Dood

https://www.tcelectronic.com/product.html?modelCode=P0CIU Just checked my browser for you and I can see the kit. Here's the RH450. Though I have to say that the search on the TC site has been a bit questionable at times in the past.

Yes, that would be the most basic way to do it. Annnnnnnd it’s stereo! In my video I explain that you could feed the Zoom output in to the PA and mix the sound with an IEM mix too (mono or stereo depending on your gear) or, as I did for a gig last night, I sent the IEM mix and the Zoom mix to a personal mixer in front of me and that connected directly to my in ears. This allowed me to retain a stereo ambient mix with a mono IEM feed. Mix to taste.

Absolutely! Like the amount of strings or what amplifier the bass is plugged in to.

Vocal microphones are often cardioid to reject ambient so the benefits are very limited. I've even tried the method using the drummer's overheads, which works a little better but not as effective. A dedicated system designed to pick up ambient sound (in stereo) will "pay for itself" in a very short time. This is by far the cheapest and simplest method to implement, furthermore, one of the benefits is that the ambient sound is coming from where you are stood and not spread across the entire stage, meaning you actually feel more connected to the sound you are hearing. A side effect is that you can hear your cabinet sound behind you if you are also using onstage amplifiers. Oh and proper, well mixed IEM mixes, in stereo for the win.

Yes thank you! I have actually much updated the "system" that I've been using for many, many years now and will eventually get round to shooting a video for it. Here's the original:-

Another quick pointer: I don't use any wireless kit for my current gig. I put the money that would have gone on decent wireless gear straight in to a much better set of IEMs and a wired headphone amplifier.

If you are using ear plugs, I have a clever trick, but it will mean balancing the sound should you have monitors on the floor. I use moulded ear plugs and have different filter values I can swap out. Should I be doing backing vocals and IEMs aren't available the trick is to choose the filter that allows you to hear your own voice inside your head with enough volume coming in ambiently to pitch with. Furthermore, I'd pitch to my bass guitar (don't try to listen to the singer and pitch to them) meaning my own pitching was a lot better. As soon as I started using this method I received compliments on my backing vocals! These days we use IEMs and, whilst I am currently not singing, we do have a complete mix in my ears ready for when I do.

Like a drummer using brushes or lightning rods? Then yeah. Ramps, like plectrums are not a crutch to "fix" anything, despite what many a naysayer has projected.

Headless, check, zero fret, check, ramp, check, active pickups, check, garish finish, check, unusual strap mounting method, check, too many strings, check, plays with a pick, check, chords, check, tapping, check, too many notes, check, uses effects, check... I am going to hell, obviously!

Although you can rest your thumb on them, that's not really what ramps are for, otherwise bassists would just use a thumb rest, which looks prettier than some ramps I've seen stuck on instruments.

I love how these encapsulate the pickups too, because, let's face it, black rectangles aren't that exciting! Let's put the engine under a tidy bonnet!

Like MacDaddy above, my basses have adjustable ramps that can be wound all the way down out the way if necessary. In fact, it was a design I put forward to Shuker along with the series 2 body shape that has been in production ever since. YAY!

This is an interesting discussion and, to muddy the waters further in regard to running plugins on hardware (or indeed running any firmware on dedicated hardware): I had a long discussion with a brand a while ago about two pieces of hardware they were selling. Both devices appeared to have the same menus system and library of effects. The more expensive device could run three effects at once (a physically larger unit too) whilst the cheaper and much smaller device could run five. Did this make the cheaper device the better unit? Despite the architecture being similar, the "programs" running were less detailed and presented less load on the processor in the cheaper device, thus it was able to run more "effects" at once. To misquote Mr Malmsteen, sometimes "more is more" is, well.. not.. My take away.. Early hardware just didn't have processing power to do the work and the software algorithms (such as Neural learning) just didn't exist to the extent that it does today. This resulted in lower quality effects in comparison (but let's not forget this was cutting edge at the time!!) The best hardware in the world doesn't guarantee a faithful reproduction of the analogue world, the software on board is as important, if not more so. Trying to squeeze a big processor in to a little box is difficult and costly. I am sure there's an equivalent to Hoffman's Iron Law when it comes to DSP, "size", quality and cost! Eventide's H9000 springs to mind. That said I am truly astonished at what is being created in open source world. "Steve Ack";s Neural Amp Modeller plug-in is absolutely incredible.. the developers around this desktop application aren't taking any payment for it and the Neural models people are creating are just superb.

Comparing my 4k raw video and WAV audio with the YouTube version always makes me a bit sad. I get it and the reasons why it is this way, but having put so much effort in to the nuances of the sound and visuals, viewers aren't getting the full "effect" if you excuse the pun!

