Dad3353

[quote name='EBS_freak' timestamp='1476985647' post='3159047'] Why? Subs give the low end frequencies that tops just can't give. There's a difference between fidelity and volume. The latter has to be appropriate for the venue. [/quote] The bass cab [i]is [/i]the sub. No need for any more in the venues we normally play. Bigger scenes have the full works, but bars..? No need, for us.

[quote name='Ghost_Bass' timestamp='1476978877' post='3158967'] Sendind everything to the PA provides a better overall sound mix... [/quote] You're perhaps playing in larger venues than we usually do. For a concert hall, I'd entirely agree, but for a pub/club/bar, there's absolutely no need (for us...) to mic up guitar half-stacks, nor the bass. Once the PA volume is set for the singer, we all play to that level. We're not trying to deafen anyone, and in a small (ish...) room, no instrumental band would even need a PA at all. One has to reign in more than turn up in most places we play. Not the same for festivals, or open air stages, of course, but pubs..? Nah; voice only (and a touch of bass drum, sometimes...).

How many drummers have been made redundant by drum machines..?

[quote name='plumbob' timestamp='1476900151' post='3158323']... Oh I can never get that youtube thing to work can someone do it for me , ta ! [/quote] For next time;;; Copy the link given by the 'Share' button, which is just above the Uploaded date, above the Comments. Paste the link into the post being edited. Delete the 's' from the 'https' at the start of that link Enjoy..!

http://youtu.be/LQBkoqjL6pw

[quote name='Ghost_Bass' timestamp='1476892958' post='3158210'] From what i'm reading here most of the bands that use a PA for vox in fact only have a pair of tops. With a couple of subs below (and if you've got a quality PA) your bass sound will be better overall and dispersed through every corner of the venue. We have a low volume on stage sound, i can hear everybody, both guitar combos and vocal monitor and they can hear me. If i had to push my amp to fill the room (and if the guitars did the same) i would start to lose parts of the drum kit and wouldn't be able to hear the vocals (neither would the singer). [/quote] We use only tops in pub-size venues. The bass through our Hiwatt and HH cab give as good as any sub, so we wouldn't benefit. Vox only, and a smidgen of bass drum in the tops (no 'bottom-end punch, just a presence, that's all...). No point in a pair of subs either; the bass will be spread just fine with just one in most venues. That's what the bass cab is [i]for[/i], in fact..!

[quote name='molan' timestamp='1476884373' post='3158088'] For those of you only using minimal PA - any of you using an SVT Classic with two large cabs as your bass backline? [/quote] Does a Hiwatt DR205 and an HH 2x15 count..? Not that we play loud at all; our amps have volume pots that work.

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[quote name='mikel' timestamp='1476861754' post='3157778'] I dont disagree with any of this, but plug your 1000 watt solid state amp into your Altec loaded cab in an AB test with the Orange and what would be the result? Thats what I am trying to discern, is there a marked difference in the watt rating for modern solid state amps compared with valve amps, now or from back in the 70s? [/quote] Once the SS amp started to deliver the same db level as the Orange, the speakers would start to melt. The audible output would not increase over the Orange, and the full potential power of the ss amp would not be available. My PA, back in the early '70s, was a 200w Hiwatt DR205. The cabs for that were a pair of these... Those stacks are over 6 ' tall, and their sheer mass affects the moon's orbit. We used 'em for rock concerts in some quite big venues (2000+..?), and there was no lack of FOH. Only 200w of valves. I don't think any 200w ss amp could even get close to the sound of that rig; I would rather bet on needing at least 1 kw of ss amp. The Hiwatt 200w is, I reckon, rather a conservative estimate, and many ss amps are the opposite.

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Most of Jack Casady's work; special mention for 'Bless Its Pointed Little Head' and his contribution to 'Blows Against The Empire'. Regularly fine with Hot Tuna too, although in a different vein.

Lots of expressions come to mind, such as 'The grass is always greener...' and 'A bird in the hand...'. Although there's always 'Don't hide your light under a bushel' too, I suppose. Why this sudden evangelistic ambition, though..? Has there been a shock to the system, or just a late spell of jealousy..?

Years (decades...) ago, I wrote it all out long-hand, into a ring-binder for use on my music stand (drum parts, mostly...). Nowadays I use Guitar Pro 6; I can play it back and check the timings, rhythms and stuff. It's only for my own comfort now, though, as I rarely play out.

Phosphor-bronze strings will not work well on an electric guitar, as they have very weak (if at all...) magnetic properties required for a normal, magnetic pick-up. You can try 'em, but the result will probably disappoint. I was rather intrigued, though, by the instigation for this. A change from the [i]look [/i]of standard strings..? Someone actually [i]looks [/i]at these things..? i could only recommend Humbrol enamel paint, but let it dry first. At least there's a whole range of colours.

That seems simple enough to me; just tune the guitar in fourths, no..? The 'B' gets tuned up to 'C', the top 'E' becomes an 'F' and that's it..! 'Standard' tuning is only that, 'standard'. One may deviate from that 'standard' if that suits the music you want to play. Think of open tunings, for instance..? There are no hard-and-fast rules (but you'd have to adapt if also playing 'standard' chords, of course...). Try it out, it won't break anything. Just a thought, though. If this change from fourths to thirds bothers you, it would imply (to me...) that you're playing from a purely 'positional', or 'shape' point of view. Any tuning can be handled, once one gets to know the notes and intervals well enough. Transposing on a piano, for instance, involves forgetting about 'shapes', and thinking (or rather, 'knowing'...) the sound of each key. Similarly with a guitar, the notes are where they are; one gets to 'know' how they sound, and that's all. Just a thought.

