EBS_freak

A lot of drummers hate electric kits... the thing is, choosing the right kit can make all the difference. Here's my drummer dude this weekend at a small bar gig, dark cymbals (v important!), small kit, miced in stereo for the in-ears and kick support out front. Darker cymbals, quiet acoustic kit... but as you can see, I don't think it really holds him back. Obviously the mix sounds a bit off here as it was shot in a phone (that was in a case to further mess with the mic response) - but the whole setup sounded awesome out front.

Oh well, at least you'll have some fun hearing everything whilst you earn some pennies to pay for it! ULXD - yeah, pretty bummed out. Funnily enough, I dropped an email to a guy I know in Shure and he was on the phone within a couple of minutes. Pretty good considering that they aren't open at the weekend. Guess it's the nature of the business and the time of year. All being well, shipped off on Monday, should have it back within 48 hours after it lands with them. Thats pretty decent don't you think?! He seems to think it's a quick fix - don't know about price yet though Are you not running your setup stereo yet? You've got some more delights for your ears to come then! Has your desk not got enough auxes to equip everybody with stereo? What desk is it that you are running? Quiet Christmas for me - which I'm looking forward to. As for picking my brain - any time, anywhere I can help, glad to do so.

Its not a DAW per se, more anything that is digital and has an A/D D/A conversion in your chain... so digital pedals, digital mixers... DAWs have an operational latency to begin with... but you are right, you are more likely not wanting to be adding to it by going wireless into it.

No worries man. You've got an absolute killer setup there now. Roxannes and EW300 -that's a top flight rig and it's good to see that you are now where you want to be - enjoy. (Certainly a big step up from those other customs you had, right?!). Bet you're beaming like a Cheshire Cat now?!

More rock n roll death. 😛

He confirmed this morning that he had his stuff. I don't think he tends to leave his gear anywhere!

Inverse log pots on the volume. Man this amp is so loud and it's only on 2 of 10. Of course, it doesn't really get that much louder past that point. Whilst humans are involved, theres always going to be scams.

Enjoy - and update us with your experience and thoughts!

Dont forget to update us all on your experiences all!

Yes - you shouldn't buy one because they are trash. In no particular order - 1. Awful compounder - the treble becomes harsh, brittle and fatiguing. The bass is significantly cut. 2. No headroom on the input on the transmitter. That thing clips and goes into audible distortion if you just look at it. 3. Mono. And playing in mono is no fun if you have the opportunity to play in stereo. 4. The build quality is so cheap, its embarrassing. 5. The RF performance is atrocious. It's great if you like drop outs or the sound of tuning into a radio station... or the sounds of wasps. 6. it runs on 9v batteries and enjoys sucking power. So you have the option of running rechargeables - which don't give you a decent length of operation... or burning through a 9v or 2 for every gig. Not great for the environment. The money you spend on 9v could be put towards another system that runs on rechargeable AAs. 7. Fixed frequencies - making it near enough impossible to coexist with any other wireless you may have in the same part of the spectrum (typically channel 70) 8. Absolutely horrendous limiter on the receiver - is that a ducker mixed with a distortion pedal? 9. Comes with awful 112 headphones... if you want to know exactly how bad the mix is when it arrives at the receiver, these headphones will do a good job of mashing up the final sound just that little bit more. 10. You can get equally bad performing wireless inear systems for a lot less money. You are paying a lot for a poor system just to have the privilege of buying the tried and trusted name of "Shure". 11. Do I need to go on? They are an absolute crime to inears - and for a lot of people who "have tried inears and it was rubbish", the PSM200 is a common factor. I'm sure its the same systems that are being bought and sold on eBay as people find out exactly how awful the PSM200 is. Go wired, or go PSM300 (with pro pack), EW300 or PSM900 (appreciate this is quite a significant price increase - but great wireless that is comparable to a hardwired connection costs money!)

In which case, you should have a great time on the ZS10s.

If you like sub bass, it’s likely you are going to be looking at some serious inears to get the low end response with some serious headroom. The best thing to do is give the ZS10s a go. You’ll be surprised how much those headphones can handle in the bass - and if you decide you need more, well... you are probably looking for a quad balanced armature in the lows. Having said that, some “bass heads” that I know, find the UE6s more than ample. Depends where your benchmark is I guess.

Ah yes, another “I tried in ears and they sounded crap” candidate in the making.

A&H Qu if I recall. You going to be enjoying that! :-)

All good stuff - glad to hear that they are living up to expectations! The bad news is though... new band... those boys run PSM200s....

