Gunsfreddy2003

Turns out that the IEM transmitter actually has dual jack/xlr inputs and I didn't realise! Hoping to try the xlr cable this weekend and see if it sounds better.

Yeah I agree what you say about money doesn't always buy the best sound but surely with two seperate drivers and one for bass only the laws of physics say that it should produce more bottom end? Have e-mailed ACS to see what they say. BTW checked the IEM manual and it says that it is a dual jack/xlr input - doh. Never seen one before but will try and see how the cable fits when I have 2 seconds. [quote name='Monckyman' timestamp='1337593136' post='1662312'] They should sound better yes, but it`s all relative. I`m really quite happy using £40 sennheisers for drummers on IEMs so long as the mould they sit in is good. I can only really say what I said in the other thread about IEMs and quality, which is if the ATs sound good, then use them. Try not to get sucked into the £100 more gets you x10 the quality, because it often doesn`t. Re: your other thread about balanced to unbalanced xlr to 1/4 jack, have a look at the manual and check if the input on your transmitter IS balanced, because it matters and bottom end is where it matters most. I`ve been where you are now, running around in circles trying to pin a problem down, but my advice is get the input sorted properly, before you worry about the phones. MM [/quote]

Ok will try that but they certainly feel like they are in properly. I'm not wrong in thinking that these should sound stacks better than the AT buds am I? [quote name='Monckyman' timestamp='1337554282' post='1662025'] Only thing I can think of is you aren`t getting a good seal with the ACs and for decent bass response that`s essential. Or, they aren`t seated right in the mould Try slightly warming the moulds to make them a little more pliable and once you have the ACS inserted, gently squeeze all around the seal area. MM [/quote]

Anyone able to help - this is driving me mad!

Yes I did. I have an xlr to xlr cable that goes into the desk but the input for the IEM system is jack only so thought that a mic cable would work being xlr to jack. I was obviously wrong! [quote name='StraightSix' timestamp='1337545314' post='1661821'] I thought you said you tried an XLR-XLR cable and it was quiet so I guessed you already had one...? Also, IMHO an XLR-Jack cable is not a 'standard' mic cable - almost all modern decent mics should be low impedance so XLR-XLR cable. [/quote]

Cool at least I know now. OBBM can make me up a balanced one so will get that next week and should solve the problem. [quote name='StraightSix' timestamp='1337544389' post='1661797'] The XLR-XLR cable is balanced as EH says but the XLR-Jack cable is unbalanced so it is introducing noise. There's your answer. If you have a balanced output, you should always use a balanced input where possible. [/quote]

I did wonder if it was the cable, so used it to plug a mic into my bass rig and not one bit of hiss or noise. I think that you could be right about it not being balanced though as that seems to be the only difference. [quote name='EdwardHimself' timestamp='1337544150' post='1661789'] What is happening is that the signal from the XLR-XLR cable is "balanced". That is to say, 2 signals have been sent out of phase from the DI to the mixer, which then puts them back in phase. This means you get a louder signal, and most of the noise picked up by the cable is cancelled out. Sounds as if there is a lot of interference coming from the cable somewhere if it is buzzy, or it is just a crap cable. [/quote]

Mono I believe - it is the same as my guitar cables. [quote name='BigRedX' timestamp='1337539358' post='1661660'] Mono or stereo jack? [/quote]

Messing around with my IEM system today and something perplexes me. If you take the Di out from my amp to the desk (so xlr cable) you get a nice clean and strong signal. If you use a standard mic cable (xlr to jack) and plug direct from the Di out into the jack socket of the IEM system then it is really weak and buzzes like hell. Is this something to do with the type of cable?

