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Showing content with the highest reputation on 21/12/17 in all areas

  1. Great mixers the MG Series and I find very easy to use, but I have one so am biased. Probably Aux bus weirdness as Cheddatom says. Pete's rough guide to MX series mixers:. This doesn't include the digital effects, if you have any. Start with: All channels switched off. All channel faders down. Group bus faders ( dark grey) down. Stereo (Master) fader (helpfully coloured Red) down. All EQ's to 12 O clock. Pan r/l to 12 O clock. Compression to zero. All 'pfl' buttons up. All 1-2 and 3-4' buttons up (if you have these). All 'ST' buttons up. All the aux channel sends to zero (the ones with blue tops). All Aux master volumes to zero. Connect everything up. Power on mixer, amps, powered monitors in that order. For each channel: Turn on the channel and press down the pfl button for that channel. Get someone to speak or play and adjust the 'gain' control until the output in the VU metres is occasionally reaching 0, in green. Put the pfl button back in the 'up' position and turn the channel off. Lather, rinse, repeat, for all the channels you're using. Set the monitor/phones switch to 'Stereo' (up) and turn on 'On' and 'ST' for the channels you're using. Bring up the faders on individual channels and get a rough balance on the headphones. When you're ready, bring up the Stereo fader gently until you get FOH. Optionally, increase compression but don't overdo it. If you want to adjust EQ, try and cut rather than boost. (ie cut mid and bass to boost treble) If you're using separate monitors, connect them to one of the 'Aux' inputs on the back of the desk (not the 'Monitor' sockets on the top of the desk next to the headphone jack). Usually you want Aux1. If there is a pre/post switch set it to pre. Turn up the Aux Send master for the Aux you're using to somewhere between 12.00 and 3.00 and then turn up the individual channels Aux Send to get a monitor mix. Hope this helps, good luck and have a great gig. If all else fails, read this! https://partydj.be/PDF-files/Handleidingen/Sound/Yamaha/yamaha-mg166cx-manual.pdf
    2 points
  2. finally arrived Wow its amazing very easy to dial in a range of sounds and sounds superb
    2 points
  3. I’ll have this. Merry Christmas to me 🎄and all of you as well! 👍🎄👍🎄👍🎄👍
    2 points
  4. or right trigger "this broom as 6 new handles and 8 new shafts"
    2 points
  5. In comparison to my US Fenders, my Mexican one is a good bass, but the tuners aren`t as good, there aren`t the graphite rods, the bridge isn`t as stable, and the pickups aren`t quite as full-sounding. So the US are better for those points, imo. Whether or not they`re nearly a grands worth of money better, well not sure.
    2 points
  6. I was mad into Talking Heads..... still am now......... the movie of Stop Making Sense was the first production which made me cry with joy. I didn't know what was going on........!! It still gets me on my feet now. I know it's not a seminal bass album but It changed my life. Corny but true.
    2 points
  7. Guitarists (or any other musician), no matter how talented, who can't see the value of volume control on stage are lacking the professionalism required for a serious working band. The band leader needs to do his / her job and deal with it. Sadly it's occasionally the band leader that's the main offender which makes it difficult to address. If i was in your situation I'd be thinking about how much better and more saleable the band would be if they could grow up and control their volume.
    2 points
  8. Just want to chip in hear to tell you about my acoustic bass, a custom Brook bass, handmade in Devon by three guys, using all traditional methods. It is called a Lowman. All Brook guitars are named after rivers, so I was delighted to discover there was a river Loman to name my custom bass after. It is based on the body shape and size of a Gibson J200. It has a Engelmann bear claw spruce top, bubinga back and sides, and walnut neck. This is what she sounds like, having just recorded this bass trio today. The tune is a Gordon Duncan bagpipe tune (I am who folk musician who also plays guitar and mandolin. I have arranged several celtic tunes for solo bass) Sorry, don’t know how to embed this in the post Acoustic basses are great fun, and my reasons for owning one are many. I like the way they look, especially with other acoustic instrument, they sound more ‘alive’ than electric basses, and their acoustic nature lets you ‘feel’ the music more, if you know what I mean. Robbie
    2 points
  9. I had the Scrambler for a while, and though it wasn`t a plug n play, you have to work to get the sound you want, when you do it is pretty decent, I had praise from every sound man at the gis I used it at. That said, Ampeg SVT sound strangely screams Tech21 VT to me more than anything. Or the Tech21 Para Driver - as it has sweepable/adjustable mids you can dial back in anything that has been lost via the Bass Fly. And the gain is pretty decent too, you can set it to that if you play quietly/non-aggressively you don`t notice any drive, but dig in and it responds very nicely indeed sort of setting, though it has bags more on tap.
