Jack

Pleased you're happy with them! Oh wait no sorry I misunderstood.

Ironic that they have become the quintessential stage microphone and often overshadowed in the studio.

There's the Triton Audio ones, but like the SE mentioned above they are cylinders. I have one of these that I put into a 1590a but you could go much smaller if you wanted.

I swapped the Kemper for the full fat rack Helix then bought the Stomp as a backup/small rig, then sold the rack as I was just never using it. Don't be fooled by thinking you have to use all of the features on a given anything. If the Kemper sounds good to you, and it's within your weight/size/price budget then just go for it. Frank Turner uses a Kemper for about 3 songs when he plays electric. It models a Fender combo with no effects, it's just smaller, quieter, easier to manage and more consistent than an actual Fender combo. When I had the rack Helix I only really used one patch per gig as there were enough slots to turn everything on and off like a normal effects board. Now that I have the Stomp I use two or sometimes even three patches. That's maybe 0.5% of its capabilities but it's still better than anything else for my needs and wants.

I have two Prodipe TT1 Pros for my vocals. When I first got into needing a vocal mic it was an experiment as Iwas just starting to learning to sing and the real point of me getting a mic was that the singer at the time didn't have the best between-song craic. I did a lot of searching for things like 'best budget vocal mic' and settled on the Prodipe on the basis that, if I kept it up, I would buy a better mic. Well that was about 7 or 8 years ago and I haven't wanted anything new yet. Awesome mics. I also own an SE Electronics X1S (large diaphragm condenser that mostly gets used for work stuff) a Purple Electrics PE74 (small condenser) and a two t.bone BD200 (when I very occasionally run sound). Nothing fancy, but all solid budget options I could recommend.

I had an (unpowered) Kemper for about a year when they first came out. It was super realistic with the amps it recreated, including some of my own that I profiled myself, I was a big GK fanboy at the time. However, ultimately I realised that I'm not bothered by having spot on recreations of amps and I found the effects a bit lacking so I swapped for the Helix and ultimately the Stomp. The Kemper was great but ultimately not what I was looking for. I believe the power amp on the Kemper only goes to 8ohms, so be careful with bass cabs, many of which are 4ohms.

I don't think basschat is representative. Of trends? Maybe. Numbers? Definitely not.

Don't read too much into the fact that it works at home. If something is loose or intermittent then it might just have been taken out of the bag in a good mood and, seeing as you're at home, it's not being knocked around any more.

Most people are talking about powered cabs in this thread, and with those you'd be using the effects send or preamp output on an amp head, NOT the speaker output.

The RCF 732 and the QSC k12.2 (my choice for the past few years) are good places to start looking.

I'd rather a matching pair of Behringer than a mismatched pair of rcf.

My first attempt at a bass amp that sounded like a mini-pa system did what you're talking about, although my pedal preamps (mostly an MXR M80 at the time) wouldn't drive the power amp properly and so there was a channel strip too. The Presonus was pretty transparent and I appreciated the compressor and eq too. Actually that was a hell of a rig to be fair. Clean, powerful and so loud. Nowadays I wouldn't bother. In fact I don't. Powered PA cabs are just so much better.

No to both, sorry guys! Just those kinds of faces I guess.

Two gigs this bank holiday weekend, and a tale of two halves really. Saturday was the Rifleman's Ball. We were on at 2pm and played to a decidedly sparse crowd. Sure there were pockets of dancers and everyone clapped but there was about 300 people in a venue that can easily hold almost 40 times that and it had a very empty feel. Anyway, I don't care because for the first time in my not-so-illustrious 'career' as a bass player I played the Newcastle Arena. The same stage that I have seen Iron Maiden, Rammstein, Green Day, New Found Glory, Bill Bailey, Eddie Izzard and many more. That was a massive, massive tick in my life column and something that I am insanely proud of. Sunday was a bar on Roker beach. Small, sweaty, busy, and I had to suffer the indignity of carrying my own stuff, which was a real come down after the roadie-filled luxury of the arena! However, the place was standing room only with dancing and singing, so really the opposite of the Saturday for sure. Both great fun in their own way. As I know you'll be asking. The band is The White Line. I'd post the link but we're not accepting any more gigs and winding down so you're likes would be wasted! The rig in both cases (because I'm too lazy to pack a car TWICE in one weekend) was my trusty EBMM Stingray, a G&L L2000 as backup (never out of the case this weekend), and Shure wireless into a HX Stomp. Saturday: Sunday:

It's like, the trendiest topic.