Ta! [quote name='Clarky' timestamp='1337535280' post='1661561'] done [/quote]

So the saga continues - last year I bought some T15 monitors from ACS and fitted them to some standard ER15 moulds that I had already. The bottom end on these was awful to say the least so after speaking with ACS they were brilliant and offered me a full refund and a cracking price to trade up to their new T2 Live dual driver monitors which are a top mark moulded in ear monitor. I had these delivered a couple of weeks ago and have been trying them out at home and at rehearsals. Problem I have is that the bottom end and general sound seems much better from the standard buds that came with the Audio Technica IEM system. Why is this? Are the ACS tuned towards vocalists? They certainly seem louder and brighter with more top end but as a bass player that is not really what I need! I would have thought that with a separate low end driver there would be much more bottom end than with the AT buds but certainly not the case. The guys at ACS said that the dual drivers produce loads of bass and they would be more than capable of giving me what I need but this just is not happening. This afternoon I A/B d the ACS monitors against the AT buds and then ran the same settings on the bass straight into my rig and I would say that the AT buds were a much closer reference of my actual bass sounds than what I was hearing through my ACS monitors. It seems such a shame to spend the money on these and then end up using the standard buds that came with the system. Surely this isn't rights? Am I doing something wrong? Any advice tips or other experiences gratefully received.

Our Facebook page is: https://www.facebook.com/pages/Soular/252144181511641 If anyone wants to " like" it would be greatly appreciated. If you want to hear what we do the link is below as I can't seem to get music on our FB page! http://soundcloud.com/soular-funk Cheers [quote name='Clarky' timestamp='1337500134' post='1660825'] Done Kirky! If anyone wants some mutual backscratching, please put your FB link on your post (eg, gunsfreddy I can't find your page) [/quote]

Done! Can anyone tell me how you get Music on to your Facebook page like Clarky has done and also add the gig dates like that. Ours looks quite sh*te in comparison.

Agreed. I found that with the Deep Impact it sounds great at home but in a band setting loses a bit of the bottom end but by using a Boss LS2 I just dial in some dry signal and hey preso great synth sound with plenty of bass. Not having the problem with input signal it works just as well with my passive jazz as it does with the GB Rumour which has a really hot output. Back to the OP there are loads of great pedals you just have to find the ones you like and more importantly where you can use them to make the song better or different. [quote name='crez5150' timestamp='1337197434' post='1657095'] Think a lot of people over use the effect... too much effect. You only need a little. My pedal board is mostly based around synth sounds which work really well but you have to take time getting the balance between the effected signal and bass for it to really work. [/quote]

Ha ha - in that case I am glad that mine is proper f***ed!! [quote name='brensabre79' timestamp='1337089531' post='1655199'] Yep, any of the combinations mentioned above are possible. Mine, 4 bolt neck, bullet trussrod, large serif text. The body is a '73 and the thumbrest is on the E side.. Fender were just using up bits for a while during the transition. It is also worth mentioning that a considerable number of instruments from this period were not very good! So if you find one in immaculate condition, there's probably a reason why it has not been played much (dives for cover) [/quote]

and I know which one I would buy given the choice! In my mind a 74 should have a four bolt neck and no bullet truss rod!!

My '74 has the thumb rest on the G string side and a four bolt neck! [quote name='jezzaboy' timestamp='1336988832' post='1653496'] According to The Fender Bass book, aka "the bible" 1974/5 "The thumbrest is moved to the bass side of the body.Like their rosewood counterparts, Jazz bass maple necks are given pearl block inlays and white binding. Prior to that, maple necks were bound in black with a black block inlay. Three bolt necks are the norm on Jazz basses and installation of black pickgaurds is being standardized on all models." So there is is a good chance that it could be legit but as the guy has previous..... Jez [/quote]

Agreed, I have never seen one before. The thumb rest position is also a bit weird as I thought that it was moved to above the E string from 75 onwards? [quote name='Clarky' timestamp='1336978734' post='1653321'] My bad, but I'm not sure I've seen a combination of that larger logo and a three bolt before [/quote]

Saw this today and alarm bells rang straight away - lots not quite right with it. [url="http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=261023097792&ssPageName=ADME:B:SS:GB:1123"]http://cgi.ebay.co.u...ME:B:SS:GB:1123[/url] Should someone tell him?

