EBS_freak

Forgot to mention - make sure the frequencies for the devices you are buying are legal! Probably Ch38 or Ch70!

[quote name='Nord' timestamp='1472799623' post='3124282'] Yes that's a big help, im leaning towards the G3. Ha although I've recently have found a used psm 900 around the £500 mark (just to through more spanners in the works lol) do you know much about the psm300 claiming to be a digital hybrid? Not too sure what that means personally [/quote] If you have the option of a PSM900 for that sort of money, I would go for that. The PSM900 is the winner, especially if it is in good condition and has the latter P9RA pack, as opposed to the P9R. Having said that, in the real world, there's not really much significant differences between the two packs - unless you are planning on using mix mode and a pair of receivers. The digital hybrid thing is a bit misleading - the actual transmission is still very much analogue. (I've explained earlier that digital transmission for IEMs is generally bad news due to the amount of latency a digital transmission brings to the table. Add a digital desk, digital outboard and a digital mic to the equation, then factor in the fact you have 2 sound streams to process (for stereo IEMs) and you'll find yourself singing against an echo). The digital it refers to is the onboard processing of the sound, e.g. the eq and the compounding - which results in minimal latency but arguably better quality sound.

I think it's been cleared in the thread earlier but granted, it's a lot of info... so my overview is as follows - others experiences may differ. In terms of my experience with Shure and Sennheiser, to date, I've gigged on the PSM200, PSM300, PSM900 and PSM1000. Sennheiser - EW300 G2, EW300 G3. PSM300 and EW300 G3 are both great systems and both have their plus and negatives... however, for the flexibility in the rf tuning alone, I would go for the EW300. If you get the channel 70 version (license free), it will tune down to [font=helvetica, arial, sans-serif][color=#282828]823-832 which is also a legal band that is available to use with the shared mic license (what you would use if you bought the system on channel 38). The PSM300 has fixed tuning points only. This is great for environments where there is little interference or you aren't running a load of wireless (this fact is further complicated if its wireless of different types (e.g. not IEM transmitters, but mics... and if this said wireless is from different manufacturers) - Just select a bank and channel and go. Sennheiser has both - preselected and the ability to fine tune when co-ordinating a lot of radio.[/color][/font] [font=helvetica, arial, sans-serif][color=#282828]Also, the EW300 has balanced inputs (in fact, combo sockets so allows for jacks also) as opposed to the jack only inputs on the Shure.[/color][/font] [font=helvetica, arial, sans-serif][color=#282828]I've talked about audio quality before - between the Shure premium and Sennheiser, there's very little difference - with the Shure perhaps being a tiny bit quieter (in terms of the noise floor at rest) and a bit better in the bass response - but certainly nothing to worry about (I'm being uber, uber detailed in the difference between the two), especially if you are running a digital desk where you can eq the signal to taste anyway[/color][/font] [color=#282828][font=helvetica, arial, sans-serif]I think the build of the EW300 transmitter is more akin to the PSM900 so I think if you are looking for a premium feeling product, I would go for the EW300 out of the EW300 and the PSM300. The premium pack of the PSM300 is great, probably edging the build of the EW300 pack - but the EW300 is not a problem by any means.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Batteries last a lot, lot longer in the Sennheiser compared to the Shure.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Hope this helps.[/font][/color] [font=helvetica, arial, sans-serif][color=#282828]Note - Just don't bother with the PSM200... if any shop tries to offer you one on a close out deal, don't buckle. They aren't in the same league as the PSM300.[/color][/font]

Gosh... it's not a looker is it?

Can't tell the difference between a G and A? You need one of those tuners that tell you!

[quote name='Machines' timestamp='1472656751' post='3122998'] It may be because until the Shark - there is nothing you can't get from Lakland already (just in more colours). A few loyal players have followed Dan, others will not care for the history involved and just want a decent brand name. [/quote] and a decent headstock.

