EBS_freak

Absolutely - I think they will add to the playing experience no end... especially when you hit that open B string. I guess it kind of irritates me that these are sold with the underlying context that they bring back something that was lost with IEMs. They don't! If you want ambient with your IEMs, then use ambient mics. If you aren't getting the low end in your inears, it's the in ears that are at fault. No inears are ever going to do the same as what a board like this does - because as stated before, it puts something into play that was never there to begin with. If you are a bass junkie, then yes, kick drum through a board combined with a feed from your bass is going to be pretty smile inducing! What you are saying about enjoying the gig is so true - I play with inears as you know - and there have been loads of gigs, the worst being a marble floored and walled room. The sound was horrible out front - but pretty stunning in my ears. FOH was somebody else responsibility but I loved the gig anyway.

These feedback devices do cause me to ask a lot of questions - I truly don't believe that they put any feeling "back" into playing when playing with IEMs. I believe that for most setups, these devices are adding something that was never there in the first place - and that something that for most is quite pleasurable - it's the feedback that we want to feel when we are playing. "The trouser flapping" effect in my opinion is a myth - even if you crank up a load of bass on your bass rig, you have to be going somewhat to get any sort of feeling of air moving. You really need to be pushing some sub bass through some hefty subs to get anywhere near even trouser tingling. I would wager that for most users, the ear ragging, tinnitus inducing volumes that make you know that you are playing loud are swapped out for mechanical feedback from the board.

[quote name='PaulWarning' timestamp='1471765567' post='3115579'] yep, solves the problem of having to mic everything up [/quote] I don't think it would. Ambient mics put the room sound back in but don't give you the control over the mix between instruments that you'd want. Like the annoying snare and cymbals that cut through everything.

More interesting IEM solutions...? Try this. - http://posseaudio.com Quite like the idea of the mic stand mounted controls and ambient feature.

To echo the above, pretty much the Alto too. Wouldn't go far as saying you'd get anything that would chest thump for 400 quid though. Just setting expectations.

Thought some of you guys may find this interesting. It's not an iEM system but it does kind of draw parallels with the Klang positional monitoring system in that it tracks the performer's position. Anyway, enjoy. The step by step explanation of the system starts at 3:02 and the testing of the system starts at 20:50. http://www.youtube.com/watch?v=33gXCdWJIPI

Dissing a brand to try and gain some weight? Nice one. Ironically, especially given the thread title, I don't use EBS anymore... I use my desk.

[quote name='Dan Dare' timestamp='1471435437' post='3113023'] Didn't want to be boring and list my outboard, but do have fx, etc. Most mixers have 4 band eq - less than many heads (mine has 6), so not always the case. [/quote] Uh-oh. We're going to need a bigger table. You must be carrying a lot of outboard if you are competing with a digital mixer. And you've got a compressor and gate for every channel? Anyway, give a bass player 6 bands of EQ, that's 6 more knobs for them to twiddle with aimlessly whilst not understanding whats going on.

[quote name='Trueno' timestamp='1471414614' post='3112835'] During my sax-playing career I seriously thought about getting a "no I don't play ****ing Baker Street" T shirt printed up. [/quote] You and Bob Holness!

Oh gawd, don't let this turn into a "let's get our d1cks out on the table" competition.

I love 5s. In fact, I would never choose to play a 4 now. It's not all about the lower notes either - which seems to be the thing that people concentrate on. For me, it's about the economy of motion - you can cover more notes without moving as much as you would on a 4... and additionally, transposing and not having to bother dropping string tunings is also where it's at. Making the transition to a 5 was quite difficult for me - I always wanted to head back to the comfort of a 4... but the key is to force yourself to play it and accept that you may brain fart from time to time and think that you are on a 4... but once you get past that, I don't see why anybody would want to go back to a 4. But again, I know we are all different.

[quote name='stingrayPete1977' timestamp='1471012384' post='3109997'] I'm a weekend warrior but we've got a wedding gig next Thursday so I'm not sure what I am now. [/quote] A husband to be.

[quote name='Machines' timestamp='1470863970' post='3109099'] All I know is every bass I've had with a good B has been 35" or more. The BTB is 35" and beats the Lakland any day. [/quote] You do know that Lakland's sport 35" also?

Is mojoke able to help you? Drop him a line?

[quote name='alexclaber' timestamp='1470864287' post='3109104'] If it booms on that hollow stage try turning it on its side (I know it doesn't have side feet but just to test). If that solves it then it is the output from the hybrid resonator causing the problem, if not it's just the usual powerful cab generating pressure by a hollow stage and causing stage resonance problem. [/quote] Won't that mess up the line array implementation?

[quote name='Kevin Dean' timestamp='1470827336' post='3108733'] I used one barefaced super compact powered by one of the peaveys internal amps for the top end sounded great to me . [/quote] BF doesn't do the lows and shelve the highs that a sub does - so yes, you would be able to hear.

If you are turning subwoofers so you can hear yourself better, there is little point as you'll want to be hearing the definition in the the overtones of your bass, not the subby thump.

