SimonK

Right - new years resolution (when it comes) is going IEM with our church band. We've just done a firmware update on the desk so that we can each control our own monitor feeds using the Yamaha phone app, and currently we are looking at buying a bunch of Behringer P1s (and a couple splitter boxes) and then everyone providing their own headphones. I tried to read the opening posts of this thread but there is way too much information for my two simple questions: 1) I've taken my Linsoul KZ ZS10 ear pieces back from my son (who was using them for gaming), but he's buggered up the cable - can anyone recommend a replacement (probably looking at around £20 accepting it is probably a disposable item in the long run)? There seem to be plenty of options on Amazon? 2) I think for my own convenience I want something a bit more that the Behringer and something that is wireless, so was looking at the Nux B-7 - any thoughts on these (NB I will never be more than a few feet away from the transmitter, we currently have three wireless mics and potentially up to eight other IEMs running (and two Wifi networks) RE interference?

I play in a gospel band and a couple of the keyboardists are like this - a piece of tape across their bottom couple octaves does the job!

..and while I agree promoting such admirable thoughts is the purpose of this forum, sadly new gear is seldom the actual answer!

Those capacitors were the first thing we changed on the GP12 (picture from a few pages back) but it didn't stop the hum...

Travis Dykes (Nashville Session musician) certainly seems to like the Harley Bentons (the second one featured on the video below is the five string):

EHX tri-parallel mixer: https://www.ehx.com/products/tri-parallel-mixer/ I use one to mix three preamps on my 80s throw-back guitar rig, and it's great as it has both phase and level controls. It's also pretty cheap.

In that case either the main input or more likely effects send is a switching jack. So plugging a patch cable into one or the other should make it work. EDIT - it looks like the effects loop can be turned on or off by the footswitch, so make sure it is on as well!

I've got a TH350 which I bought following reading a lot of good things about the amp. I've also got a Genz Benz, Ashdown and a lot of old Trace heads. Truthfully the cabs make a bigger sound difference compared to switching between any of the heads, albeit the convenience of how tiny and light the TH350 is means I always have it with me. The gain control is quite nice to dial in a bit of dirt which is something some of my other amps do not have.

If you plug the external preamp into the effects return it should work like this - see the poweramp in as an additional feature that most other amps don't have!

I'm impressed this thread has got to a fourth page! I think sound wise it is very possible to sound or play equally good/well or bad on cheap or expensive kit. But the reason why we are on forums like this is because there is also something existential about owning certain bits of kit, and merely the fact of owning it brings a smile. For me some of this is buying kit that I couldn't afford earlier in my career, and hence the justification for spending more.

I suppose the other way of looking at this question is how much you need to spend to get something that will do the job that you need it to, and then anything greater than this is expensive. So for me a MM Stingray ~£2 to £3k (half that if second hand) is the instrument I feel most comfortable playing, and hence anything more is "expensive" (as per my comment above). I will choose to ignore the fact that a £550 Mexican Fender Jazz into a £25 DI box would get me through most gigs!

I interpreted the question as what would be too expensive for me to buy. I think I would struggle to justify anything north of £3k because I would simply be too afraid to take it out of the house, and also the law of diminishing returns probably means paying large amounts for incremental differences once you get above this point.

She's Indian.

Talk about getting everywhere - this was from BBC sports personality of the year last night!

OP buys a bass, ..then one of these... ...sends the crap half back... Problem solved 🙂 !

Tuner (in bypass mode), Preamp and compressor always on (NB mute and a HPF on the preamp). Extra EQ pedal for fretless to give a mid boost if needed (but not always). Fuzz one out of every ten songs again if needed (not always). Chorus/Envelope Filter/Octave pedals go on my board every now and again but then come off after a few months of never getting used (this cycle has been going on for a few years as I keep aspiring to use them, but never do!). They sound great on their own but I don't think add anything in a band situation.

...I smell a book matching conspiracy - I wonder if he has a family member who works for Gibson?!

Oh yes - that's horrible - I've had a rant about this before as it's pretty much ruined my enjoyment of the PRS I saved for years to get!

Whenever anyone mentions organs I can't help but think about this album - both awful and wonderful at the same time:

She sounded great on the video and had chops that I couldn't possibly play, but, the thing that filled me with a bit of hope is that they were all very pentatonic within the 1/5/octave box (even the slapping), showing that if put under pressure even the great players resort to something that is a bit more recognisable. Staying on topic - Danny was on exactly the same show (link posted a few pages back) and did a pretty good job albeit on a far simpler track, which in my view had more of a groove, emphasising again that we have two people from very different spectrums of the bass community here - possibly as far apart as you can get - and maybe hence the entertaining clash.

As an antidote to the IEM thing, we turned the HPF on the subs from 60 down to 40 as wanted a rumbly pipe organ for Hark the Herald - however they forgot to turn it back up again and the bass sounded awesome, albeit I felt it far more than heard it - I dutilfuly turned my HPF off when I realised the potential!

Yes they both have very different styles - and you can see how they clash - here was Danny this weekend:

Just also discovered this (but searched to see if anyone had it on the forum!). The fight about using a pick, and comment about active vs passive pickups for losing a girlfriend sounds scarily familiar to this forum! ..."and we all need to remember why we got into the bass in the first place" - "because the band already had two guitarists... because four strings is easier?"

Carol service this evening where along with all the normal ones we did a cover of the below that went really well, helped by a very awesome singer, equally good violinist and our lead guitarist trying out a new Irish Mandola - they did make me play Cajon though!

What software did you use for that last one (Middle Child Millicent)? I'm happy with the learning curve but can't decide on the software to invest in!!