What's your remaining question regarding the Pre and PreX..? These are not the most common interfaces to be found in domestic settings, so there's less folks with 'hands on' experience with 'em. We use Motus (Traveller and another I've forgotten the name of...); I can't imagine that interfaces in these ranges are really, really bad. I thought it had come down to 'get stuck in first, then see what you need/want after a while'; is that not the situation..?

[quote name='stingrayPete1977' timestamp='1476304582' post='3153265'] Have you seen Dad3353's live show! [/quote] Oi, less of that..! I'll have you know that [i]some [/i]vintage kit is quite decent..! (... [i]and I'll claim first dibs on any Hiwatt stuff you stumble across, please.[/i] )

Superlux HD 669. Not cheap; inexpensive.

[quote name='thebrig' timestamp='1476275854' post='3152904'] Exactly! I was a bedroom warrior for [u]forty[/u] years before I started gigging, I've gigged for the last nine or ten years, from the age of 56, and it now looks like there is a very good chance that I might have to go back to being a bedroom warrior again due to health issues, so why would I look down on people for doing exactly what I've been doing myself for most of my life? Like I've said more than once now, I am just interested to know what others do as an alternative to gigging because I could do with some ideas, at the moment, I'm seriously thinking of going into home recording, but I'm also looking for other possibilities as well. [/quote] I'm in pretty well exactly this same position, what with being old 'n all; there's very little gigging now to be done. It's hard enough getting up from my armchair, let alone load-in, load-out. Our music room has been commandeered by our eldest for now for joinery, but we'll get The Daub"z rehearsing again soon enough, and, with a bit of luck, may be able to manage a gig or two in the coming year, if all goes well. I'm lucky in having great support (physically and morally...) from my family and band mates, and there'll be a day (soon; too soon...) when I won't be able to play my drums at all. Meanwhile, I'll continue to be interested in all things musical, including (but not exclusively...) bass, and continue to compose my stuff using my modest PC and virtual instruments. There is a life (of sorts...) off stage and out of the limelight. I'm glad I did it and wouldn't change a thing, but the wheel turns, and so I turn with it. Regrets..? None at all. Did I hit the Big Time..? Nah, and it's not sour grapes to say that I never aimed that high (or low..?). There's much more to Life in general than gigging, for me, but I'll still do what little I can as long as I can, as it's a blast on a Good Night.

[quote name='mcnach' timestamp='1476270232' post='3152830']... give to the soundguy to provide me with my own mix in my IEM earphones?... [/quote] That would depend, amongst other factors, of there being a monitor channel free for this. Modern digital desks usually have enough monitor outputs, but many traditional desks have only 2 for monitors; maybe 4, and they may all be used, in which case you'd have to share a mix with others. Just a thought.

[quote name='cheddatom' timestamp='1476269061' post='3152817'] the specific situation I recently came across was like this... [/quote] Could you render the track(s) that the fellow requires in his monitoring to one stereo track, then use only [i]that [/i]for recording his new stuff..? There's be no latency from processing that way... Just my tuppence-worth.

[quote name='JTUK' timestamp='1476118620' post='3151503'] what alternative to Soundcloud.. [/quote] Dropbox, Google Drive, Youtube... The list is long. What's the beef with Soundcloud, though..? It's free, and easy enough. Still, the important bit is the Noodle, not the medium. Pdf, anyone..?

[quote name='Agwin' timestamp='1476118287' post='3151494'] Certificate printed and on the fridge - thanks Dad [/quote]

[size=4][color="#222222"][font="Arial, sans-serif"]And the winner is... Agwin [sharedmedia=core:attachments:167486] Here, then, is your Winner's Certificate (download and save as pdf file, then proudly print and frame...) ...[/font][/color] [attachment=229600:BC_Nood_Cert_2016_09.pdf] [color="#222222"][font="Arial, sans-serif"]... which looks like this (but bigger, of course..!)... [/font][/color][/size]

They are both of an almost identical spec, concerning sound quality and features; the PreX is rather cased to be racked into a studio and never moved around, and so has the connectors doubled up. This would allow having both jacks and Xlr's connected, and the choice of which to use done through software. The Pre version has combi connectors; one would plug in a jack, or an Xlr, but not both at the same time. For your use, I'd suggest that the PreX features are not necessary. If 8 channels are not enough, either (or any...) of this range can be interconnected to expand the total inputs. It's possible, for instance, to add a Pre4, which would give a total of 12, or a second Pre8, to get 16 channels.The protocol that enables this is ASAT; it's just a way of getting stuff to work together, like MIDI, or USB. ASAT equipment 'talks' to other ASAT equipment, that's all. A clock is used for synchronising interconnected gear, much like an orchestral conductor. A world clock gives a common timing signal to all, so that the signals stay coherent. It's not a big deal with only an interface and a Mac, but once one gets lots of outboard accessories, such as reverbs, or other recording devices, it's required that one or other of the machines takes control of timing. In your set-up, I'd say it's of no importance; it's perhaps nice to know, however, that it's there if ever it becomes necessary. How does all this stuff work..? Magic, my lad; magic. I'd just add the warning that, for recording, live, a whole group, having all of those inputs available is only one of the aspects. Trying to keep each channel clear of the other instruments becomes important, as is microphone choice and placing. It's good to have excellent equipment from a technical point of view, but it's only going to be as good as the weakest link; any more is 'overkill', and won't give a better result. Not to say that your choice is not good (it is..!), but it can't give any more than the quality of signal going in. It's quite a challenge micing up this way, so don't expect to get Abbey Road results, despite the quality of your gear. You're off to a roaring start, though, I'll grant you that..!