EBS_freak

Mike257 already got my views covered.

[quote name='stingrayPete1977' timestamp='1492455580' post='3280441'] There's a member here that plays some serious gigs using that setup, it's basically a 4x12 stack but with the top two as the Markbass combos and the bottom two as the matching ext speakers, he can cover anything from a little pub with a single combo right upto a symphony hall using all four,and he has done! [/quote] And here it is... although he has swapped the extension cabs for the Traveler cabs to get the hf horns instead of the piezos.

[quote name='BobVbass' timestamp='1492496122' post='3280621'] Have a look at Fenders new ones as well - great reviews [/quote] They aren't exactly new - they are rebadged Aurisonics, which Fender bought just over a year ago. Aurisonic were certainly a top manufacturer in the IEM world - and whilst no inears freak would buy something with Fender written on, I can fully understand why Fender wanted to get a presence in the music shops and appeal to the musician. IMHO, if you were asking my opinion what you should be getting for under £200, you should be getting some UE900s. You can currently get them from here - https://www.eglobalcentral.co.uk/logitech-ultimate-ears-ue900s-headphone-en.html - (I know the site looks a bit err... but the goods are legit) for just over £150. That will give you a quad balanced armature setup with a dual bass, single mid and single top. The difference between a single driver (or even the 425 dual driver) and a quad driver is night and day.

Leaving gaps above and below is actually bad news. You can get circular hot air flow coming from the back back into the front...

I wrote a guide many moons ago that spells it out so even the most anti DIY guy knows what to do - http://basschat.co.uk/topic/70420-schaller-strap-locks-and-how-to-fit-them-properly/

Cut Marcus some slack. He works at a shop, he's not in the public limelight and shouldn't haven't to be suffering online like this. If you have a problem, a call or email to the shop is the correct procedure.

https://www.etsy.com/uk/listing/246773578/to-fit-allen-and-heath-zed-10fx-12fx?ref=shop_home_active_67 Click on the custom order and send your dimensions.

[quote name='Happy Jack' timestamp='1492089660' post='3277861'] Hmmmmm ... you might be better off trying a length of wire with a jack plug at each end. Radical, I know, but it just might work. [/quote]

[quote name='hen barn' timestamp='1492085749' post='3277814'] I have been playing for 40 years now and the wife complaints how deaf I am! so went for ear test and now have to wear hearing aids!! So to protect them I got ACS 17 then 15 then 10 and hated it as felt like I was somewhere else. So got IEM found that really hard and couldnt talk to band members and new guitarist hated them. So I'm back looking for protectors? I have some xmas tree ones that I will try again but I might try some isolate one????? Any other suggestions? [/quote] Aw man! Why didn't you talk to me about talk back systems? My band talks to each other via mics that go to just the IEMs, not the front of house. Anyway, if you have some money to invest, you may want to look at the ACS live system and utilise just the live system, not the IEM feed bit. Its like wearing ear plugs with a volume control. May be worth giving them a shout to see if they can help you. I use my live systems in this way pretty much exclusively now - primarily when I'm depping in bands without the ability to give me an IEM feed.

I haven't tried them specifically... because I went and got one of these - [url="http://www.ebay.co.uk/itm/8-x-AA-1-5V-2A-Battery-Holder-Storage-Box-WITH-COVER-AND-ON-OFF-DC-jack-UK-/222012968972?hash=item33b101100c:g:6L0AAOSwhcJWHpSk"]http://www.ebay.co.u...L0AAOSwhcJWHpSk[/url] and 8 eneloop rechargeables. A lot cheaper. Note - I did resolder the cables to change the polarity to be pedal friendly - but you could use an adapter to do the same. Last ages - it's great.

Stainless DR LoRiders. Moved from stainless DR HiBeams recently, as I prefer the higher tension in the strings. Best strings I've ever used and they last for blooming ages - which is great as I'm not particularly a fan of coated strings. Oh - and they are pretty bright without being harsh... but not so bright that you can't get rid of the brightness if required.

I've found the Kemper to be the best of both worlds. Lightweight - and captures SS, tube, hybrid, whatever beautifully. I agree with Bill - there's been a lot of claims that ss can capture the valve thing... up until recently, I thought that was the case but the likes of Fractal, Kemper and the Helix has shown that the modelling game is getting to the stage where it is indistinguishable.

Any amp with a DI into a cheap mixing desk will do you. Means you can easily mix in your computer/phone etc to play along with too. And the extra EQ is nice to have also.

You need to play one to make sure you can live with the sharper edges as compared to the more traditional J bass.

OK - just checking - you've gone through steps to eliminate the problems... plug your bass into the desk directly via a cable plug your bass into the DI and from that into the desk... all using cables plug your bass into the Wireless and from that into the desk... all using cables (apart from the wireless bit obviously) Have you tried plugging into different channels on your desk? Hi-Z vs Lo-Z etc - I see the UI has different sockets - that could influence things. Have you tried different cables? Are you using instrument cable? Are you using mic cable or balanced TRS from your Bass Fly to the mixer?