[quote name='sunsse' timestamp='1472652036' post='3122941'] The whole band is present in the mix. The mixer is a digital A&H QU-16 into Sennheiser EW300 g2 wireless transmitters. There is a limiter on the receiver, so that could be it. I will check it out. However this is only an issue on his IEM setup if that is the case, the rest of us have no issues with the volume. [/quote] Turn the limiters off on the packs and do your limiting at the desk. Make sure that you are not overloading the EW300 transmitter too - makes sure your gain is not exceeding unity on the transmitter (the screen goes red if you do too often). I would double check everything in the signal chain and even have somebody else listen in at the transmitter (using the headphone socket). Then you can see if the signal being transmitted is as you would expect. Also, tune another pack in to the same frequency just in case you have a dodgy pack - best to take that possibility out of the equation. If all is present and correct with your actual mix, then yes, sounds like the tips.

Can I confirm the whole band is present in his mix? What setup is being used? Wired, wireless? Is there a limiter which is set too high so it's limiting the output when ever he sings?

Nice looking strap

[quote name='Machines' timestamp='1472557651' post='3122051'] The Shark is what was missing from their line up to compete with the 44-02/55-02. It's a mashup of a Stingray/Sabre and I like it. I'd probably move that pickup an inch further from the bridge though. [url="http://dlakinbasses.com/the-shark-4-tech-specs/"]http://dlakinbasses....k-4-tech-specs/[/url] [/quote] I love it. Apart from the headstock :-/

[quote name='Machines' timestamp='1472554341' post='3122006'] The Basschat marketplace ? [/quote] Well, yes... but you won't exactly get to pick and choose to your specification...

[quote name='wateroftyne' timestamp='1472551532' post='3121976'] FWIW, you'll not find me knocking Lakland. I've got a lot of respect for them. [/quote] Does anybody know if Dan has had any luck gaining a similar sort of success with D Lakin basses? He doesn't seem to have hit the radar much. Mind you, THAT headstock :-/

[quote name='Machines' timestamp='1472541883' post='3121873'] Yet Warwick Custom shop models seem very popular. [/quote] Maybe - but I would wager the percentage of custom shop sold to production models sold would still be in single figures, percentage wise... as I would imagine Fender would be. Warwick custom shop is crazy money - I don't understand how they sell anything... but I guess, if you must have a custom shop Warwick, there is only one place you can go!

Nice one dood on your 64 deal!

[quote name='gareth' timestamp='1472233859' post='3119732'] Said rig in operation [media]http://youtu.be/eNIiZ0Tck-M[/media] [/quote] Ugh. And people complain that nobody goes and sees loud music. Vocals are number one. If the PA can't compete with the guitar amps on stage, the amps are too big. The PA should be way more powerful than anything else. Give the guitarists circa 20w max and a mic if they need any more.

What you have to remember is - a lot of makers want to be able to advertise they have a custom shop... but there's more profit in production models... so they'll charge over the odds to try and get them to go with the production offerings by pricing a lot of people out of the market.

[quote name='fleabag' timestamp='1472330605' post='3120441'] Cheers freak, dont know about the desk You have a good point about 2nd hand, but not everyone has the money to hurl at new stuff, AND quality to boot We're already throwing the kick drum through some right 'oribble powered full range cabs. Little jobs, 300 watt, dont know what they are ( i aint in charge of the PA and i dont set it up either ) but it copes ok with the kick. ) The RCF 7 series are way out of budget - so they're a non starter financially The only reason we want to go a bit higher spec / output is because we're thinking of running the bass through as well. [/quote] I totally get what you are saying re budget vs performance and what you can get on the used market. The 312s are no slouch so that's where my money would be going if I was in the market for something SRM450ish. I would however, go with 315s if you are planning to run bass through them - and they'll cope with the kick better too. Modern tops can take some punishment - if you are happy with the kick going through what you have now, you'll be pleasantly surprised with the 315s.

If you are going new, RCF 312s over the Mackies - you are asking quite a lot for kick drum to be going through, I'd normally recommend something like a 735 or 745 if you are running without subs. What desk are you using? With a gate, some good eq and compressor on the kick you may get away with something usable but it won't hit hard with just the tops you have mentioned. As stated earlier, if you are keeping to a budget, either get a pair of 735s or 745s and you'll get by without a sub - or get some 312s and start saving for a sub. I'm always wary of buying used PA of this level. With consumer level stuff, you never know if it's been ragged within an inch of its life! Hope this helps.