The KS10s should be a significant step up in terms of headroom. You should be able to get more bass response with less chance of distortion. They are a bit of a no brainer option given their cost... I don't think there is any cheaper way of getting the sort of headroom you'll crave as a bass player. Of course, I could go on about better isolation, customs etc... but thats a world away from £33. Anyway, get them ordered up and report back on how you find the ZS10s!

He told me... and DB - but I think that could be a completely different story... :-o

Have you planted the Helix Stomp seed yet? I love how you have named your P2s too. I'm going to call mine Stan.

Cool - I think the analogue split pre your mixer is still going to be the most practical in the real world. Every venue/situation is going to be able to be cool with analogue. I presume you are talking X32 rack - be aware that you only get half the I/O on board. You'll need a break out box, or something like a Midas core with a s32 or an X32 with a s16 or sd16 (stage box) to get the full I/O available to you. I guess your requirement on that front is all down to the size of your band.

Less than you may think... https://www.gear4music.com/PA-DJ-and-Lighting/Behringer-P2-Ultra-Compact-Personal-In-Ear-Monitor-Amplifier/26FN £26 https://www.ebay.co.uk/itm/KZ-ZS10-Ear-Earphone-HiFi-Sport-Headsets-4BA-1DD-Dynamic-Hybrid-Headphones-New/253789948978?hash=item3b170f4c32:rk:1:pf:0&var £29.85 And then an XLR/Jack to Jack of your choice - and maybe an adapter for your mixer depending upon what you have. This setup will give you a balanced mono feed or an unbalanced stereo feed - again, depending upon how many free auxes that you have. If you check out the big inears thread - , you'll see that this particular combo is becoming the basschat staple introduction to IEMs... and it gives a pretty good sound with a good amount of headroom (those ZS10s are 5 drivers per side!))

And another one! There's only a comparatively small user base for Kemper bass users but it is an incredible piece of kit - as you've no doubt found out. And the fact that you now you can take a clone of your Heritage out without the risk of damage to the real thing is big plus right? And you can play it at volume without it going into too much overdrive (or the opposite if need be) at any volume is perfect, right? Welcome to the future... that is now! You can see why the dinosaurs became extinct can't you? re:switch. I personally would always use the switch on the back of the QSC but I can't see why you shouldn't power it on and off using the wall switch... the fuse on the power amp in the speaker should do its job just in the same way should there be a surge with the initial inrush of power. Primarily, the switch on the speakers is there - I believe - to stop any thuds so that you can power on the mixer and then power on the active cab. I'm pretty sure that the Kemper doesn't thud when it's booted up so you should be OK on that front also.

Keep telling yourself that. GAS is a terrible thing... 😛

Jeez, Tony going straight in old skool and wired. What is happening to the world?

@Me And My Bass - The Ultranet is proprietary Behringer to work with their personal monitoring mixer (eg Aviom ripoff). However, when I say proprietary, it has been reverse engineered and proven to be PCM with some framing. The reverse engineers key use for this was seen as recording from a distance (there's a limit on USB cable length for using the inbuilt interface - or you'd have to leave a laptop/multitrack recorder in the viscinity of the mixer) using ethernet... Anyway, on face value, it looks like that it wouldn't take too much to convert it back to analaogue... especially when you look through the code in the github account linked in the link I'm about to put up... but you would be at the mercy of latency I suspect. Anyway, the link from my bookmarks is here - https://reverseengineering.stackexchange.com/questions/10860/how-do-i-work-out-the-ultranet-protocol The most portable solution I can think of that would give you the most outs on a digital box would be something like a Mackie DL32R or a Behringer X32 rack/Midas Core with the expansion outs. But they still wouldn't give you a 1-1 mapping ins to out. The coolest solution would be used to split via a Dante card so you can keep everything in the digital domain between the monitor desk and foh desk - which is effectively what you are trying to achieve. In reality, this isn't likely to be that practical as you are not able to... a - guarantee all digital mixers will have a dante card installed b - an engineer who is capable of configuring dante. On the smaller scene, I can pretty much guarantee that a and b will definitely not be in your favour. So, the easiest - and still universally acceptable solution to do an analogue split, is with an isolated split - (stops phantom power being sent to between mixers and provides proper isolation to avoid ground loops etc). You may want to get an XLR loom to plug into your mixer... (whatever it may be - not really important) and buy the appropriate number of split boxes such as (trying to avoid breaking the bank here) the studiospares Red800 (£125 per 8 channels), Orchid mic split (£215 per 8 channels), Art S8 (around £230 per 8 channels).... Considering a Dante card is circa £500+ depending upon your mixer and even then, not guaranteed to be useful... and will add to the complexity when working with other people... the Red800 is quite appealing don't you think?

Yup. The basschat staple intro to IEM setup!