EBS_freak

The 9v thing is always a nightmare for wireless. They just don’t last very long. Terrible battery life on the PSM200, same with EW300 G1. If that’s your benchmark of audio, you are gonna be in for a treat with the EW300 G3/4

Performance wise, there’s nothing between them. The only upgrade so to speak is the case and the menu system. The RF and audio performance remains the same. I would pay the 47 quid based on the fact that the resale if you ever chose to, will be higher on the G4 - and will make back that 47 quid no problem.

I don't have any experience of JTS directly - personally, I wouldn't recommend anything but a Sennheiser EW300 or Shure PSM300 (with pro pack) as a benchmark (I'd take the Sennheiser over the Shure for the flexibility with the RF tuning - you don't get the same sort of flexibility until you get to the PSM900) but I do appreciate thats quite a price hike over the JTS. I know that doesn't help you in regard to the level of the JTS perfomance - but the compander is such an important aspect of a wireless IEM system, especially for a bass player (e.g. the one on the PSM200 is so poor, it doesn't do any favours for people looking to get into IEMs as it eats all the bass and makes the top end really harsh... and you have no option but stereo) that I would say you should stay wired, or save up to push for a EW300. I think that everybody that has bought an EW300 on my recommendation will be able to confirm their performance is very, very good... but having tried other systems in the past, well, they weren't for me. Are you wired at the moment (both from an IEM point of view and a bass point of view), or are you looking at getting into IEMs? The reason I say this, is that if you have a fixed budget, staying wired and investing in a decent set of customs will ultimately score you a better solution...? EDIT: just remembered, you have just bought some ZS10s so I guess you are now looking at moving your IEM solution on.

Oh yeah - stupid me... you did tell me. Yeah, the split mix should move it up a notch or two again. The dinorigs(tm)

Oh. It was an autocorrect anyway. But yeah, I'll go with your pun! 😛

?

Doesn't that support my statement? 😛

Because Brown Sugar can only be played on a Fodera HTH.

My serious answer is... it's all to do with the price that Bass Direct buys them in at! They could sell them for the same price... although I'm guessing that that would not be such a good business model for them.

Well, you could... A bridge, a nut, some tuners, some strings, a pickup or two and you are there. Would be a bit of a beach to play though.

Ha! Be careful, your playing may turn to stinky poo or something if we are led to believe all that we read. So what happens to the Genz collection now? Mind you, I'm guessing you'll be keeping at least some of it for those ad hoc gigs you may get asked to do. Next step... custom IEMs. I know you'll say, nah, happy with the ZS10s... but I remember you saying that about 4 string Stingrays I'm intrigued - so presuming that you used your split bass monitor channel, what EQ and processing have you got going - or have you not got to that bit yet? Is that whats being sorted out at the tech rehearsal? As for heft, I've got another project planned this year...

Fairplay @Chris2112, that's a decent, informative post!

That would do it.

Can’t help you on the K&M front but I’ve switched to a dg300b Hercules stand and it’s great. Also particularly good for me because it will also grip the iPad whilst it is in an Otterbox Defender case.

I played the Grace pre that was reviewed in the US Bass magazine. (I happened to pop in there and it was there along with the then new Demeter amp). I’m sure there is a pdf out there - but basically, Grace, as expensive as they are, are lovely.

