EBS_freak

I use a trs to xlr adapter to keep with standard cables. I’ll find a link. - something like this - but you’ll get four for the price of this one off eBay... https://www.pennelcomonline.com/Mobile/en/Neutrik-Adaptor-XLR-Male-to-14in-Stereo-Jack-Plug-NA3MP/m-m-4355.aspx?PartnerID=10&gclid=CKmnovWz1eICFQVE0wod0p8PGg&utm_source=google&utm_medium=cpc&utm_campaign=UnitedKingdom

Was looking at the digital IEMs (Lectrosonics = <1ms latency stereo) and also rechecked out the 5Hz Stageclix IEM system (which is just one of their guitar systems in reverse by the looks of things - 2.3ms latency, but mono). That 2.3ms rang a bell. That's also the latency of the Boss WL20... so those of you running a wired Behringer P2 off a single aux may be interested in combining it with a WL20 (circa 150 quid) to get the equivalent of the Stageclix (albeit it not 5Ghz). Gets you around the issue of crappy companders that are usually found on analogue systems. The P2 and WL20 would still be pretty compact too- it wouldn't be an issue hanging that off your belt. So just over 200 quid as opposed to 550 quid for the stageclix you have a cool little digital system. (Not that I'd pay 550 quid for that Stageclix - I'd be continuing to save to get an EW300) @stingrayPete1977 - maybe we should investigate at the next geek meet... we have a plethora of P2 available... and I know a man with a WL20. Of course, I guess you could get stereo if you started getting all heath robinson about it! I guess just over 300 quid for a stereo 2.4Ghz based IEM system not to be sniffed at. Of course, 2.4Ghz in numbers does come with its own issues. But hey... something to thing about... or try if you already have the gear. Do remember though... latency is cumulative... so if you are running digital stuff, you will incur latency along your chain... (e.g. digital wireless from bass to pedal board... the latency of any digital pedals/modellers added in series, the latency of the mixer itself... and then the latency of the p2 digital transmission). Anyway. Have fun.

Nice one.

Riiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiinnnnnnnnnnnnnnnnnnnng This rig sounds riiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiinnnnnnnnnnnnnnnnnnnnnnnnnnng ace Riiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiinnnnnnnnnnnnnnnnng Heard the riiiiiiiiiiiiiiiiiiiinnnnnnnnnnnnnnnnnnnnggggggg new Bonamassa rrrrriiiiiiiiiiiiiiiiiiiiiiiiiiiiiinnnnnnnnnnnnnnnnnnnnggggggg album? Riiiiiiiinnnnnnnnnnnnnnnnnnnnnnggggggg

So essentially, you could ditch the rig, it's just that you choose not to.

Are they even getting out of their bedrooms?

Sounds like some of the promoter gigs I have dealt with in years gone by.

What is it that people’s amps are doing that people think it is integral to the tone? If you go DI and it’s pre, then the amp is generally doing nothing. If you are doing post EQ, the sound engineer is going to take that signal and carve it anyway to fit in the mix... If you are talking about power amp/valve grind/saturation then that’s not part of the DI circuit of the amp. I completely get the fx element of it... but the obsessiveness about using an amp for foh baffles me... because whatever amp you use is likely to be giving out very similar on the DI front. It’s only when you get into saturation circuits I can think that you may get significant differences.

We established that one! Mind you with the size of some of these class D amps now, they are small enough to be mistaken as just a DI box!

This has got me thinking. How cool a rig would something like a Boss WL20 into an Orchid Mini DI be? Or even a WL20 straight into the desk...?

There’s no such thing as too loud a band to ditch the rig. Explain to me why you can’t ditch the rig?

Nothing* - although purists would argue you should be using a balanced connection into your PA. A lot of PAs will want a XLR in balanced connection... but granted, a lot of prosumer desks have balanced/unbalanced input and things like combo jacks. As you go into the pro market, you won't find that. * I seem to recall that B3n is unbalanced line out - like keyboards... and the DI box brings that signal to mic level, which is what most (pro) preamps are happiest running at.