And here was me getting all excited about the return of BigBeefChief

[quote name='scoot' timestamp='1491338704' post='3272309'] Could live with that I suppose, any recommendations.... Oh hang on!! [/quote] In terms of headstock refinish, it's a case of either painting it, putting the decals on it and then clearing it to match the body - OR you could put a thing wood laminate over, decal it and finish it - the result would be it would look like it did before. The laminate can be so thin that only the most eagle of eyes would spot it. You'd have to speak to [color=#282828][font=helvetica, arial, sans-serif]Maruszcsyk to see if you could get hold of the decals... or if you could send the neck back to them to do the laminate and/or finish. If the value of the bass is important to you, [/font][/color][color=#282828][font=helvetica, arial, sans-serif]Maruszcsyk is the way to go. If it isn't, there's plenty of skilled luthiers who could do the job - and even get some repo decals if you can't get hold of the originals.[/font][/color]

My fave amp of all time

[quote name='Dad3353' timestamp='1491325815' post='3272162'] The only real downside of the Heil mics is their cost. Not a mic one would want beer spat into, dropping on the floor or doing a Daltrey swing. Best as a personal mic for a singer who wants good gear and will look after it. The PR35 recommended here, for instance, sells for £260 or so. A good investment, not to be wasted on just any ol' singer; avoid letting the evening's MC take it for calling the sweepstake winners. [/quote] Bit of an odd thing to say... You could say that just about any piece of equipment on stage... pedal boards, basses, speakers getting knocked over... having any gear on stage, if expensive is a downside? It kind of goes with the territory?

I don't suppose you like matching headstocks do you?

Shure 55SH. Ah yes. No surprises what the SH stands for. I hate those mics with a passion. Ugh. They sound rank, they feedback at every opportunity... and I know that opinion will be divided here - but they look cack too. Bloody Elvis mic. Why anybody would still want to use one of these when technology has moved on so much is anybody's guess. I don't really like the 58 either - but at least thats known to nearly every sound engineer worldwide. The Heil PR35 has a lovely rubberised feel to it. It's kinda like a mic wanting to be a sex toy - but has gone that step further than other mics out there. Out of all the mics that I've ever owned, that is the one that would be rolled out in hell hole venues. The only reason it's not the main mic, is that I've got a rack full of wireless EW500 945s that take precedence over the Heil. They sound great - but will still like to play with you on the feedback front. As Pete suggested, digital desks bring a very useful toolkit with them... if you take the time to learn them. I'd suggest doing it bit by bit... for the EQ section alone. Having a 31 band EQ - especially if it has a Real Time Analyser (so it will show you the frequencies that are feeding back) is the biggest tool in preventing feedback (obviously second after mic and monitor placement). Defo stick with it - but don't try and do it all in one outing. Get to really know the desk first... then you'll get to the point where you'll wonder how we ever did without them. (If you nail it, that is!)

I suppose the feedback destroyers really come into their own when you have a singers that like to move around a lot and randomly point their mics at speakers. Of course, for the average setup... it doesn't really help that the band are generally standing over each other either! Just out of interest, what is the singers mic? It may be the case that the feedback rejection is not great on it - so something like a Heil PR35 which has pretty incredibly feedback rejection could be the wisest choice of upgrade.

[quote name='bassjim' timestamp='1491300014' post='3271882'] Its a black art then .... Thanks for the advise here ,really appreciate it. I'm trying to stay clear of the digital mixer right now but only because in the hands of the user, in my case , its just asking for trouble. At a later date when I can organise a room for a day to experiment these pointers will definitely be handy. In the mean time I've seen a Peavey Feedback Ferret https://youtu.be/UbxQXJyNnyY which the guy implies you just "plug it in and turn it on" which is about my technical limit. Any one used one or any plus /minus points on it? [/quote] I have a afs2 - same sort of thing. I tend not to use it but it is pretty magical in those known problem venues. You do have to let the PA ring though when setting it up - which is not ideal at say, a wedding gig. It's pretty good with the live filters when you are playing. The DBX stuff is good and reportedly the feedback ferret not that great. It may help you but don't expect it to be the magic wand that you may think it is. You still have to have sensible EQs to keep the feedback under control.

[quote name='6feet7' timestamp='1491301770' post='3271897'] Depends on the venue - we don't have a desk so we either get one in or use whatever is available [/quote] Ok so it sounds like you've got a bit of an impossible entry at the moment. The first thing I would suggest to you is that you save for a digital mixer as a basis to then build upon at a later date. Something like a xr18, 1608 or m18 would be a good call.