    1 point
  10. Bit of a can of worms, tbh. I appreciate that US trademark law means that a trademark holder has to challenge every infringement or they risk losing their right to exclusivity - but I don't think that can be applied retrospectively to very old MIJ copies. I think Hall's big problem with these is that rather awkward little detail that they existed before JH's Rickenbacker International Corp did (I think he set that up in the late 80s) and they existed a very long time before he registered any of his trademarks. Some smartarse has previously pointed out (OK, it was me) that a Japanese company that sold Rickenbacker copies in the 70s - such as Ibanez, perhaps - could demonstrate that they made basses which featured all of JH's registered trade dress designs as far back as 1971. That might imply that Mr Hall didn't actually have any right to exclusive use of trademarks he first registered in about 2000. Probably just as well that Ibanez have better things to do.
    1 point
  11. If you’re going into the VT Bass anyway, you don’t necessarily need another Ampeg style drive, just one that works well as a dirty boost going into it. Something with plenty of mids to counteract that mid scoop the VT has from lowering the character control below noon. I’ve not tried the Zvex but I’ve always liked the demos. The SFT is modelled after an Ampeg SB12 and sounds rather different to the classic scooped SVT grind, it’s a lot more mid heavy. It did sound good going into the VT though, and there is one lurking in the classifieds! If you’re looking to blend it though you’ll need a new blender as it inverts phase, something the LS-2 is not equipped to deal with. I didn’t like the tone of the Scrambler myself, but I never tried it going into a VT. Plenty of mids and a clean blend though, it could work well. I was always a fan of the BB Preamp into the VT myself! Particularly if you’re a fingerstyle player, tubescreamer based pedals are very expressive / reactive to how aggressive you play.
    1 point
  12. And I always thought those were to compensate when you didn’t have, say, a huge great 8x10 right behind you!
    1 point
  13. True. The first (and only) time I tried a Dingwall there was pretty much zero “adjustment time” beyond what I’d usually have when picking up any unfamiliar bass.
    1 point
  14. I used to work in the school where To Sir With Love was filmed. Never saw Lulu though.
    1 point
  15. Agreed with Cheddatom, I've seen that done before, awful racket as a powered monitor was plugged into the (rear) PA speaker output of the amp.
    1 point
  16. you probably had the speakers plugged into a monitor or an effects send, and one (or more) of the mics sent to the related bus
    1 point
  17. Those are different: the JB2 is passive, the MJ4 is active
    1 point
  18. Tom, I would suggest removing your telephone number and contacting The Greek by PM (scroll mouse over 'The Greek' in his post).
    1 point
  19. I have read all of this with some interest, and some amazement. I know it's nearly Christmas, and it's the time of goodwill and all that, but this seems to me to be a bit like putting the cart before the horse. Whilst for a lot of bands, mic'ing everything up including the drums, cymbals, guitar cabs, DI'ing the bass and running everything through a top class PA with in ear monitoring for everyone and maybe even a dedicated sound guy to play in a pub where the band has a small area to pack themselves in floats a lot of peoples boat it doesn't float mine. We run with backline only in a four piece blues band, vocal PA only and it works just fine for us. We regularly get told we sound great, but I accept that we are not a "loud" band. We set up in 25 mins including the drums. There is no clutter - the PA is passive so it's only speaker cables plus power for the mixer. I have no effects: bass, tuner pedal, LM3 and Barefaced Compact. That's it. Guitarist (who sings) has pedal board, one power cable for that, one for his amp and two guitar leads. One mic, one lead, one stand. Harp player similar to Guitarist . Drummer has things he hits. From reading the OP's original post, and looking at his PA mixer, it seems to me (and do correct me if I'm wrong) that thy are similar in set up to us. If they want to change, and go down the all singing and all dancing solution as a band that's great, not my way, but hey it's your hobby/small business /whatever so you do as you please. It takes all sorts. However......if it were my band, in my situation, and I decided I wanted a new car, I'd want to know I could fit my gear in it and maybe the PA on occasions. I wouldn't be looking for something I could fit the drums in as well as my gear, but I wouldn't be looking for something I could only fit a bass and a DI pedal in either. A Caterham 7 is out.( cue people who get a wardrobe and a chest of drawers in theirs). If I turned up to rehearsal and told my bandmates that I had bought a new car so I couldn't fit my gear in any more and suggested we spend lot's of money on a new PA so we could all go through that, that we should mic up everything and all buy in ears otherwise I wouldn't be able to gig with them, what do you really, really, think the answer would be? I think it might involve an advert. My answer is simple - I have an elderly bulletproof Nissan Almera worth £500 that refuses to die. It's what I use for gigs as I can park it anywhere and not worry about it. I can justify the expense of it because I also use it to and from work. Perhaps that's the OP's solution: stay as you are as it works for you, and buy a cheap reliable hack for gigging. Oh, and is a Super Compact much bigger than a decent wedge monitor capable of giving you a good bass mix? and if not, and neither will fit in your new car, who's taking your monitor for you?
