EBS_freak

RCF 705s are probably the best for your system. They are good capable subs and a good match for your tops. They won't pin you to the wall but they will fill out the sound nicely. What you have to remember is that they are only really there for your kick and a bit of sub bass - you don't actually want loads of deep down bass in most gig situations as thats when things get swampy. The biggest improvement you'll notice is that it takes all the energy sapping lows out of your tops and enable you tops to work more freely with the frequencies that they excel at. I would always recommend a pair with a couple of tops, better to work your subs not as hard to keep things tight in the lows without running out of puff. It all depends how loud your band is - but with a rock band, two tops, two subs sounds great and aesthetically looks better than having tripod stands. I have experience of a band with the 12 inch RCF subs - they aren't actually too bad for what they are... they will fill out the bottom end but they won't pump out the lows at any considerable volumes. What I will say though, is that you will need some sort of compressor/limiter and at least a gate on kick drum, without, the sub will struggle to put out anything particularly useful. The big advantage is the weight and size. Dead easy to lift and transport. When you go above a 15, the weight and physical size tends to become an issue. What I will say though, is that your cabs are fairly entry level and instead of investing in subs, you may want to consider chopping them in for some more cable front of house. I've talked about a couple of cabs across the forum and those are the RCF 735 and 745 cabs. As single 15inch cabs, they will keep up with a lot of smaller tops and sub setups of other manufacturers... check out this link - [url="http://basschat.co.uk/topic/293804-gigging-without-a-pa/page__view__findpost__p__3161870"]#164[/url] - gives you an idea about what those cabs are about. They 3 and 4 inch voice coils make a BIG difference over the competition.

Nice one!

Having had both, was going to say Hotcovers > Roqsolid but it looks like your decision has been made!

[quote name='charic' timestamp='1500036446' post='3335275'] My thoughts too on the mag connection and if it does get snagged it'll just pull off instead of just pulling you back and you'll lose your mix.... [/quote] Just seen Vitaliy talking about it at NAMM - I think he envisioned it to be used primarily for drummers and keys players. From what I've seen, it's a less feature rich P9HW with a mag connector... I guess it's success will largely depending upon what price tag they decide to put on it.

[quote name='bubinga5' timestamp='1500040606' post='3335307'] He's awsome. Had a beer with him and Michael League in a sh*t club in Cheltenham. [/quote] I caught up with him at the Glee Club in Birmingham. Was actually really blown away by Nick Semrad's playing on that gig... but naturally, everybody's focus was on Cory. Said to Nick that he clearly had the most mad (e.g. outrageously brilliant) solo of the night... If you haven't seen him, check him out too.

http://www.youtube.com/watch?v=I8j7XJxew7s&feature=youtu.be The guy can play, the guy can sing... man, I'd so dig playing bass on one of his gigs... mind you, with Sharay Reed and Mononeon as first calls, I can't see me getting the shout any time soon. Man, I can only imagine what a collaboration between Cory and Prince would have come up with...

I've been pondering this mag connection... the only benefit I can see to it over a pair of XLRs is the reduction in weight. I'm not aware of anybody wearing a body pack with a dual XLR belt pack having problems with damaged XLRs. If the XLR can't survive a short tug, the cables were always destined to break at some point. Not keen on the idea of a cable that is proprietary either... if you break an XLR two on a gig, chances are you'll have a spare or be able to beg, steal or borrow one from somewhere. With this magnetic connection, you are pretty much dependent upon 64 Audio being able to supply you with one... so I would be buying at least one spare. Given the rip off cost of IEM cables, I can't imagine it will be an insignificant cost. I'll wait and see... cost is going to be a huge driver for this success. If they are pitching this against the Shure P9HW, I think it's going to bomb... The Shure is pretty feature rich and does sound great. The 64 offering needs to be competing with the LD, Behringer etc belt packs of the world - maybe they can justify a slight premium over those... but certainly not astronomically more... but given their massive hike in IEM prices, maybe they are gunning for the Shure...? (Having heard the Shure, it is really nice - and certainly way above the standard offerings... but at approximately 6 times the price!) Gunsfreddy2003 - try dropping 64 a message - they may include a mic input on gen 2 - if there is such a thing in the pipeline.

http://www.64audio.com/magpack Looks interesting...

[quote name='51m0n' timestamp='1499004914' post='3328501'] Hmmm had to leave this while i had kneed surgery and now Mike is on holiday... Any other suggestions, Bernie is only interested in EBS as far as I can tell. Surely there is someone else in or around Brighton?????? [/quote] Have you spoke to Bernie directly - there is a guy who looks after all the vintage gear he's got... forgotten his name but he's not too far away from Brighton...?

Ive seen springs soldered into place to bridge the gap between the tip of the jack and the sockets contact. Don't know how well it would stand up to abuse though!

Wedge some polystyrene in between the amp and the case to stop any noticeable flex if you are concerned. Just make sure that you don't restrict any vents/airflow and make sure that the case isn't going to get hot enough to cause a fire risk with the polystyrene.

