EBS_freak

That was pretty much the solution! 😛 She didn't like the removal process much. Clearly not one for waxing.

OK - it sounds like you are wanting to step up to outside of the consumer market. I’ll give you a clue - what you are really looking for is the qlxd or ulxd units from Shure. These are channel 38 units (assuming you want to run them on a shared license channel) - that use the same ad/da conversion methods as the other units mentioned, but on the 606+ MHz range instead of the WiFi 2.4Ghz range. Of course, there is a price to pay - you are looking circa 1000 quid a channel for qlxd. ulxd will do the same job but also boast encryption and on the larger units, do high density mode (more channels in a slither of the radio spectrum) and also boast Dante connectivity. With regard to drop out issues, that’s mostly going to be down to congestion in 2.4Ghz - but other factors that differ between units is the transmission power and antenna setups they have. For example, you’d expect a system with a quarter wave or half wave external antenna setup (especially if dual diversity also) to outperform a system that has no external antenna (all other factor such as transmission power - typically 10mW for consumer wireless - being equal). The Stageclix is actually quite a decent unit but the casing can appear to be a bit “home electronics project” compared to the competition - so I can understand why you are a little apprehensive on that front. I would have no problem using one. I would never consider the Smooth Hound stuff personally - as an IEM user, the latency of that system is far too high. (10ms absolute top end figure for acceptable latency in your ears - some people can't even tolerate that). The SH 8ms latency is just not good enough, especially if you have any other digital elements in the chain that can be introducing latency. What do I use personally? ULX-D. Absolutely amazing - probably overkill for the majority of the gigs... but never had one drop out ever.

Change to Eneloops and recharge between gigs. Save the planet and all that. I use them in 13 channels of wireless every gig - and there is absolutely no issues. Similarly, they hold their charge (once charged) for over a year - so they aren’t going to run down between gigs!

@64 Audio have a good show! Looking forward to your answers, I’m buying a set of IEMs imminently and these are very much burning questions for me! I’m pretty familiar with the rest of your range (I help Paul from CIEM co) out at the shows - but these particular pieces, I’ve got very little hands on or ear time with them!

If you get a compact kit, pay very close attention to the hoop on the bass drum. Theres two designs - the hoop with an indent - and a hoop without. Make sure your son test drives the kit out, paying close attention to what his happening to the the throw and the feedback that he is getting through the bass drum pedal. The placement of the pedal on a small kick drum, changes the geometry of the kick beater compared to a standard kit... most drummers find the kits with the indent in the hoop more natural. I'm all for small kits, they are quieter and when miced up and put through the PA, they can be made to sound as big as you like. Good choice! Have a search for be bop kits. That's where I suspect you are at. Anyway, back to the kick beater... The above highlights the fact - you can see that the angles between kits are open to wide variances. Do not buy blind! Get your son to really try them out - concentrating on the kick and how it feels. Hope this helps.

In other news, courier insurance has paid out on my lost IEMs... so it's time to get busy looking... Current wishlist... JH : Lola, Roxanne, Layla 64 : N8, 12t, 18t UE : Live Noble : Kaiser Encore ...but the hardest decision is quite possibly the colour scheme! 😛

Surely that should be the Unraveling Wilburys?

Yup, well, the preamp is. As you probably know, HB ditched the loop and added in the compressor (if the compressor is a clone of the EBS compressor, than that's a pretty decent peal to have... - and even better now that they've fixed the phantom power issue!)

That's actually a very good point. Worth mentioning that you really need some trousers that aren't going to move anywhere.. with a cable hanging from it, it does make a good attempt to head for the ground. Not as big deal for blokes as women... (Last gig, the singer in the band I was playing for turned up in a dress and had nowhere to hang her monitor stick from. At the rehearsal before the gig she had been wearing jeans and a sturdy belt.... her flimsy little black number didn't give much in the way of options...!)

@dood - Yes - you need to lift pin 3 on the two XLR jacks that you put into the mixer. Been there done that - I've made up some cables for a band that was having such difficulties! With regard to the your comment about XLR to TRS - it holds for the QSC touchmix mixers - I'll put a pic in below. http://portalnaglosnieniowy.eu/images/stories/Prezentacje/QSC-TouchMix16-OS3/QSC-TouchMix16-OS3-10-stereo-mono-AUX-7-10.png If you check this pic, (for some reason it's not automatically converting it to a pic to show in the post), you'll see that it's got a TRS jack socket for auxes 7/8 and 9/10. Effectively this is an unbalanced stereo out... so using a single TRS jack to XLR will give you a stereo mix on the Fischer/P2... but granted, this is not overly common for a mixer! Most mixers will either be a mono balanced TRS jack output per channel, or a standard XLR balanced out per channel - in both cases you would expect to need two to give you a stereo feed, either balanced... or non balanced with "the special lead". With the QSC Touchmix mixers, if you were to use the auxes on the back, you would have to use "the special lead" - as they are balanced XLR (unlike the ones that are on the front of the unit as shown above). So... in summary, two balanced XLRs would need to be summed to a single unbalanced stereo XLR. It's an abuse of the cables really - as I'm a bit of a believer that a XLR should always be balanced and mono (unless its the 5 pin variant that breaks out into 2 2 pin mono XLRs)... but hey, it does the job I guess. So for the QSC, that adapter that I posted a few posts above, works nicely... take a XLR cable, stick the adapter on the end and plug that into the QSC and the other end into your monitoring stick... job done... but you are lugging around less cables and it's a standard XLR cable you are carrying around. I would urge people that are making up a Y adapter, to not make a long cable... that way, you just have a Y cable (or pair if you want to keep a spare) and into that you can plug a standard XLR... which should be readily available at a gig. I'm always a firm believer that carrying around custom cables is a nightmare waiting to happen when that cable breaks... especially if it's a cable that is going to be moving around with your and will subsequently have a higher chance of breaking/being stepped on etc. Anyway... most mixers will either be a mono balanced TRS jack output, or a standard XLR balanced out - in both cases you would expect to need two to give you a stereo feed, either balanced - or non balanced with "the special lead". The QSC is one exception. I *think* that makes sense.... 😛 (especially now that I've edited to be more coherent! )

