All Activity

Feelings. Morris Albert

Agree, plus the way we buy is different now. When I bought my first couple of basses it was go to the local shop and buy what you could afford. No thought of specs, just what was within affordability. Now there’s so much info online all the research as to what spec is desired can be done at home including the purchase.

"Ouch" - The Rutles

Thought I'd add a gratuitous rig picture only because I was playing it last night and it does sound awesome. The amp is a GP7 SM300 running into 2x10 and 4x10 cabs, although I would say these (the cabs) make a bigger difference to the sound than the different trace amps I have tried. I would suggest to the OP that going into the same cab many of the Trace amps will sound similar, but if you start changing the cab as well as the amp you will get a much bigger variation.

Are you going to need to walk any distance with the gig bag on your back? If so you are going to need to try it out yourself. No matter what anyone else says, what suits some people might not suit yourself depending on your height and build. Loads of people like the Mono bags but my M80 is massively uncomfortable for me to walk any distance with it on, as the bottom of the case slaps against the backs of my legs. It's fine for over one shoulder going from the band transport into the venue, but no use for the 30 minute walk to the rehearsal room, which for me was one of the reasons to have a gig bag rather than a hard case. I'd also be wary about the "advantages" of lots of pockets space to carry other items. IME they tend to make what is an already heavy gig bag unwieldy. Whatever you choose, your best bet is to buy on line and then you can return it if it isn't right for you

Bought a ZVEX Mammoth. Excellent comms, well packed and fast shipping. Recommended

I absolutely love the remix, the whole vibe, magic

I've always viewed it that the best sound comes from an acoustically good room with an excellent PA, silent stage (IEMs), and all run by a competent engineer. But as we live in the real world FOH sound is a bit of a lottery, and so long as it isn't terrible punters are often not too picky. So if using an amp I generally only worry about what it sounds like where I am standing as the rest is well beyond my control. At the moment a combination of speaker sizes gives me a good sound, and my suspicion is that phase cancellation between the 10s and 15s/18s won't be the main variable that affects the front of house sound!

At this point when you are looking at Trace Elliot, your are mostly looking at amps which are at least 30+ years old. Even the Peavey 'relaunch' stuff is nearly 20 years old now. The 'best' Trace amps at this point might be the ones that are still operational and well looked after rather than any particular models. This would certainly be my view in determining between an AH150 and 715 SMC. In terms of the old school amps, SMX ones I think are about the pinnacle of the Trace Elliot designs, though series 6 stuff is really good. Some of the Kamen era GP7/GP12 stuff are really good too, kinda like an SMX without the extra features of a preamp tube, compression and fancy crossovers.

Pop A Cap in Yo' Ass - Ben Wat

Take Me Out - Franz Ferdinand

thank you this is all great info It turns out we already have some images that we have used in the past, on a laptop So we need to check with the venues that are up next

She has got to survive until November….🤞

Instruments are still in demand but the idea of a shop has been hampered by the demise of high street attendance in general. Without wanting to state the obvious, the shops that seem to make it work are specialists where people will travel specifically and more likely purchase as a result.

I've played in bands where various members seem to want it sound like the recording on stage, and I have a admit that in the past I was like that too, but now I've realised that so long as I can tell I'm in tune and in time with the rest of the band, that will do me. IMO it's more important to sound good FoH because the audience are the people who are hopefully going to say nice things about the band on social media, buy our merch, and come back and see us play again. If it sounds great on stage too, that's a bonus, but it's the great songs that fire me up for a performance not a perfect on-stage sound. We spend as much time working on the band mix in the rehearsal room as do practicing playing the songs together, so getting a good FoH sound is generally fairly easy. During the sound check I'll go out front and make some suggestions if I think there are obvious problems with the band's overall sound, but in a way I'm lucky in that I play both "bass" and "guitar" parts with my Bass VI and once the "guitar" sounds right the bass will be right too.

I'm reasonably happy with my QC (a limited black and gold edition, but only because Andertons had it for a good price and there were none of the usual grey ones), and don't think I will be bothering with the Anagram, but you never know Still interested in how it will develop though.

So I play a fair amount in churches that, certainly going back to the early 90s, have used projectors for songs/words rather than hymn books. This started off as acetate OHPs albeit some places made up and projected slides (which for whatever reason always had a dark blue background and white text!). But then from about twenty years ago (I make it around 2000ish) projectors have been pretty standard, with large screen TVs beginning to make an appearance over the last couple years. One main challenge is that there is almost always a good amount of daylight coming into the room so positioning of screens is really important no matter how powerful the projector. Also never ever put it behind the band - above the band or to the side of the band is fine, but having to avoid the projection while playing (and getting occasionally blinded) is a real pain. Short-throw projectors can work well, but they do seem to be less powerful. When the room is dark having a dark background for anything projected is a very good idea so as to avoid unwanted light pollution/inteference with any lighting rig. In a bright room during daytime the opposite works best.

Wet, wet, Climate resiliance

No it's normally part of the lighting rig and the projector will be hung from the celling with the lights. There might be a charge as part of the venue hire for the person/people running it (PA and lights), but all the gigs we do are through a promotor so they deal with that side. We just turn up and play.

My ideal, which I have never achieved, would be to persuade the covers band to put together an original set.