with the SansAmp and the Plethora X3 in the effects loop of the EBS Stanley Clarke pre. DI out from the Stanley Clarke and amp feed via the Micro Thumpinator.
  20. Just posting this because of how constantly amazed I am by the little TC Electronics BG250 208 combo, especially with my NS EUB. Wife was out yesterday so they both snuck into the lounge in her absence and it was a great opportunity for a photo 😎
  21. Thanks Bill, I’ve found the same by experimentation ( in other words lots and lots of failed attempts) 😂
  22. Companies like GR using sandwich construction will most likely be using a pre-preg (pre impregnated) carbon fibre mat cured in a vacuum oven. There are some air curing pre-pregs available but they are eye wateringly expensive and you still have to think about how you are going to finish it to seal it against moisture ingress. Alternatively, you can buy carbon fibre sheets either as pure carbon or foam cored from company’s such as these (no affiliation) but then you have to think about how you are going to construct the cabinet, oh and carbon sheet isn’t cheap either.
  23. Funnily enough my NS NXT has dots all over the fingerboard. I try not to look because there’s too many of them and they put me off. Oh and no lines on my fretless P bass either 😉
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