Also, have you tried (naturally) a different set of earphones in the same fault finding scenarios? That would have been my next move.

The Behringer PM1 is passive and thus it won't distort in the same way that the HPA, so, if you are still getting horrible distortion with the PM1, it's not the headphone amp at issue. So, it will either be the gain stage at the output you are connecting HPA to or the "IEM"s. Can you tell if it's source distortion or the earphone distorting? It's a very different sound.

Not at the time, but the architecture I suspect is MIDI compliant even if it hasn't been implemented... yet. I am certain Super Pre has a lot of miles left on the clock knowing the DSP on board.

I know that my post recently has had a few people asking what they can do to help - and, I'm not very good at asking for help if I am honest! But there is something that I've been struggling to find time to do and wondered if I could ask for BassChatters help? The list above is just a small selection of the hundreds of reviews and bass videos I have created over the years. My Bass Player and Bass Gear reviews are still live on the magazine websites but there rest are really just being left to die which is a shame as lots of people buying gear can make use of them. Would someone like to take on the task of creating a BassChat review post of each of the items in the list above? (I've provided links but I don't have time to create the posts). It would be really great if my articles from Bass Plater Magazine:- https://www.guitarworld.com/author/dan-veall (sadly not many are listed here) could be shared over here on BassChat too? @ped, maybe this si something that can be automated? Seems a shame to see this thread die and the information be lost. Thank you everyone x

And thank you SO VERY MUCH for the kind words about my review videos. I work really hard on my own to create them and wish they'd have gotten a much larger audience than many have, because I see people asking about the gear I've reviewed and know nothing about the videos and detailed magazine write-ups! GAHHH!!!!

It's a superb amplifier, really like it. The compressor I'd say is actually more like a studio use compressor (even though SO many brands call their onboard devices 'studio compressors', which I understand as they are talking about the quality of the design versus it's operation). So, what I mean is that it's good at taming dynamics in a subtle but effective way. It's not an aggressive sustainer on its own, if you're trying to get Billy Sheehan type effects from it. That said, piledrive it with a big fat bass distortion and you'd get that brick wall effect from it riding the amp gain high. I liked it to be almost invisible, just grabbing the peaks. IIRC it's a 4:1 comp, but I'd need to look at the manual to remind me. As for the fan, well, it's the same with any "high powered" D Class amplifier in a small box. The heat has got to go somewhere and forced air cooling means that large heatsinks (and thus bigger boxes with more air space) can be done away with. The fan will kick in and you will hear it if you are in a silent room / studio control room. Some will find it annoying and get their knickers in a twist, others will appreciate that an amplifier designed for the stage in a little box is going to have a noisy fan. No one complains about the noise of an F1 car on the track, but you would if it was sat outside your house every day. blah blah... I didn't;t find the fan noise to be massively intrusive in the review I don't recall. I actually have more issues with my iMac fan bleeding in to the very sensitive reference Lav mic I use.

There’s not been a great deal of activity on any of these links, so, fair enough, I guess there’s less interest than I’d hoped. Don’t worry, it’s all cool and just life. I’m not young/pretty/click bait enough I suppose. It’s likely I’ll let these links go (not that GI mag ever really pushed them anyway) along with my 7 string and a bunch of other stuff over the next few months. Sad to say, I’m just exhausted with everything. I just wanted to say thank you to everyone who has said such kind words.

Positive Grid's Bias FX has been offering Guitar Match for many years now, long before Neurals plugins were a thing, but, AFAICR you can only select their guitar options, but you do get the option of a Precision bass or a Dingwall Combustion.

I also use the Beyerdynamic DT770 Pro. I like the 80 ohm version as it's most suitable across my devices. They are great for ambient noise rejection, they are reasonably light weight and don't give me sweaty ears like some cans do when wearing for long hours tracking bass. Sure, if you're mixing in cans, or wanting audiophile, you might look at an open back, but these have been reliable for many years and still look like new. Sometimes I use my IEMs, I have the 62 Audio A8, eight drivers per ear, but they are mostly for on stage and the DT's are much closer to hand in my studio. That said, most of the time I have the luxury of being able to run through my studio monitors (like right now) and enjoy the rumbles they bring! Actually, I wouldn't;t mind a decent pair of earphones for when I'm out walking, something light weight, sound great and will stay in my ears! Most, nay, pretty much all 'universal' and foam tip in-ear buds don't fit. Maybe I need a nice set of stylish over-ears!

Sorry for the delay folks, but here it is, my full and detailed review of the Bergantino Super Pre! No Shred, No BS, Just Bass ❤️ https://www.bassgearmag.com/bassic-review-bergantino-audio-systems-super-pre/