Ha! 😛 Was that a smidge of sarcasm I detected there? :P:P:P

Given where the 2.4Ghz frequency is going, I would now be looking at the 5Ghz alternatives... which doesn't leave you with many options. The Stageclix is about all that is servicing that part of the spectrum at the moment. In reality, if 2.4Ghz is currently working for you, then moving to any of the newer systems on 2.4Ghz shouldn't leave with you with any less performance RF wise. The main updates since the G30 is that the more modern systems have less latency (not that the G30 is bad by any meands) and a change in form factor. Line 6 are pretty much still leading the way in terms of minimal latency and the same is probably true for performance/cost ratio. Other things that you may want to consider is the ease of changing batteries. If you are caught short and forgot to charge the sealed unit systems, your game is over... but for example the AA system, you'll always be able to find a petrol station or something similar to get some precharged AAs to save the day. What were your issues with the Smooth hound?

Oh. Well, that's just ruined my mental image.

You've cut most of it out of the picture. Take a good few steps back son... and get a wider lens.

Ha enjoy - what are you using at the moment? It looks like a Behringer restock has landed in the UK!

Did you play it particularly badly or something? The punter may have been stone cold sober... in which case, he's a sarcastic genius.

Ha - that's the lamest GAS coverup I've ever seen. You just want a new gadget don't ya?

There's 3 options from Behringer... The P2 has an amp in it... the P1M hasn't. The P1M is literally a volume cut - so strictly speaking you need an amp in front of it... although you can run a set of IEMs straight from the Aux. (Ugh). The P1 has an amp in also - but has dual XLR inputs so allows for a balanced stereo input as opposed to the stereo unbalanced limitation of the P2. In reality - this doesn't mean that big a deal - it just means you will get less signal loss with the P1 than the P2. Will you notice for the length runs that you have? Probably not - in fact, I'm going to say no. I'm also guessing that the dual input summed to mono (and controlled via the L/R pan) will also give you a "more me" function if you were to split a signal from your pedal (landing) board to the beltpack. Actually, thinking about the size of your pedal board... you may want to rethink the amount of signal you are going to lose... that pedal board is just short of a kilometer now isn't it?

Yes and no. In terms of the processing of the ws2812b chip, it looks after the addressing and processing of the RGB values... but it won't generate any patterns or anything like that. Thats where the external processor comes in.

I like it too Phil.

Hey 64 - amazing to see you guys on here... there’s not many manufacturers around these parts so it’s great that you’ve joined up. I’ve got a few extra Qs here regards to your IEMs if that’s cool? Is the 18t suitable for stage use given its audio signature, impedance (what you’ve just stated seems to suggest it would be?) - and physically how big is a custom 18t compared to say, a 12t or a N8? I’ve not seen a completed 18t in custom form in the flesh so have no idea how snug to the ear that it would typically fit. I notice that it’s not included on the stage section of your website - is there any particular reason for this? Which has the biggest bass response between the 12t and the n8? My brain tells me that it should be the 12t by a small margin - but I’ve not heard the n8 compared to the 12t... yet. I know the 18t is meant to be flat response - but all things being equal - is the headroom in the lows equal or greater than the 12ts or the n8? And finally - I understand that there is an orange apex module. If this is used, what happens to the sound signature? I’m thinking that the bass response in the earpiece should increase - but at the expense of a wider soundstage? What else could I expect? Obviously I would lose the normal functionality of the Apex... and gain greater isolation...

Neopixels are ws2812bs - basically a 5050 RGB addressable LED (so basically 3 LEDs in one that are blendable to achieve your desired tone)

Sounds like you'd prefer a Fafner if you want old school grind with top end.

Indeed- right time, right place. whizzed up people at a wedding love it. Down the pub playing blues? Well, yeah, you should get all the ribbing you deserve. Like everything, right bass for the occasion. You'd be a d i c k turning up to play blue with a 7 string bass too... 😛

The other thing that they don't tell you, is that the power drawer on that number of LEDs is horrendously high. A single neopixel at full brightness is 0.06A at 5V. So I don't know, 150 of those gives you 45W, 9A... So with a 2000mAh battery, you are looking at a run time of about 13 minutes. Plus... you've got to take into account the controller, that normally requires a 12v source. So in reality, you are looking at a 12v battery so you can power the controller... and then a buck transformer - or a number of to cater for the wattage - (with associated losses) to take it down to 5v. So all in all, you are looking at a complete mess or cavities in your bass... or you are looking at running something phantom powered up a cable. Want to run an external controller outside of the bass to control the LEDs? Well... you've got 1.5m before you get data loss... and thats not taking into account the voltage drop you'll get between your power source and the last LED in your chain. (Ever noticed on some of these LED guitars how some LEDs are not as bright as the others? - thats because they haven't injected power regularly enough in the LED chain... or they haven't got the ground only connected at the last pixel so the distance between +ve and ground for all pixels is the same). So yeah... marketing gimmick.