largo

Welcome to the club Just Deek to convince now, I'm sure if The Police reformed Sting would play a BF Two10 or One10 stack.

So, how does your drummer hear you when you ditch the rig?

Not sure if it's a fair comparison comparing our little 10" speakers to your mighty 15's Deek. But happy to meet up sometime soon. Let me know as my gears all kept in the trailer so I need to bring it home with me. Cheers.

So, this SLED technology is just snake oil? Claims none of the low-end loss that normal ambient ports would have... [url="https://www.youtube.com/watch?v=P7ieOF7OjKw"]https://www.youtube.com/watch?v=P7ieOF7OjKw[/url]

I read a lot of the IEM thread and completely appreciate the no-no of removing one ear plug. Funnily enough, I noticed Sting playing on the Jools Holland show a couple of weeks ago and he was only wearing one IEM! Would one IEM & an earplug to reduce stage volume be an option. Maybe a daft question, but maybe not too daft! I have custom moulded ACS earplugs I've worn for years. I also appreciate the absolutely no ambient ports comment too, however the SLED technology doesn't just seem to be an open port rather reducing all frequencies by the same amount like good earplugs. From what I can gather, the 64Audio & JH IEM's both have an ambient port option that does similar. Should I steer clear of these too, as a bass player? Personally, I'm not sure it's going to be practical to setup another one or two ambient mics just so I can hear a bit of what's going on around me. I know this is the ideal. We'd definitely do that if they whole band went IEM, but it's not going to happen (at least in the short term) with just me being IEM, so I have to find myself a solution. Thanks for the suggestions so far. BTW, I can get the AM Pro re-shelled as well if I decide to go custom moulded at some point in the future, although only go to a triple driver!

After a few gigs using my Shure SE215 headphones as IEM, I'm looking for a bit of an upgrade. I like the IEM concept but have discovered a couple of things. The SE215 being a single driver doesn't give the greatest bass response & I feel pretty isolated when wearing both IEM so I'm forever taking one out between songs etc. Not sure I can justify £800ish on custom moulds at the moment, so a bit of Google'ing through up the Westone AM Pro series at [url="https://www.westone.com/store/music/index.php/universal-series/am-pro-series.html/"]https://www.westone.com/store/music/index.php/universal-series/am-pro-series.html/[/url] Fairly new, but has anyone used them? Dual or triple driver is available, so that's the bass response (hopefully) covered and a -12db ambient port so you can still hear the onstage noise albeit reduced. Around £350 so expensive but worth it if it ticks all the boxes. Anybody?

I'm not sure if you're having a laugh or taking the p***? I did a quick Google image search before posting my comment & the TH500 amp has a knob with Gain written above it. That's the control I mean.

I've not worked in distribution, but guess they are handling more than a single companies goods. I see Westside Distribution do both Mesa & Martin guitars, so how come the Martin guitars follow the £ = $ rule but not the Mesa gear. Surely both require similar company infrastructure, perhaps the only thing being different is the warranty. It still seems to me like Mesa is marked higher in the UK/EU than other US musical products and I wonder if it's being set by Mesa themselves as an MSRP.

Fair enough, but my experience from buying US products has always been close to paying the same in GBP as you would in USD. A US Fender Precision is about $1350 from Sweetwater & about £1350 from Guitar Guitar. A Mesa Subway D800 is $699 from Sweetwater & £849 from Bass Direct. Personally, I think someone is making more than their fair share on the Mesa gear coming into the UK.

They are very expensive but, in my opinion very well built and sound great. Not sure if Mesa would be considered value for money however. The distributor prices have increased by 20% in the last couple of months too, probably blaming the weak pound but I'm also perplexed why the US prices are so much cheaper than UK, even given exchange rates. I could almost have got a cheap flight to the US and "smuggled" my Subway amp back for the extra it cost me.

So, have you tried pushing the gain up to 1 or 2 'o clock and driving the amp a little more?

Personally I'd be pushing the Gain until almost clipping & with most amps, that would be 1 or 2 'o clock. 9 'o clock seems awfully low. If you need punch I'd try dialling the bass or low mid to 2 or 3 'o clock. I know that all depends on the bass in question, preamp etc.

Haven't played a TH500 so can't make comment on that. Have to agree that old-skool amps do the punch thing better, or should I say you've a better chance of success. Both my old Ashdown ABM & Mesa Carbine M6 amps have had this in abundance. Fortunately, just got a Mesa Subway D800 and this has plenty of the same but got lucky on that one I guess. You have tried turning the bass tone up on the amp? Personally I used to be wary of using too much of the tone control on amps, trying to stick between a 10 'o clock to 2 'o clock range on all the dials. Now, not so much so. I'm happy to roll the bass to 0 or 10 if that's what's needed.

I priced up a flight recently to Toronto from Edinburgh at £360. I have relatives that live there, but I was seriously tempted to buy a Mesa Subway amp while there and what I saved buying in Canada would almost cover my flights. Probably not what you want to hear though.

It'll be a very different picture to the rigs we had 6 months ago. Where's Deek when you need him?

Sorry, [quote name='mcnach' timestamp='1472079301' post='3118425'] are you getting some Two10s? [/quote] Sorry, no, but I have gone and got myself a pair of One10's

Ooh, I can feel another get together coming on....