Really interesting insight into the music business and just how hard it is to get by on your own let alone support others. Would be keen to know who it was you were playing with? Sad fact of life that you have to be really, really lucky to make huge amounts of money from music. I sold out and followed the traditional route of getting a decent day job years ago. Do I regret it? Yes sure I do sometimes when you think what could or might have been but equally when I look at some of the great players that I have been in bands with (far better musicians than me) and see that they now don't have two beans to rub together I think that I just might have made the right decision. That fact is compounded by having a very young son and another on the way in two weeks, you can only give them the life that you want for them if you have some money coming in regularly. [quote name='shizznit' timestamp='1336552147' post='1647236'] When I was working for the label I was the only guy in the band that was single. The other members had their own families. My absence from home was never a big issue for me, but it was quite tough for the other guys. Nobody likes to be away from their families for a long period of time and it is important to get as much support from your partner/spouse as possible. Whenever we were arguing with each other the stem of the emotions usually came down to home sickness or an unresolved problems back home that couldn't be solved over a phone call. For example....my singer missed his youngest boy's 1st birthday and missed his wedding anniversary 3yrs in a row, my guitarist's wife was involved in a car accident whilst we were in Portugal one time. Luckily, we never spent anything more than a couple of weeks away on tour and our down time was quite often very extensive (mostly down to our moronic management and promoters). Despite having a pretty light tour expectation the time away from home was particularly tough for the other guys. Management teams at a label will work you in a very different way to a 9-5 office job. They will book you for gigs and media commitments despite of your personal commitments. You can't call your manager to ask to cancel a gig in the same way you can ask your manager in the office for a day of annual leave on short notice. You have to consider that if you are a 5-piece band and all of you wanted to block out the schedule for a day off on your birthday, your partners birthday, your kids birthday, anniversaries, a holiday abroad with your family, every public holiday, taking the cat to the vet...etc...you won't get much work done. The label decides when you all have down time and thats when you get to spend time with your family and friends. Its a hard business to work in and it takes a lot of commitment not just from yourself, but everyone around you to support your career. But, there is one very important thing...you have to make money! If you want to write and perform full-time you cannot rely on selling a few t-shirts at a gig to pay the bills. It’s the reality of dividing delusion of grandeur from business. When folks hear that I was a full-time signed musician they go "wow!'" and I reply "big deal"...I really don't have anything to show for it. We had a lot of fun...we really did, but our enjoyment came at a price and we entered into the world of music a but short sighted. After only 18 months of being signed we jacked it in because despite of the constant touring for several years leading up to our deal we were not making enough money to support our families and damn near bankrupted all of us. All of this could have been different if we were an overnight hit, but we weren't. Very few bands get that instant success and sometimes takes years of hard work and sacrifice to build any kind of success whatsoever. I'm not saying that this will apply to every band...if you are instantly successful then all the best for the future...enjoy it, but remember that a very small percentage of bands get signed and even fewer gain enough success to make any significant money for themselves. [/quote]

Agreed - I remember watching this on Cliff 'Em All and being gobsmacked, it was like nothing I had ever seen or heard before. Just so cool even all these years later - I loved Cliff! [quote name='Skol303' timestamp='1336581653' post='1647941'] For sheer ballsy, "****-the-twiddly-stuff-gung-ho-ness" - and for inspiring me to pick up a bass as a sweaty teenage metaller - I'd have to say one my faves is Cliff Burton's Anesthesia. It's messy. It's not especially technical (albeit tricky enough for me!). And it probably sounds quite cliched nowadays. But damn, did it ever rock my world when I was an impressionable youth...! Can't really say that I'm a huge fan of Metallica these days, but Cliff was - and perhaps still is - one the best metal bassists of his generation, IMHO. [media]http://www.youtube.com/watch?v=cK2hruTkUVA[/media] [/quote]