EBS_freak

"Yes". Then carry on as you were. Ask a silly question, get a silly answer.

I always wondered about these. They look like fun! Just out of interested, was the neck painted then fretted... or fretted then painted? Whats the sides of the frets looking like?

It's the beginning of having a separate FOH and monitor mixer. Some pages back, I put up a diagram showing my setup with two Dante carded mixers. Basically all the channels of 1 are routed to the other, PRE DSP. This means I can run completely different processing per channel for FOH and Monitors. EQing the kick and bass for your inears this way is perfect... because as you have experienced, the EQ for FOH, especially if running subs, if far from ideal for your inears... and can sound a little weedy. The EQ on the Aux output can help... but it's compromise. You just have to watch what your mixers are doing Pre and Post fader, and Pre and Post DSP. Very cool trick and it's certainly helped some folk out along the way who were struggling with their inear sound and the bass sounding not quite how they wanted.

Don't let the truth get in the way of a good story! 😛

With regard to the bass, have you tried splitting the input so you can have a channel for foh and channel for IEMs on your XR18 - means you can run different EQs - this will help greatly. Remember you have a compressor and EQ on your aux out also.

What are the other wireless systems? Can you drop their transmission power?

My band has a pool of 4 drummers, all readers. Very useful as the arrangements are all scored out and put into a Dropbox. Any new medleys and arrangement whoever is on the gig scores it out and updates the Dropbox. Works incredibly well and we don’t need rehearsals! After a complete Drummer nightmare, it’s pretty useful having two west end drummers and two drum teachers on tap for drums and perc duties!

I wouldn't go as far as way more! Kemper is still very capable alongside Helix. Synth stuff is defo interesting - I'd like to see that developed for sure.

Not cheap those Reed Audio... I remember the separation from ACS and its interesting to see that he's gone down the acrylic route given that ACS are obviously known for their softer silicon. On the plus point, he didn't take the unreliable connectors with him also! Quick turn around, not bad. Which did you go for, the dual or the triples?

Nice touch... although a port of the DL4 would have been quite a cool addition. Kemper has a loop function. Never use it... probably because it's not as good/straightforward as a dedicated loop pedal.

I'm swaying towards 64 this time... partly for a change, partly because I was really, really impressed with the 12 when I heard that. The N8 is a bit of a curve ball but in my head I'm thinking 12. The 18 is too flat for me I think... I like the personality in the bass (that's why the N8 with it's dynamic interests me)... and if I was going to spend that sort of money... I think I'd be looking at cans...

OK, N8s are landing in the UK this week. Looking forward to giving them a listen!

Sims (Enfield) and Bow Finishing will both do a boss job.

I know it's the obvious answer but whats Line 6 UK saying?

So... Fender have now joined the dynamic driver band wagon... NINE–(9.25mm Dynamic) - £89.00 NINE-1–(9.25mm Dynamic + 1 BA) - £215.00 TEN-3–(10mm Dynamic + 3 BA) - £699.00 TEN-5–(10mm Dynamic + 5 BA) - £999.00 THIRTEEN-6–(13.6mm Dynamic + 6BA)- £1549.00 I wonder how much of the knowhow of Aurisonics are still with them. Certainly seems strange that now, everybody seems to be focusing on hybrid designs. What's happened to cause this knee jerk? That thirteen-6 though - thats some big dynamic to have sporting at your ear. Certainly an interesting prospect.

No worries - let us know how you get on.

1. Cool, open or semi open are good for singing. 2. Pulling your ear back will definitely help you get a better seal until you get used to how it all feels. Until you get used to them, I would expect them to be a little tricky getting them in and out. 3. If they don't seal properly, there's 2 things, either your aren't inserting them right... or the quality of impression or the final sleeve is not representative of your ear. The first one is easy enough to rectify, the 2nd could require a remould or a call back to snuggs. From what you said earlier, I'm not entirely confident about the impression! What instructions was she working to? Did Snuggs provide anything? The impression for a custom IEM/sleeve etc needs to go past the second bend.

1. Were the impressions open, half open or closed impressions? 2. When you insert the inear, do you pull back on your pinna (specifically Darwin's tubercle - look at us getting all biology) as you push the in ear inside your ear canal? It should be a tight - but not painful fit. Once in, it should occlude noise from the outside world quite considerably. You will come to know when your inear is seated right and not - because the sound and seal just won't feel right. Can you post a pic up close of them in your ear and in place? 3. When you say changes from ear to ear, what do you mean? As in, some times they appear to seal better than other times... or is the fit inconsistent between your left and right ear?

OK - so I got LID figured out. @64 Audio -another question for you - can we expect a NAMM announcement that LID is going to be in the 18t very soon?!

<interval> For some bizarre reason, every time I see the letters "FRFR" written down... this song comes into my head. Which is bizarre, because there's not even any Rs in Foux Du Fa Fa. Anyway... As you were.

Aw man, you've probably hurt it's feeling now. They are sensitive souls these Markbass cabs.

The link is pretty common on PA cabs - very useful being able to daisy chain. That's a good point - I guess it depends on the noise floor of your cab to how much you can get away with. Just seems a massive oversight on that particular amp - especially considering how cheap it would be to a manual gain knob into the design.

Also, you could set the gain flat out on the amp and roll back the gain by putting this box inline. http://cpc.farnell.com/horizon/cvpblox/attenuator-variable/dp/AV17469?mckv=sBvDSns2M_dc|pcrid|224635168920|kword||match||plid||slid||product|AV17469|pgrid|46533246385|ptaid|pla-426338467408|&amp;CMP=KNC-GUK-CPC-SHOPPING&amp;gclid=CjwKCAjw68zZBRAnEiwACw0eYYz6SilL-7KG5THSFmjH_PI-RSQIbPEeK4UJlxjzCTh-RRWVsTrxUhoCB8UQAvD_BwE

https://www.ebay.co.uk/itm/Uk-13-amp-plug-to-Neutrik-powercon-blue-HO7RN-F-cable-with-heat-shrink/142352040022?hash=item2124d7c056%3Am%3AmYpq-76rVSLKlffgVfm4Bzw&amp;var=441380071577 I use these... proper cable too so they coil properly unlike that naff stuff that you usually get with IEC cables.

The Laylas are actually quite a boring listen - the treble is pretty recessed and overall, it's quite dark sounding despite the piece trying to be sold as a flat reference piece... but I think I need to give them another go I think. But then again, flat can be boring. They aren't going to be used for critical mixing of listening... so I should but the one that puts a smile on my face when I use them live. But then again, I've got the means of EQing them with an inch of their life with the setup I run with. Hmm. The 18t I have a couple of reservations over - the size. I've only seen the universal version of it... and it's a bit of a beast. I'm beginning to think that the 12t is where it's at... but then again... I need to have a decent listen to them all again. The A8 has always stood out to me as one of my fave 64s... but that's gone off the table now due to the arrival of N8... but I'm not sure I want to go the dynamic route... But talking of dynamics... there's always the UEs. Decisions, decisions.