I can't believe this conversation is happening... Use pretty much anything as a shim, credit card, vaneer, whatever... it makes zero difference to tone or anything like that - that's all a myth. If the screws are tight enough, the job is done. And a shim is a common practice utilised by many luthiers, including those that are considered "world class",I would certainly argue that it is not a failing in it's manufacture.

Eminence Deltalite

I was going to suggest blue wheels too... but if you are concerned about altering the tone, why don't you buy (or make) a wheel board (probably with blue wheels on too!) and use a ratchet strap to attach it to the cab whilst in transit and then you can remove said board once in place? Won't mean any mods to your cab which could impact future resale too?

Theres always Geoff Gould, after all, being the founder of Modulus, he probably knows a bit about graphite also... - https://www.thebassplace.com/brand/g-gould/ and http://www.cornermusic.com/Basses/Electric-Basses/G-Gould-Music/

[quote name='molan' timestamp='1471971839' post='3117370'] I had an immaculate '67 B15 for a couple of years. Sounded lovely but not really useable for anything other than home practice or recording. It now resides in a studio where it belongs I did get to try one of the new, top of range, models once but only for about 5 minutes before I got hustled off by Darryl Jones, lol. It was a thing of great beauty but I couldn't really tell how different it sounded from my original. [/quote] That was a cool looking and sounding amp Barrie - and it had the most wonderful vintage aroma about it that you just don't get from new amps. Probably has a few stories to tell too. But yes, wasn't really a gigging amp - and it has it's own unique sound which will not be to everybody's tastes. I also went after one of those heritage hand wired ones... but then realised the money they wanted would buy you a mint 60s one - and that would defo hold it's value better. I've seen people trying to offload those special rereleases and they were all losing money. Still, would love one to have in the corner of the room.

[quote name='Lee-Man' timestamp='1471879902' post='3116644'] I almost always use in ears these days. Quite a few of my dates are with bands that have no backline on stage. What I felt I was lacking in my CIEM (6 Driver Cosmic Ears) has been made up by using the KT Platform. It adds a weight to the low end that was missing my IEM's. I found that I was cranking my IEM quite loud over the gig and now with the KT Platform thats less of an issue. The gigs I've used it on I felt more solid and planted. Personally (your milage might vary) I have always liked to feel the bass and relied on that as much as hearing it. The last few years I've moved away from big bass rigs to a small combo and letting the PA do the work. Part of this transition also included switching to in ears (partly in a attempt to save my hearing) with my combo largely being a monitor for the rest of the band. However, I miss my 8x10 (often I used to tour with 2 of them, we were loud!) and the purchase of the KT Platform was also to get a little of that feeling back. Running the kick into it is fun as well, makes you feel like your super tight with the drummer;) I'm super happy with it and if any would like to try it out you'd be more than welcome. [/quote] I'm sold on this approach - like yourself, I've invested very heavily in going without an amp and everything has sounded much better - both for me and for out front. A decent PA can reproduce bass much better than any standard backline - and with less happening on stage, everything is cleaner and tighter out front. Spend the time getting your inears mix right and the whole thing is a dream. My setup is pretty comprehensive now - completely different EQs for my bass in my ears and out front, same with vocals and the like (nobody like the top end frequencies of female vocals in their inears all night!) Of course, you are swapping moving a bass rig around for a PA, which granted, isn't everybody's cup of tea. And lets face it, a lot of PAs of yesterday would have imploded running a kick through them, let a lone a bass. We are lucky we've got some kick ass subs and tops (which a lot of them can almost do without subs for smaller setups) to play with - which don't cost the earth. I must admit, I would like the kinetic feedback one of these boards give. When I was toying with the idea of having a band with mad stage wear, I did look into the Subpac.... but you would look like a complete goon if you turned up in one to play a standard function!