[quote name='Bigwan' timestamp='1470731750' post='3107914'] Say the rest of the band are dead against IEMs but I want to give it a shot for myself, what sort of setup would I need? Guessing an ambient mic and bass DI to a little mixer would do it? [/quote] A mixer with at least an aux. From that aux you send everything you want to hear to a headphone amp with your in ear monitors plugged into. When mixing, take the stance that you can only hear what you put into your mix. So if you want bass - you'll have to at least DI to the mixer. If you want drums you'll at least need a single overhead... If you want to hear guitars, you'll have to put a mic in front of the guitar cab. Of course, you can use as little or as many mics as your mixer allows for - but this all adds to set up time - but enables you finer control over your mix. So in short, yes, you could get away with a single mic to capture the ambient sound of the band and a DI feed - but your mix could be so much better.

[quote name='Chrismanbass' timestamp='1470657792' post='3107361'] I work there I'll let you into a little secret they're our house amps and get played every day and he was just using the 4x10, the 2x12 is literally just to lift it off the floor as EBS_freak said we're incredibly spoilt in that venue in terms of PA it comes from having very good owners who understand about investing in a club to make it the best that it can be rather than just treating it as a cash cow PS. its also where your £5.25 for a bottle of beer goes [/quote] It's great - got to be one of the top venues for sound and certainly in terms of gear. I can't think of a venue of comparable size that runs anything like Ronnies. The Jam House in Brum runs Nexo - but it never sounds great... and it doesn't help that one of the cones is mashed either.

Any advantages that such a high end DI brings is lost in a live environment. Unlike a studio, you don't have the same quality between interconnects and after going through the desk and outboard, the PA speakers are nothing compared to what you'd get on hi end headphones or hi speakers. I'd save your money... unless you just want it for bragging rights or it makes you feel happy. In short, it's not going to give you tone nirvana in a live situation. bobe01's advice about sound guys is where it's at.

[quote name='PaulWarning' timestamp='1470567878' post='3106738'] the trouble I have with IEM is for the full mix everything has to be miced up, which is unnecessary for a pub gig, I saw a band on Friday that just used IEM in one ear, which allowed them to hear the drums etc with the other, I have asked this question before and was told it wouldn't work because you'd have to have the volume too high in the one ear, but I spoke to the band afterwards and they got on with it just fine [/quote] I would wager the band aren't clued enough to realise the damage they are doing to their ears. Using inears properly means you have no - absolutely no at all - whistling ears after a gig. I would wager this band have whistling ears after a gig in both ears, so probably don't even realise the extra damage that the overly loud inear piece has done to their one ear because it's whistling anyway. It's setups like this that cause people to say, "I tried IEMs and they are crap". No they aren't. Their implementation is crap. You know, you can mic up an average sized band with very few mics... a kick and overhead for the drums will get you an OK mix... stick a mic in front of the guitar cab and DI your bass. Everything else will be going through the PA anyway I would presume. So it's not that much of an overhead to protect your ears is it? The other thing to consider, is that bands actually sound better out front with less volume on stage and your PA doing the work - so it makes sense to mic up anyway. For example, you have a loud guitarist in a pub situation - lets say he's standing stage left. He's ripping the ears off the punters at the front in front of the cab. Meanwhile, a few people deep back in the audience, the guitar is occluded and difficult to hear properly... at the back of the pub, you can't hear the guitar at all. Due to the highly directional nature of guitar cabs, all the audience that are stage right can't hear much anyway. Best thing to do, is mic it up and let the PA do the work - voila, everybody can hear clearly and the mix stands a much better chance of sounding decent no matter where in the audience you are standing. Result? The band sounds better, you have a situation where you can set up a decent inear monitoring situation and your ears are likely to be healthier for longer. Lets not also forget that a band with IEMs is a lot, lot less likely to suffer with feedback problems that tends to be common place with pub bands. Nobody likes that sh*t.

[quote name='JTUK' timestamp='1470566373' post='3106717'] When I saw him recently he was using an SL410 and th500. I joked that I could have let him have a Aguilar DB rig and he said that would have saved him the carry. So I think that sort of thing is a factor. [/quote] You and DB lol.

I was there last night. Great shows. Was great to see Ian Thomas drumming in the warm up act also. I think the great sound at Ronnie's is a lot to do with the fact that Ronnie's runs a crash hot PA (digico into d&b - the latter probably on permanent loan from JTUk) Stage sound was really low (even Frankie was keeping it fairly low last night) with the DI into front of house and obv fold back into the wedges. Why would you care about Ashdown and TC cabs when you have one of those wedges pointing at you? And above all, being Paul Turner probably helps.

Sweet sounding bass, nice.

[quote name='TimR' timestamp='1470313506' post='3105006'] Would this be better aimed at the PA market? A 64 core snake would be lighter than the usual copper balanced one, and more relevant for your application. [/quote] I originally thought that too - although I suspect that ship has set sail already. Any company wanting that sort of channel count is going to be in the realm of digital - so a couple of cat5s does the job - at a significantly cheaper price also.