You’re not alone

This is a difficult one... because the Sennheiser stuff (100/300/500) is all compander based (being analogue). In reality, it’ll probably be Ok because you are probably doing a HPF to take out some of the lows on your bass anyway, especially if using subs... but my view is I’d rather the bass got there as intended in the first place and I choose what happens to the low frequencies at the desk for FOH. My vocal mics are all EW500 G3 and have proven to be superb though. GLX is digital (full range, no compander) but on 2.4ghz which means it’s more prone to interference and personally, I don’t like the inbuilt batteries. I’d rather have something that I can nip down the petrol station and get fully charged batteries for incase I forgot to charge the inbuilt batteries. Therefore I would be more likely to go for the Line6 equivalent to give me the AA option. In reality, unless you are playing venues that have a lot of WiFi going on, you are going to be ok 99% of the time. When I was running a Sony DWZ, I only had troubles at 2 venues - 1 which was a conference based hotel that had some serious amounts of WiFi going on - and the other when I was doing a broadcast in a tv studio... which didn’t really come as a surprise given the amount of stuff they had running. That was 2 gigs in around 300 that I was using the Sony for... so hardly the end of the world. If you want to go “pro”, digital and get onto a channel 38 frequency, I think the QLXD is probably the cheapest way about doing it but still going to set you back around a grand (maybe slightly over) per channel. I went ULXD - but back then QLXD was not out. So if you were to push me as to what to do if you are looking at keeping to a budget... well I’d probably go Line6 G5/75 or something along those lines and if I get interference at a gig, well, there’s always a cable. As you probably know, my ULXD had to go back to Shure to be repaired - that just cost me £300... that would buy something Line 6 based Im sure. It’s certainly something to consider when dropping large amounts of cash on wireless. My other half runs a v75 (headset) on her spin classes and it’s proven to be a great piece of kit. Anyway, which ever way you go, the costly bit is going to be getting away from 2.4 if you think that is important to you. Funnily enough, out of all the wireless I’ve got, it would be the ULXD, the most expensive unit, that failed! Argh! So to wrap up... err... it depends! As for the Roxannes and acrylic build up - Id get the acrylic added and seamlessly polished in by JH... I’ve never personally adjusted any IEMs with err nail polish!

Cheers Rich. The ZS10s are well worth it for the money. You may listen to them and think that they are sonically amazing (I have some friends that think they are). It’s the same as when you get IEM threads and folks say that 215s are amazing and you’ll never want for anything else... well, that all depends upon what their benchmark is! For the money, the ZS10s should be in everybody’s gig bag - as a primary IEM, or as a backup down the line. In reality, if you want critical listening, you’d be better off buying some over the ears for that type of listening and some IEMs for live use. The amount of money you need to spend on IEMs to get the same level of performance as an over ear... probably 4 times the amount. That’s the trade off for going small! If you are going to CIEM company, do make the time to sit and try them all out - it’s the best thing you can do to understand the differences that are talked about in this thread!

Reminds me of the communal harmonica at school. Ick. Certainly one way of building the immune system.

Nailed it - for bass players, headroom on the gig is where it’s at. You may prefer the Shure for listening to music - as it’s got a more honest frequency response... (not as hard to tune as it’s only a single driver) - but the extended lows of the ZS10s should be immediately apparent.

How he like the ZS10s?

You have to listen and see what your ears tell you!

For anybody interested in the April Fools Big Bertha - I don’t think 64 drivers per side was a coincidence!

Don’t get me wrong - there are plenty of people out there who can take good impressions, just be prepared to ask them some questions and if they aren’t following the above, start asking them more questions. If they start take an impression without a bite block, don’t have you sitting still and in silence - and ensure deep and full coverage with the impression, then there’s something wrong. Most IEM manufacturers can supply a note for audiologists to follow so they get an appropriate resulting impression. 18 drivers - well it’s 64 audios reference piece, so designed to have outrageous amounts of headroom, linear response and near perfect crossovers between all the different drivers to achieve that. It’s very highly regarded by mix engineers and audiophiles alike but I suspect it was about getting one over JH Audio when JH started the trend of upping driver counts quite significantly. Cue the fight between JH and 64, the lawsuit over apparent patent infringement, the “Big Bertha” April fools video from JH blah blah yaddah yaddah....

Don’t hide the problem with a compressor - sort out your technique! 😛 It’s true though, IEMs will reveal lots about your (and your band mates) performances! Don’t worry though, out front nobody will notice what you notice! OK the tone being thinner is going to be thinner because you haven’t got the colouration of your bass cab/monitor adding weight to the tone. I’ve mentioned earlier in the thread about running a separate mixer for monitor use but if you have enough free channels on your mixing desk, you can split your input and have one bass channel for FOH and one bass channel specifically for your ears. This way you can EQ in a lot more low end and start adding compression independently of what is happening FOH. I set this up with stingraypete not too long ago on his xr16 and I believe @intime-nick does the same on his xr18? It’s not difficult to do once you have you head around routing on your desk. As for bleed - make sure your IEMs are up loud enough to get over the ambient bleed. It may only be a couple of dB to make all the difference. The guitar amp - if you can, always mic it into the desk even if it doesn’t go foh - it enables you to take a direct feed into your IEMs on your aux, you just leave the slider down for foh. The less bleed you get from the wedges, the better. im guessing you were using the onboard WiFi on your mixer? Get an external router - the onboard ones are rubbish. Your lag and drop out issues will then vanish. Stick with it - I hope your first venture out showed you the benefits!