acidbass

Broke an E string playing Higher Ground once at home, but never at a gig thankfully.

[quote name='Gunsfreddy2003' post='850699' date='May 28 2010, 09:38 PM']Forgive my ignorance but I am really interested in looking at an IEM system and just checked out the T-Bone system at Thomann. How does that integrate with an existing PA and desk?[/quote] You have to use a dedicated AUX output, so it would help if you have one spare on your desk at the moment. Aside from that, it should be pretty simple - just route whatever mix of channels you want to your desired AUX, plug in the wireless transmitter to that output and it'll send the signal to your receiver so you can hear it in your earphones.

[quote name='JPJ' post='853130' date='May 31 2010, 11:52 PM']Great sound, no noticable tonal difference and the cable simulator really works.[/quote] Is it some sort of laser field that trips you up when you step on it? Funny this thread should crop up actually - I've been eyeing up the Stageclix Wireless system just tonight and really tempted to take a punt in the near future! Anyone have any experience of one?

I think purely from a practical perspective, that I'd go for the 2x410s if I were in your predicament. Easier to shift and wouldn't really sound much different!

Cool - they look to be really good speakers for the money! I wonder if the matching subwoofers are as good? I've always been suspicious of subs with 12" drivers, call me old fashioned but there's nothing to beat a good 18" cabinet for rumble!

I feel your pain! There's nothing more frustrating than spending all that time and money on perfecting your technique and gear, only to have it all ruined by an incompetent engineer. I had to go through something similar on Saturday past, where the soundguy was the singer's dad. He obviously knew nothing about the PA, and of course the band felt as if we couldn't criticise him for fear of offending the singer! I couldn't hear a single thing on stage apart from the vocals, which were even drowning out the drums (shocking considering the drummer uses a LOUD acoustic kit) Of course, we still got our money and left after the gig, but I would hate to think that having bad sound out front would affect my potential income in future when people start saying "I dunno if the band were good because I couldn't hear them! I'm not sure if you should book them for your wedding mate!" What annoys me too is that there are any amount of young budding sound engineers, just graduated with BSc Music Tech degrees and the like, who would JUMP at the chance to get experience doing what they love. Certainly, when I studied it at uni, almost everyone in my class had at least some knowledge of how to make a PA sound good in a live situation. Such a shame that people who call themselves professional sound engineers are getting gigs ahead of people who know what they're doing, based largely on the fact that they have contacts.

I play in three regular bands, and dep quite often for another 3-4 too. I've always used the 'first come first served' rule, and only accept gigs if I know for a fact that I don't already have a booking that night. It has never caused a problem for me, and it's definitely the most professional way to do it if you have to play with more than one act.

Is there a big difference in using a top-class DI box (Radial, Avalon etc) as opposed to a Behringer or equivalent, apart from reliability and robustness?

And [url="http://basschat.co.uk/index.php?showtopic=83413&hl=cruise"]another[/url]

[quote name='Mr. Foxen' post='847939' date='May 25 2010, 09:13 PM']As if people played notes above the 7th fret in the 50s.[/quote] Lol, this post is brilliant! How true! I'm the proud owner of some of Bravewood's work, but think this might be SLIGHTLY overpriced.

One thing to remember is that even the most in-demand session players have their strengths and weaknesses - they're only human after all. One player might be more comfortable improvising in a jazz context, whereas another might not be able to improvise at all and might rely on charts. It's all a learning game really!

Hi Alex - I'd like to test the cab out too, if it wasn't too much bother to get it across the water to me in Northern Ireland. Postage shouldn't be that much more expensive depending on courier.

[quote name='GrayBoy' post='842977' date='May 20 2010, 11:54 AM']Just giving this a bump as the guy we ended up with (not from this site by the way) struggled with the complexities![/quote] Really? This is the same U2 we're talking about yeah? Good luck with your search mate

For a new band I joined recently, we had to practice three nights a week, four hours a night, for six weeks on the run up to the first gig. I feel your pain! Needless to say though, it was worth every penny spent on fuel costs. The band was tight as ever and it felt like we'd been together for years by the time the first gig came along. Nowadays, we rehearse once a week regularly on a Wednesday evening to keep things sharp. I regret none of it, I'm happy to say! Danny

That's some darn good sleuthing there, Andy!

I've recently received two replacement Blue Line drivers (with black cones) for my Ashdown ABM combo - the guy (his name is actually Guy) was very helpful and it only cost me around £40 for both of them including carriage!

If you're using it to go into a mixing desk, then surely the desk will provide it with phantom power?

It's been on quite a bit over the last couple of days, as well as Classic Albums: Who's Next - a veritable feast for Who fans such as myself!

Super amps - have used a 60w 1x12" combo for practice many times and it has consistently sounded great!

They just speed up the turning of the tuning peg really - whereas normally the winding of a string onto it might take 2 minutes, you can literally do it in 10 seconds. I believe there are bass-specific versions on the market now too (ie ones which facilitate having larger tuning pegs)

HH was actually quite a well-respected brand name in the audio world back in the 70s, I think the brand has recently been revived by Laney too. I'm not much help with the tech specs or anything but the HH could certainly be a decent cabinet. My keyboard player swears by his old HH amp for onstage monitoring - despite it being over 30 years old and battered to death, it still works a charm.

I can't imagine that an 70's Les Paul case would be along the same price line as something by Fender from the same period - they seem to be the most sought after. The seller more than likely has a valuation in his mind, so maybe try to eek it out of him? I certainly wouldn't be paying over the odds for one if I were in your situation - you'd do it only to find a similar one for sale a few weeks later for pennies!

I don't think I'd be attempting any fills without knowing what notes were coming directly afterwards!

Dunlop for me - the sticky outy bit on the Schallers annoys me, plus the whole thing once came apart on me coz the screw gradually gets looser and the bass almost fell to the floor!

Go for it mate! Have you thought about stacking them horizontally? THAT would be a killer look!