Dad3353

I doubt that much mic'ed bass was fed to many FOH PA systems back then, excepting 'Woodstock'-type gigs. Most clubs had a pair of WEM columns, and struggled already with just the vocals in there. Not sure about the US scene, but mixing consoles were rare in those dark days (yes, I was there...). I didn't get my drums mic'ed up, even in the '80s. The bass amp was all there was on stage, for the hall. Recording a 'live' act would be different, of course, but FOH was brute bass horsepower, back then.

Either these are big 'stadium' venues, in which case mic'ing is fine, or more modest venues, in which case there's no need for bass in the PA at all. There'll be a DI feed to FOH just so that the sound tech can balance a little for the hall, but such an amp, oozing tubey power-amp goodness, is going to be heard for quite some distance.

Good evening, NB, and ... Plenty to read and amuse you here, and lots to learn and share.

For 'live' recording, the best bass tone from a cab is usually a few feet away in front, or off-axis (not always, but usually...). Unfortunately, on the kinds of stages most of us are playing, it's either not physically possible to but a mic there, or, if there's room, it'll be picking up everything else..! Most sound techs, if they're micing at all, will use the DI principally, and blend in a spot of the mic strip if it really adds something. As often as not, it doesn't. Not quite the same with festival-type arrangements, where there's a much greater spacial separation, pretty good equipment and mics available, a decent sound tech with enough Fx racks to get an adequate sound for the occasion. It may not sound good, however, when solo'd from the console, as we know from listening to some top band's 'live' takes. It can be done, but is rarely really worth the trouble and expense.

'Busted'.

Simple coincidence and Good Luck. Just imagine : a cloud obscures the bright sunlight, to reveal the truth ... 'You walked into the party like you were walking onto a yacht/Your hat strategically dipped below one eye, your scarf it was mustard'. Shock horror, eh..?

I could just about manage to scrape up funds for a 13€ 'Vienna' key, and probably find use for some 'Big Bang' pyrotechnics, but for the rest, it'll have to wait until The Lottery start dishing out funds to those who don't buy tickets..! Doubtless Good Stuff, but I'll have to content myself with what is, after all, simply a modest hobby, and for which I've already a rather rich panoply of excellent free, or modestly priced, instruments. I'll note for the future, though; one never knows if there's not a Rich Uncle from America lurking somewhere.

This ^^ may be a slight simplification.

My work here is done.

Zealandia, a scientifically accepted continent that is now 94% submerged under the Pacific Ocean, surrounding the areas of New Zealand and New Caledonia, and quite Atlantisy, except that it's real..

Good morning, Boomslang, and ... Plenty to read and amuse you here, and lots to learn and share.

They've changed the Download interface; it's now a programme to install locally. Once installed (and logged in...) it gives access to all the Labs instruments, downloads them and installs them in the chosen folder destinations. Pretty seamless, for the moment; I'll be directing the 'Sine' folks to there so that they can see how it should be done. Once they do it in similar, clean, fashion, they'll become another contender. Meanwhile, Good Call concerning Spitfire.

There's no 'probably' about it. It's like Christmas..! I think (I'm not sure yet...) that I've collected about enough instruments from this loded gold mine to attack this month's Composition Challenge. If I feel there's something missing, I'll be back in there scuffling around for more nuggets. A Good Call; it's made my day (well, evening, as it happens, but... whatever...). Thanks muchly.

Follow-up to the 'Sine' saga... After a couple of mails to and fro, now that the Easter break is over, I had some advice from their Support folks. Unfortunately, this did little to improve matters, and, giving it two or three goes, managed only to crash Reaper and lose what sounds I had been able to coax into life. More advice, to little effect. I've advised them as to what the issues are; if I'm the only one with problems nothing will come of it, but if others have the same issues (horrendously slow download, unsuitable default folder placement, unbelievable unpacking once download finishes, clunky integration (into Reaper, at least...), maybe they'll get it fixed. So, despite the sounds being quite useful enough, I'm not going to insist, and will not be buying other products from them, despite their attractive qualities. Never mind, I have other orchestral stuff, but it's a shame to fall over on delivery technicalities. What I did hear was very good.

What do we want..? The end of acronyms..! When do we want it..? ASAP..!

In France, there was an acronym running for president. I didn't vote for him. I don't agree with what he stands for.

Good afternoon, Saturnalia, and ... Plenty to read and amuse you here, and lots to learn and share.

Good afternoon, TTJ, and ... Plenty to read and amuse you here, and lots to learn and share.

Good evening, John, and ... Plenty to read and amuse you here, and lots to learn and share.

Good evening, MP, and ... Plenty to read and amuse you here, and lots to learn and share.

All sorts of reasons, but none that a User can do much about. Take it to the best, most reliable, repair tech in your area and hope that it's an easy fix. Prepare for the worst, but it could be something quite simple, just the same. Good luck with it; they're fine amps.

That sounds just fine, and simplifies things quite a lot. Give the sound tech a brief sample of what you'll be doing during the set, and ask for the mix that you want in your IEM (your own bass, your mic if you're singing, the lead mic, a bit of drums...), whatever you need to stay in sync with the band. You'll be fine. Now for my usual words of encouragement ... It's the first forty years that are the hardest, after which things sometimes tend to get slightly better.

Maybe tuning the kit, in preparation for shed-building..?

When it comes to your turn for sound check, use, firstly, the tone you'll be using most of the evening. Tell the tech that you'll be using other tones, and ask him to check those levels too. When he's ready, give a brief run of the various Fx tones, as they'll be used in their respective numbers. A few seconds of each is all that's required, and if he's any good (and they usually are...) he'll know how to set the levels etc. If you're using a DI for the PA straight from the bass, pre-Fx, with your amp only for monitoring and stage fill, the core tone will be enough. That's a common set-up; the Fx from the stage are often quite enough for moderately-sized venues without PA support, which only gives out the core tone. It's very useful to be wireless, or have a very long lead for sound check, so that you may hear for yourself what's in the hall (albeit empty, naturally...). This will help, usually, and boosts confidence in knowing that what's out there is not simply what you hear on stage. It's especially useful when the whole band is checked at the end, so that one's place in the mix becomes evident. Others may have other views; hope this helps. Edit : It's a Good Idea to have a few 'bits and bobs' to play that match your repertoire, but will not be played as complete songs that evening, so as not to 'give away' the songs. There's usually plenty enough songs to choose from that resemble the main parts, and the evening remains unspoilt. Just a thought.