EBS_freak

There is an easy response to this. For each venue, try and listen for what works best. If you are running an analogue desk without outboard, your options are more limited in terms of processing (compression, gates etc) but it worth remembering a HPF, at say 100Hz, is not literally cutting everything (e.g. hard cutting) below 100Hz. There will be a slope associated with that drop off and that drop off may not be behaving as you think. Let me try and explain how even with an analogue desk, and without the flash toys, you can make your kick drum thud at that fundamental. For the benefit of this example I'll tell you that kick drum fundamentals (depending upon kick drum) are typically somewhere in the 50, 60, 70 Hz zone. (Depends upon type and size of drum, tightness of skins etc) So... I've googled generic analogue desk and the Allen and Heath ZED something or other came up. Quite a common mixer the ZED... so I downloaded the manual to find out what the channel strip looks like - So we've got (at the top) a HPF which is 100 Hz. I've looked at the specs of the roll off and it's 12dB/Octave. I'm not sure of the Q on the HPF as it's not stated in the manual - but I'll show that for the roll off, it's not that important anyway, especially when we're using the eq in the manner in which I'm going to show you. So... here's our EQ with no gains applied on any of the EQ filters and no HPF applied. As you can see, totally flat. If you feed in anything in the lows, it will get pushed to your output bus. First things first, let's push in the HPF button and see what that does to our frequency curve. As you can see, with a 12db/Oct cut, it actually starts cutting above 100Hz and tapers down as the frequency lowers in accordance with that 12db/Octave gradient. Now let me show you what is actually happening at that 100Hz point on the HPF... Before we move on too much, lets come back to the Q. In the above example, the Q (shape) is at 0.71... is we lessen it to 0.1, we can see how it impacts the roll off - And if we boost the Q we can influence the eq quite dramatically... But... it's worth noting, the last thing you want on a PA, is a huge bump like this when putting on a HPF (I'm just showing you for your understanding). In reality I would wager Q is probably around 0.75 or 0.71 so there is cut only (e.g. nothing going above the horizontal line in our graphs). So just to get us back on path, as stated before, with the HPF button depressed, your EQ is going to look something like this. OK. Now lets look at the LF filter on the channel strip... As you can see, this is at 80Hz and is a low shelving filter (as shown by the logo under LF) So lets whack that up to +15dB and see what we get... You can see that shelf curve in action (curves upwards and then flattens out (the orange section). Our resulting EQ curve shows we are still getting a boost of low end from around 50Hz and above. So thats our target kick drum zone right there... however... it's also probably including a lot of unwanted mush because of the breadth of frequencies being boosted. So what can we do...? Lets set the LF back to 0 to get back to just our HPF being applied. ... and now lets draw our attention to those lower mids on the channel strip. So bearing in mind I told you a kick drum fundamental could be typically found around 60Hz, lets apply a boost of 15dB with a Q of say, 2. (Obviously you'd be using your ears to determine how much you want to boost that frequency so it sounds right - and remember, the volume of kick controlled via this channel (for the overall mix) would be controlled via the fader) Well, would you look at that! A kick drum fundamental which is poking out like mad but with some significant cut between 70 and 100 where all your mush resides. And on the other side of the equation, you have mega cut from just above 50 which is getting rid of all the sub mush and unwanted energy sapping, speaker punishing frequencies. So there you go, you have EQed your fundamental on your kick drum channel... and you still have the upper mid to address any 200-400 boxiness. You've also freed up a bit of space in your mix for your bass guitar to reside! (although you may want to be EQing your bass channel with a different approach based on what you've just learned - e.g. still using the HPF albeit with maybe some LF and LM with different frequency centre points and Q. Granted, it all depends upon how feature rich your filters are on your analogue desk... but hopefully this has demystified HPF somewhat!

HPF your kick drum and have a sine wave on a gate... Thumps like mad with none of the mud.

All depends on requirements. Xvive can run into issues in a crowded 2.4Ghz environment - depends whats happening (try running 2.4 in a conference centre and you'll have a miserable time). Also, depending upon what is in your chain, you could run into latency... and it's a bit of a non starter for stereo!

