EBS_freak

[quote name='Chris Horton' timestamp='1359898665' post='1961727'] This bass looks great! I love White bass guitars with maple boards and White block inlays , they look the best ! [/quote] Yes - I miss my DJ5. The white, maple with white blocks... it's the business.

Put it at the front of the chain or at the end depending upon application. Front of chain is no good if you are using effects that rely on triggering dynamics e.g. envelope filters - but a compressor after the envelope filter reigns in the peaks so it's more friendly on your ear and speakers. (Anybody who has owned a funk a duck knows what I mean). Front of chain is good for reigning in the dyanmic range so you can boost your signal without peaking out... What are you trying to achieve with the compressor?

Dont forget your bank charges for currency conversion!

[quote name='silddx' timestamp='1359669545' post='1958688'] Jesus Christ. What the actual f***? I think I have just rendered myself infertile and pallid-looking through expansive feelings of human inadequacy. [/quote] It's the future... If you actually listen to the artist, the rigger actually forgot to mention the Antares autotune...

This one is especially for Bilbo... talking of the future, get your head around this - http://www.youtube.com/watch?v=wVV72uhPNIQ

The question is... will they ever release a 32 channel version...?

Ha ha. Pete. You pike!

Nice work. Thanks.

[quote name='Bassman Sam' timestamp='1359389836' post='1954007'] Why? [/quote] Science.

[quote name='swanbrook' timestamp='1359387874' post='1953959'] The first one is the mackie. Have it, use it, love it .... Sometimes ! [/quote] My posting order was intentional.

I dunno.. this was my highlight of NAMM... good old Behringer are all over Mackie again. Behringer : Mackie :

Sounds like the wrong singer for your band to be honest.

[quote name='LiamPodmore' timestamp='1359368538' post='1953507'] I don't have any as i can't afford one at the moment, but between me and a lot of other guys i know we've tested most of the name ones around that price range, and think the Line 6 is the best all round. As soon as i can afford one, there's a G50 going on my pedalboard. Liam [/quote] Tested - as in playing on real life gigs... where you can comment on the reliability of connections and the impact that wifi systems (like found in hotels) can have on these type of systems? You know about battery life, the ease of replacing components? I'm not intending to single you out but recommendations on here when people haven't used them in anger in the field don't hold much water...

[quote name='LiamPodmore' timestamp='1359367807' post='1953490'] Another vote for Line 6 here. They just beat all competition in their price range (Except possibly Stageclix but that's out of budget) Liam [/quote] How do you know? Have you tried them all? Or are you just saying this because you have Line6?

Atelier also have a hand in an old brand coming back from the dead... http://www.rockinn.co.jp/goodfellow-londonderry.html

My vote goes for the Sony DWZ-B30GB. All the advantages of the StageClix but in a nicer package.The transmitter unit in particular is a really good hard wearing piece of kit. I can't fault it - no compounder, excellent range and low latency figures for a digital device. Love the fact that you can shove another pair of batteries in it - StageClix doesn't let you do this, a bit of a let down if you forget to charge your device before the gig. AAs are easily sourced. Even the reciever can work off a 9v battery should you forget/damage/not have enough sockets. Low battery indicator is also on the unit so you don't get caught out. Wide and narrow RF connections means that you have plenty of availble channels for connection should you ever witness interference. A really well thought out piece of kit. And it's Sony. You know it's good. No drop outs experienced, I've taken it as far as 50m from the stage and it's still good - although latency (that of physical distance away from the sound source as opposed to that introduced by the wireless itself) means playing with a band is pretty hard unless you are using in ears... I also like the connectivity options - tuner out, main out, xlr out... and unique to this unit is the mic/instrument switch and attenuation switch - you can use this device as a lavier mic system and the attenuator switch is really useful if you have super hot output basses. To be honest, these units are so good, you can't really go wrong. If you get the Line6, Stageclix or the Sony, they will all serve your purpose. Go for the one that you like the look of best.

[quote name='paul_5' timestamp='1359160632' post='1951130'] To be fair though, if you were having an instrument made to your exacting specs you shouldn't really be considering the resale value. Why have it made if you're even considering selling it? Even a little bit? [/quote] True. But there are always people that want to buy say, a Fender, despite being able to get something more appropriate to them being made. Some people just like brand names... and that's OK. As for your argument about considering resale value, people's tastes change... you only have to look at the number of custom made luthier basses for sale on here...

[quote name='LukeFRC' timestamp='1359129004' post='1950361'] My guess is that you would be able to get a top UK luthier to make you two basses for the price these will be. [/quote] But then you still wouldn't have a PRS... and two basses that wouldn't have the resale value of a PRS.

I don't think for one minute that it does... the marketing is surely a bit deceptive though. Take the Behringer X32 product page - [indent=1]DIGITAL MIXER X32 40-Input, 25-Bus Digital Mixing Console with 32 Programmable MIDAS Preamps, 25 Motorized Faders, Channel LCD's, FireWire/USB Audio Interface and iPad/iPhone* Remote Control[/indent] It's clear to see in black and white, there is a claim that they are MIDAS Preamps... but further down in the description, it's watered down to[list] [*]32 MIDAS-designed, fully programmable mic preamps for audiophile sound quality [/list] Then further down - [indent=1]When we began development on the X32, we called on our sister companies, MIDAS and KLARK TEKNIK, recognized the world over for their digital consoles and EQ/FX processing, for implementation support. The programmable, high-grade mic preamps found in the X32 are based on a genuine MIDAS design, all the way down to their A/D converters.[/indent] Now being the marketing cynic that I am, they are now a genuine MIDAS design - but that could be mean a design that wouldn't make the grade to be put in a MIDAS desk... and if it's based on a MIDAS design, I'm now more likely to believe that they have been tweaked to meet cost constraints. It's just as well they didn't mention any MIDAS further as it could end up with... "we mentioned to MIDAS that we had built our own pres". Marketing. A game of BS since time began. A bit odd given the capabilities of the desk anyway.

The thing is, when you look at the mainstream amps out there dedicated to bass, they are small fry compared to the electronics found in top studios. Most of these amps are built to satisfy profit margins, not the best uncomprismed sounds. Even that asise, trouble is, nobody ever seems to want transparent... if they did, Neve, SSL et al wouldn't exist. B15 certainly has to be up there... for looks alone, let alone it's tone shaping abilities.

PS - I cannot sing ACS praises enough. They have transferred my playing comfort. Their moulded plugs and IEM systems are second to none!

Well,well,well... Namm brings us a 32ch Presonus... A gld80 ipad app and awesome personal monitoring system... A new soundcraft si with cheaper stage boxes... Looks like the competition has bitten back.

[quote name='oggiesnr' timestamp='1359034608' post='1948744'] All of which is good advice except that the first rule in any H&S assessment is to eliminate the problem if psooible. In this case the problem would appear to be excessive noise. Volume switches go down as well as up! If I go to a gig and need ear protection then it's too loud, if I'm playing and need ear protection then I'm too loud. What is the point of playing loud if all that's happening is that punters need ear plugs! Steve [/quote] Theres a slight difference between you standing a metre from your amp and somebody else standing ten metres from your amp... I can't ever recall seeing a volume switch either? Would a dial this is set at 0 or 11?

It's gone! Enjoy!