You played with Joe Bonamassa too then? I dunno... custom IEMs would be a really good shout. Better isolation than the typical ear plugs that you are wearing... and you can drive the monitors to the point where its comfortable where you can hear what is going on. With ear plugs, you still rely on ambient bleed to hear whats going on. With IEMs, next to no ambient bleed... and you are in complete control of what gets to your ear drum. In reality, the sound pressure waves on your ear drum could be a lot less than what an ear plug would be due to that ambient block and controlled input of your mix that a custom mould would give you. I'd certainly investigate.

I'd rather go with 16 grams for a set of IEMs

He's already been through his AxeFX phase... maybe it's time to revisit it with the FM3. Anyway, I don't think there's much been mentioned around these parts about the SIM1 XT1 - (it's basically a guitar modeller, eg make you strat sound like a LP, 335, acoustic etc) and XTB (similar for bass) - I've seen today that they've started putting pres and IR in there. Makes for a very interesting little box that is doing something that none of the other modellers are doing. Desperately want to try one - but there's no UK distribution so it would be a blind buy based on all the youtube videos. I think I'll just wait for Jamie to buy one and try and buy it off him once he's done with it.

Guitarists are always the tricksy bunch but they are getting there slowly... especially now tech is helping them along (modellers and the like)... but usually when it's too late and their ears are trashed. This whole "it's not rock n roll" is dated and irresponsible. Even Slash has embraced inears... not getting what he was needing from inears, he worked alongside JH to get the Lolas perfected. If he can make the move, then everybody can. Ah well, their loss. It's one thing killing your own ears... but killing others. Pah. Pricks.

Jamie was only posting yesterday on facebook how he cant get any decent sounds out of it! :0 Is he a Kemper tart at heart? Mind you, I think he's one of those gear obsessives that will never find nirvana! I see he's sporting a St Vincent Musicman at the moment too! (I always wondered who would buy them when they were released - quirky looking things!)

Helix Stomp is comparable price to the more boutique analogue preamp pedals if you don’t want to go full fat Helix. It’s probably where I would go if I was in the market. (I really want one to mess with though!)

You wont be able to achieve that with a spray paint - the weave has was a black, white and silver thread working through it. Grille cloth isn't too expensive (not that it's particularly cheap either!) - it's probably easier for you to build a frame and build a new cover and piped surround. Should be able to do it for less than 50 quid for a proper job on it. https://www.allparts.uk.com/products/grill-cloth-fender-style-black-white-silver-36-wide-per-yard

XR16 - 4 auxes. Into 4 Behringer P2s. Into 4 ZS10s

You should hang out in the IEM thread. We will get your rig in a glovebox... with room to spare. And it will sound better than any monitoring setup or backline rig you could imagine.

Oh, you play with Joe Bonamassa?

OK have some questions. I've looked at the schematic and it looks like there's a pair or relays - one for mute, one for channel select. Whats the socket look like on the end of the vintage pedal look like? I'm guessing it's a TRS. This means that the footswitch internally is either latched fully open or fully closed inside for the mute function (presuming that the one switch vintage switch only controls the channel). If you are using a TS jack to jack, you are going to get unwanted behaviour as the footswitch will control the mute and channel switch at the same time, as one switch. OR if the channel switch mute logic box on the schematic is internal (and the footswitch is just one channel) - it could be that there is a voltage thing going on - in which case the length of cable and pedal could become significant. So I guess I could with some clarification on all the connector types with the supplied footswitch and cable...

Ding ding. Winner. This was the very start of me getting away from amps. I always loved the sound that I could get when recording but could never seem to replicate it through any rig I tried. It was only when I stumbled upon EBS - and the HD350 and TD650 that I got back towards the studio sound that I was looking for - but it was still good but not quite there. Then I started experimenting with studio preamps and power amps through PA cabs... then I removed the power amp element to make use of DSPs to get a flatter response from the cab. There it was. But then I wanted a bit more diversity in my sounds.... so that's when I got a Kemper. So now, I run channel strip profiles, with the cab emulation turned off... and I'm in a very happy place.