    1 point
  20. Aja and The Royal Scam- Steely Dan (or pretty much anything with Chuck Rainey on it).
    1 point
  21. I've got a Mexican p bass that's been through this Before I started meddling it was a good p bass First I upgraded the pickup, Seymour Duncan 1/4lb along with changing the bridge to a BAII - result much punchier sound Then I changed the wiring loom to a Kiogon Wiring Loom - result - fuller sound and doesn't cut out anymore Then I changed the neck - Shuker Custom Built neck - result - more attack and a better feel Just the body and the tuners to go
    1 point
  22. I didn't. Bwahahahahaha!!!
    1 point
  23. I'm all for upgrades and customisation. But for a starter bass I just want something to pick and up enjoy playing without thinking "it could do with new pickups/better tuners". I think the VM squiers kind of fall in to that bracket, as does the bitsa you have for sale at the moment
    1 point
  24. I'm nowhere near Glasgow and can't help with the routing - but could certainly do you a wiring loom you can fit in ten minutes - no soldering
    1 point
  25. I'm sure lots do get Sires or whatever playing and sounding as well at stuff that costs 4 x more. Part of it comes down to 'investing' in something for what it represents too. Lots of people buy Sadowsky because of Roger. Or X brand because they're made in England or wherever. It's up for debate whether that makes them better. But, it does make them more expensive. Some people boycott Cor-Tek, I'm not really clued up on that, but it's a whole other thing that influences a buyer's choices.
    1 point
  26. Well the right one was done 8 weeks ago and is going well, if that left one can stay the way it is then all should be good, time will tell.. my symptoms were mostly at night, 02:00 in the morning id wake up in quite a lot of pain, during the day I would have very little, occasionally I may get some numbness when driving but it was mostly at night.
    1 point
  27. Bit of a can of worms this one. Is it possible to take,say, a Harley Benton Jazz, and upgrade everything, from the fret finish and tuners to installing all new electronics, to the point where it plays and sounds as good as a Sadowsky.? I have no idea, other than that buying all the premium components would cost a lot of money in itself, but anyone who has bought a much more expensive bass, and I'm one of them, would prefer to think that it isn't.
    1 point
  28. I thought double basses and cellos were arched to stop the tension of the strings driving the bridge clean through the table. If you built a flat tabled instrument with a bridge, bass-bar and sound post wouldn't it just collapse, rather than merely be too bassy? My double bass and cello are much louder than my acoustic bass even when played pizz ... but run far higher tension strings and have much bigger surface areas too, and that I reckon is the thing. But I'm an engineer not an instrument maker, so probably wrong. Off topic anyway ... it's a great looking instrument and even if it doesn't sound quite as intended it must be a lovely thing to own.
    1 point
  29. The drummer or the dog? I can't eat rice - I'm basmatic.
    1 point
  30. Are you sure its the Amp and not the pups in your bass ?
    1 point
  31. Stoking up some Warwick GAS this one! Even been to check out The Gallery website, but not been updated yet...
    1 point
  32. I know some think these amps are the dogs doodahs, but that's just fanboi-ism lol. Apparently there's a good amp tech in Kennelworth. Or is it Barking? I forget... Seriously though, have you had it apart and looked and cleaned inside? Wasn't sure if the hoovering was just external. Could be a bone of contention... I'm sorry. 😎
    1 point
  33. Great looking set-up there, Bill, and I`m sure it sounds even better than it looks - assuming that is possible of course.
    1 point
  34. Seminal bass albums? All the Bootsy's Rubber Band albums. And the one that this is off
    1 point
  35. Right: In the spirit of teamwork (!?) I’ve just come off the phone to an old band mate of mine. Guy Fletcher OBE FRSA is the outgoing chairman of PRS and he has emphatically confirmed that the is no copyright on chord sequences. Not sure whether this is good enough but if Ped would like his phone number I could find it for him. Probably after Christmas though. And on that subject, Happy Christmas to all you too. Don’t go outside.
    1 point
  36. Allow me to join the dots for you, Jack. Is that all right for you? To your next point, I'll copy and past a bit from Wikipedia to save time, if you don't mind. "Appeal to tradition (also known as argumentum ad antiquitatem) is an argument in which a thesis is deemed correct on the basis that it is correlated with some past or present tradition. The appeal takes the form of "this is right because we've always done it this way". An appeal to tradition essentially makes two assumptions that are not necessarily true: 1. The old way of thinking was proven correct when introduced, i.e. since the old way of thinking was prevalent, it was necessarily correct. In reality, this may be false — the tradition might be entirely based on incorrect grounds. 2. The past justifications for the tradition are still valid at present. In reality, the circumstances may have changed; this assumption may also therefore be untrue." So there ya go, Jack. Happy, Jack? Just for fun, you might like to look up Logical Fallacies on the internet and count how many there are in this thread. There is one particular claim on here that manages to combine two fallacies in one sentence. Your mission, if you decide to accept it, is to discover who said it. Good luck!