The Telecaster and Esquire seem to have sold well enough.

Me too. You'll notice my bass on a stand in the back. You'll notice a blue telecaster right at the back on a stand, that's the singer's spare so he does own one stand. That's halfway there.

Yes, and it makes me wince every time.

We played the reopening night of a newly refurbished and under new management pub the other night. Safe to say they've got 6 weeks at most. Oh well As I've been told off for this before, the band is The White Line, although don't bother following us as we're winding down and not taking any more bookings. The rig was MIA P > Shure GLX > HX Stomp.

Some of the bug type ones rely on a trs connection for switching and charging too, and active preamps (not pickups, but the two are often confused) can cause issues with that.

Oh indeed other ones may also do something similar or the same. Firstly, I'm on record as saying that every wireless I've ever used (which includes the Smoothhound) has been just fine. I'm sure that the tech is not proprietary to Shure. However, there'll undoubtedly be differences in the algorithms used, transmitter power, all that stuff. As far as I know the Shure is the only one that transmits on several channels at once, but I am happy to be proven wrong on even that. If you've ever used the Shure, you can for instance choose more secure transmitter modes with better signal connections in exchange for higher latency and 'blocking out' more channels. On the flip side, you can chose to transmit on fewer channels at once in order to make more 'room' for other systems. It's the best total package I've ever used but I'm not one of these people who's been through 15 systems and found faults with each one, I don't really think I've had more than 2-3 dropouts in 15 years and 5 or so wireless systems. Maybe I'm lucky, maybe it's good planning. I only 'upgraded' to the Shure because I had a rack Helix and a floor HX Stomp and I wanted one system I could use with both. I'm absolutely not an expert on guitar wireless systems, just a nerd who knows a lot about networking in general. Going back to 2.4/5.8, I recently forced all of my smart home stuff on to 2.4GHz because it was so empty on there. There was I think one old smart bulb that didn't have any 5.8 compatibility but everything else was on 5.8 and cluttering that up. You don't need the speed for streaming spotify or asking what the weather is, so I put all that rubbish on 2.4, leaving 5.8 free for the good stuff. It's 2023, 2.4 is not that busy and 5.8 is not that empty.

Hmmmm, this is oft touted as gospel on here but to be honest it's not as cut and dry as that. I'm sure there are old pubs that still have just 2.4GHz infrastructure but even the free routers that come from ISPs have 5.8GHz these days, and it's been common on the punters' phones for years as well. Any proper 'venue' venue is going to be super busy across both spectra for sure. What's helpful with avoiding wireless clashes is thought, planning and care. One the massive benefits of the Shure GLX (both generations) is being able to scan and pick the least busy channel, they also transmit across multiple channels at once so that when one is temporarily jammed (and other units would drop out until the jamming stops) the Shure is listening across another 2 or 3 depending on mode and so there are no dropouts. There's no free lunch though, because now you're taking up more channels, limiting the options your guitarist's wireless unit has to work on. Tips For wifi mixers be aware of the transmit pattern of your mixer router if you have one, most transmit in a doughnut shape that is parallel to the floor. Turning my mix rack on its side can really change the reception to my tablet! For guitar wireless units think about the turn on order. If you have some 'dumb' units turn those on first and then let the 'scan and see which channels are free ones' work their magic afterwards. 5.8 is not a magic bullet. It's pretty busy these days too and usually has a shorter, more line of sight range than 2.4. The main benefits of a 5.8Ghz system for our purposes are either 1) they do BOTH, allowing more choice, or 2) they move something out of the way of the other, older 2.4GHz only stuff. You can get free wifi scanning apps for your phone that allow to to visualise what's going on in a venue and work around that. Have options, bring cables. I haven't had to use it yet with our new router but I always bring a laptop with an ethernet cable to corporate venues when we play hotels and such, they're usually more congested than pubs and it's saved bacon before.

All the ones I've seen use a proprietary battery for the transmitter and a power supply for the receiver.

An excellent solution to be fair. The problem with the magnets though is that they misalign the electrons in my flow though and cause the tone to arrive with a phase differential that can negatively affect the time smear of my signal. That's my excuse for playing D# when it should have been D anyway.