[quote name='stingrayPete1977' timestamp='1499169216' post='3329634'] Most bands will be pulling more than a home studio all from one cracked socket behind the gambler soaked in beer in your local tickled trout [/quote] ...and that's not taking into account the power consumption of the television on stage showing the football/boxing whilst you are playing.

Have to agree, that for inear protection, ACS are amongst the best you have to choose from.

[quote name='MikanHannille' timestamp='1499072698' post='3328895'] Hi guys. New to in-ear monitoring here. I'm looking to switch but not everyone in the band is plugged into the PA(I don't think the whole band is open to the idea of in-ear monitoring). What are my options? EDIT: I suppose I could get a really small mixing desk to plug the main mixing and ask the guys to plug it on my small mixer so it won't go out of FOH, just for my IEM? Is this doable? [/quote] Don't want to come across as rude - but if you read through all of this thread, it will give you everything that you would ever require and you'll get a good understanding of what you'll need. I guarantee all of your questions are likely to have been answered and much more. In short - everything that you want to hear needs to be plugged into the PA. You main FOH PA needs to have auxes available... or you have to split the connections between the FOH mixer and your FOH mixer using XLR splits. (Assuming you aren't going to do all this digitally). OR - you have to mic everything you want to hear and be completely independent to the the FOH.

Here's my err... DI... http://www.waves.com/plugins/ssl-g-channel To be honest, I'm only toying with it... I pretty much use just any DI (I'm not fussy and sort everything else out at the desk) or nowadays, I tend to go straight out from the Kemper. I recently played through a Chandler LTD1 - trying to track a profile for my kemper. Sounded freaking amazing.

[quote name='stingrayPete1977' timestamp='1498671097' post='3326266'] Ah what about the stage bleed though...... [/quote] I only play with top name, pro, all star musicians. Stage bleed is not a problem.

[quote name='cheddatom' timestamp='1498665508' post='3326219'] What a sound guy! [/quote] Indeed. Had a great pair of strides too.

[quote name='cheddatom' timestamp='1498664165' post='3326209'] It's a shame because it looked like they'd gone to quite some effort with the PA, especially the monitors [/quote] Yes, some kind gentleman had hired his personal stash to the venue for the evening.

[quote name='cheddatom' timestamp='1498662878' post='3326199'] I did tune in but to be honest I was totally distracted by the footy in the background - watching live TV on live TV - I kept looking around for the cameras pointing at me [/quote] They did tell me that they would turn it off when we started playing... but it turns out that they were worried about losing the crowd if they did. They muttered something about an unfortunate clash with the footie or something. Ah well.

[quote name='cheddatom' timestamp='1498662279' post='3326190'] How cool to be televised! Was that the charity all-dayer at the tickled trout? [/quote] You saw it? I thought nobody had tuned in! My wireless failed pre DI1 too. Thems be the breaks.

I've been in a few situations where the sound man has insisted on pre rig / pre pedal DI... One being a massive function where we were running through 2 hours straight and another which was a live television show. It kinda makes sense - when I asked the TV sound guy about the reason for 3 DIs... he said, if anything fails along the line, I want to make sure I can get something out as opposed to silence. "DI3 is my favoured feed (with amp model), DI 2 is post your pedals, DI is straight after your bass. If you modelling sounds sh*t, I can do something with DI2... and if your pedal board goes to sh1t, I've always got DI1. If anything else were to fail, start looking after your gear more mate or consider another career..." (was something like how the conversation went).

The P16ms are great pieces of kit - in true Behringer stylee it's pretty much a rehash or the Aviom and A&H ME1s. Great because you don't use up auxes as you say.

This is where a RTA and 31 band EQ on your PA can work. The rooms that you are in have resonant peaks - the 31 band eq will help solve that. Then, if there's any hot notes, which there shouldn't be because the RTA and tuning phase should fix that, you can then apply a separate notch filter (either back on the 31 band eq or a separate EQ pre the output) to the problem note(s). This should give you a lot more volume before feedback. With regards to the bass, plugging the sound hole as suggested would be a good start. Ive seen guys with 335s fill the bodies with newspaper... that could be an avenue to explore if all else fails.

In addition to what tonyf has said... the UE900 cables are not reusable on a reshell (different connectors) - so allow another 80-100 pounds for ear impressions and cable. I know it sounds a lot - but you'll effectively have a set of UE custom quads at approx half the price... so defo still worth the investment. I would whole heartedly recommend going custom over sleeves too. Tips never really worked for me - comply tips are pretty much the standard tips that you will mentioned again and again... but foam tips tend to disintegrate as you have found... and they can be a pretty expensive consumable in running IEMs. The silicon tips last a lot better - but again, it depends how well they fit for you. People with sweaty ears may struggle with them staying in, especially if you tend to move around a lot. Save for the custom moulds... it's night and day and you'll wonder how you ever gigged without them. I keep saying it.. but consider your IEMs as a replacement for your cab... less than 500 quid for a cab doesn't seem that unreasonable does it?

Thats going to take some epoxy and fine maple wood dust to get back to looking like original. A good luthier should be able to make it invisible/near invisible. If it's a lacquered neck, you're have to have the poly reblown in.