    1 point
  37. If the one you got from Gear4Music had the strap button on the top wing it was the first version of Epiphone Thunderbird with the bolt on neck. The one in the link above has a through neck and Gibson pickups and is light years ahead of the old bolt on version, it's also the newest model available in the UK at the moment, though it is soon to be replaced by the Vintage Pro, when they finally decide to get their fingers out..
    1 point
  38. i reckon it should come with a greed case in this instance
    1 point
  39. Anything with Mick Karn on it. Totally unique player.
    1 point
  40. The best DAW to use is the one that most closely matches the way you want to work, or failing that the one that majority of people you collaborate with use. Other than that they are all much of a muchness these days when it comes to features, so I'll take ease of use and ease of transferring projects between different machines over everything else. I'm a Logic user because back in the mid 90s when I bought my first computer for music, the person I was mostly collaborating with, was also a Logic user and that meant it was simple to exchange song ideas. Left to my own devices I'd have probably chosen Studio Vision, because of all the DAWs I'd seen this was the one that most closely matched the way I'd like to work. Luckily I didn't because within a couple of years it was dead following Opcode's acquisition by Gibson - a similar fate that has recently befallen Cakewalk. TBH once you've got used to how a particular DAW works its becomes easier to use, and you are going to be reluctant to change hence... And that for me is the next most important thing when it comes to picking a DAW. How long is it likely to be around. Logic is pretty safe because it is one of Apple's core Pro Applications, as for the others it very much depends on the whims of their parent companies. The future for ProTools has been looking particularly dodgy for the last couple of years with Avid's on-going problems. Plus their reliance on the less than brilliant iLok copy protection. And that brings the last key feature - copy protection. Reaper doesn't need it because it's essentially free and if you are going to pay for it, then it is stupidly cheap. Logic is also relatively cheap (certainly these days the full version cost less than the price an upgrade used to) and is tied to your App store account so it doesn't really need anything more than that. Personally I'd be suspicious of anything requiring an iLok to function. Whilst the idea is excellent the implementation is less than brilliant, and if there is a problem with iLok it can render all your iLok protected software useless, as has happen several times in the past few years to large numbers of their user base.
    1 point
  41. I'm sure Doug will be sure to take the OP's advice, after all, It's clearly held back his career.
    1 point
  42. My current er... pedal.. Not tried it yet as I'm still waiting for new bass to arrive... I dread to think what will happen when I plug this thing in...
    1 point
  43. I love the lyrics to Sympathy for the Devil by the Stones... pretty much a history lesson in a single song (and a typically wonky-but-works-perfectly bassline by Mr Wyman). Probably my favourite song of all time is That's Entertainment by the Jam. Perfect slice of English working class life, mundane and dreaming about better things. I remember Weller writing about it, after someone had said it was his finest work to date, and he explained that he wrote it in about 10 minutes after coming back from the pub, full of beer! Special mentions to Summertime Blues by Eddie Cochran and These Foolish Things, the Bryan Ferry version. Both great lyrics, and Eddie Cochran was only 20 when he (co-)wrote it. Oh, and Girl Afraid by the Smiths summed up me at 17, dying to ask out a girl I knew but never having the courage to do it. Nothing ever happened, and years later she told me she'd felt exactly the same at the time...
    1 point
  44. When lost my father there were two George Harrison songs that made it bearable for me. The Sunrise doesn't last all morning, The cloudburst doesn't last all day. All things must pass. All things must pass away. Life goes on within you... And without you. So true.
    1 point
  45. I love the way one gets a picture of a situation and person in Joni Mitchell’s songs, like short stories. A carefully chosen and economic use of words which lead the listener to fill in the gaps:
    1 point
  46. Been mentioned already, but pretty much anything from Dark Side of the Moon. So much of is still very pertinent today over 40 years after it was written. Roger Waters was a lyrical genius back then.
    1 point
  47. The shrieking of nothing is killing, justPictures of Jap girls in synthesis and IAin't got no money and I ain't got no hairBut I'm hoping to kick but the planet it's glowing
    1 point
  48. In a similar vein "shorter of breath, one day closer to death". And "we're just two lost soles swimming in a fish bowl, year after year". And "but for the price of tea and a slice, the old man died". Class.
    1 point
  49. Hanging on in quiet desperation is the English way.
    1 point
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