Looks super, that

Most custom IEMs will offer up to 24/25dB attenuation. Can they be used as ear protection? Yes. When used purely as ear protection - are they going to provide you with an experience where you'll be able to play and hear everything but at an attenuated volume? Probably not. Expect very little in the highs to get through. If you want an idea... put your fingers into your ears. Expect a similar resulting sound. The correct answer is, these are your ears and will need to be protected... invest in both setups.

Its so your flag doesn't get a crease down the middle where the cabs would otherwise meet.

Whut?! Nooooooo. Man, gonna miss that guy - was like part of the furniture round these parts. RIP OHM.

I found this quite interesting... thought I'd share.

ebay, etsy all that kinda thing.

Surprises me that statement - the Kemper can pretty much nail any distortion/fuzz! It's the time based stuff it kinda struggles with

One of my fave lines. Nice

Bloomin' double post sw failure.

@Al Krow - this is why it floats my boat.

Theres quite a lot more to it though than the Lekato. And in terms of the stereo digital IEM market at that price point, they, as far as I am aware, are standing alone. Whilst they have the monopoly, they will be maximising on that opportunity. And whether you choose the Dante version or not, thats a dev/licensing cost which needs to be recovered.

Now you've got me super interested. Where did you end up getting it from in the end?

Cant really comment until I know how the connection to the aux was done. (Balanced/Unbalanced - length and type of cable etc). It doesn't surprise me if you are going over an unbalanced lead)

Psst. Section 3.3

I remember those pickups - Hanson (I seem to recall from the very bowels of my memory) were the makers? In fact, I seem to recall it may have been them who even bought out Lakland!

Try putting a Boss pedal in between - if the pitch goes, a buffer will solve your problem.

...but on the other hand, you do get access to Ultranet, allowing you to go down a completely different route where the number of auxes no longer matter!

This is because for some reason unknown to me, ACS don't take open mouth impressions themselves, or advise anybody to do so, using a one inch bite block. I'm guessing you fall into that camp re:closed mouth impression? Result? Seal breaks every time you open your mouth. Check 1.4.1 - I talk about the importance of an impression with a bite block in there.

100% versatility in one bass is undoubtably the selling point.

Why aren't they they more popular? Because very few people change the settings on their basses that much. Here's a few considerations. A MM pickup cuts through the mix differently to a P... and a J... etc etc. Most bassists will use a bass throughout a whole gig for consistency. Is it really a deal breaker to stick with the same bass? You'll soon pee off the soundman if you are changing pickup configs all the time. And to be honest, most people find "their" sound and stick with it. I do wonder how many of these Simms pickups end up being left in the same mode once the user founds the tone most pleasing to them. If recording, use a J... use a P... use a MM... whilst the Simms pickups will do a good emulation, they aren't 100% authentic... despite what people will say. Why? Pickup positioning, coil spacing (e.g. the offset of the coils in a P pickup is not represented properly) and the major factor, is that even if a coil around magnet is not engaged, the magnetic field still is... and having an influence on the resulting output from the pickup. Again, good enough maybe... and if you are jumping on a plane to a recording session, you may like to have something which gets you in the ball park (and lets face it, studios manipulate the recording sound so much, you could argue any bass in the ballpark of the tone you are hunting for will do. Its similar with coil tapping. You can switch humbuckers to single coil... they kinda single coil... but they never sound like a true single coil. But possibly "good enough" - especially in a live situation as opposed to a recording session for example. It is a swiss army knife - it will do the jobs of many to a good enough standard. It kinda does everything in one package but not necessarily as good as the real McCoy. But good enough and being versatile may swing it your way. Here's some other thoughts - if you are routing a bass, you are committed to these these pickups... or may be left with some ugly looking routes if you change your mind on the pickups un the future. I would wager this is the true reason that you don't see many for sale second hand. What do you fill the gap with? They aren't really stealth. Those LEDS really do stand out. This is a deal breaker for some - especially if you are type of person where the aesthetics of putting gaffa tape over the light is off limits. But the concept is cool - and works to a certain extent. So if you like it, go with it. Scratch that itch and find out - you'll always be thinking about them if you dont. You may want to try them in a beater bass first though, before routing your prized bass.