Jakester

Glad you had a better experience than me then! As I say, it's only been my experience but I have used a lot of desks in lots of different situations, and those are the two brands I've always noticed issues with.

I started out with a Xenyx 1024FX but it had to go back as the preamps and the effects were so noisy it was pretty much unusable. Unfortunately that’s been my experience on a number of occasions of using Behringer analog mixers live (and also Mackie ones - Behringer aren’t the only culprits) but thankfully whatever the issue is wasn’t carried over into their digital mixers. In my experience Yamaha and Soundcraft analog mixers do the job well, and as I posted above the Behringer XR18 was/is a game changer for me.

Wow. I just found out you can apparently run the XAir App on a Raspberry Pi! I'm going to put together a Pi multitrack recorder to use with my XR18, but I also found out there's a Pi native version of XAir too. I was intending to use a 3.5" touchscreen for the recorder as suggested here: https://www.z-liverec.com/ I daresay that's probably WAY too small for Xair, but it might be useful to have as a backup to an iPad in a worst-case scenario.

If sellotape fouls the scanning, how do couriers scan the shipping docs put in little plastic envelopes then?

Well, my one was lost entirely. Thankfully ended up with a refund but had to fight and refer to eBay for it. What a joke! Some Evri driver has some very nice studio equipment now.

I have both a Soundcraft Signature 10 and an XR18. The Soundcraft was purchased for really small pub gigs where there was no real need for more than a couple separate monitor feeds. It’s great, quiet, great sounding preamps, good (quiet) effects and useful touches like limiters on some channels, USB stereo out, interval mute (mutes all channels but the phono in (but annoyingly not the monitors) etc. I’d get another if I needed to replace it, though possibly the 12MTK. I was considering the 22MTK for live and home studio work too. The XR18 however is another league - once you get over the tricky learning curve it’s so much more useful and has so many better options. I have to say after a range of gigs using the XR18, when I went back to the Soundcraft I felt a little bereft! Band members were moaning about not being able to control their monitor mixes (makes a change from them complaining about being able to…) and I missed the easy setup with scenes etc. My only issue with the XR18 is the lack of a physical vol knob for when some jackass unplugs/plugs in the wrong thing and causes howling feedback. I do have the XTouch controller but don’t really use it as a physical surface any more.

Hmm, I see what you mean - just had a quick go at a very rough attempt and when you lift off to allow the E to ring, it's hard to cover the B. I did try wanging the fretwrap higher up the neck - around 3rd or 4th fret and it cut the B out completely but left the E, A and D ringing when you want them to. It also muted the G, but if you're fretting the octaves higher up the neck than that won't be an issue. Other option I tried was playing the E on the 5th fret of the B string. Bit of a stretch to the octaves on the G-string etc but worth a try?

I think I use the ball of my right thumb to mute the B when it's not being played if I can't mute with the LH. I do also have a fretwrap jobbie at the headstock though. That said I don't really slap that often and certainly not any Wooten-esque pyrotechnics!

Yep, he has, but it's also shown as 'we have the item' on the Evri website since last Thursday (i.e. over a week now!) I'm not holding out too much hope TBH. We'll see if it turns up tomorrow and if not, I'm requesting a refund.

You’d think. I’m still waiting for a fairly expensive piece of kit from eBay, and on chasing the seller, he pointed out there had been Royal Mail strikes -yes but, er, you sent it via Herpes/Evil, not Royal Mail!

Ah, sorry, can't help, though BC's own @Bilbo has a pretty huge archive of transcriptions here which might be worth a look:

I've boycotted Yodel ever since one of their HGV smashed into the back of my car on the motorway, mashing the back end up and the driver refused to give me his details. Cue police being called, who were far more interested in him than me. I gathered from the Highways Agency chaps there may have been a 'discrepancy' between who the licence said was driving, and who actually was driving. In fairness to Yodel I haven't had too many problems when receiving parcels, only in the course of them being delivered (right into the rear end of my car!)

Wow, if he's graduated from £00's to £000's it's really only a matter of time until someone actually takes proper legal action against him.

Are you after the actual transcriptions of the parts, or the chord charts/Real Books etc?

I play 5ers almost exclusively now, and I still struggle with anything less than 18mm. I've tried (and owned) a couple of 5ers with string spacing below that, but I've never really been able to get on with them so moved them on. I have a Lakland 55-02 which is 19mm and a Yamaha TRB1005j which is 18mm. I've had Warwick, G&L (USA and Tribute) and Spector 5ers, all 17.5 or less and could never really gel with them. I do have large hands though....😳 Edit: in fact, it's a shame, because like OP, there's loads of basses I won't even look at because of spacing. I love the aggro G&L sound of an L2500, but just can't get them to work for me. I'd love a Stingray but just don't think it's worth it as I'll have to move it on again.

Thanks @Beedster, will take a look!

Hi @pembroke151! Big Yamaha fan here - love my TRB, have a Yamaha DXR PA and a new Recording Custom drum kit! Good to have you aboard, enjoy the ride!

You say it's not feedback, but are you sure? If it suddenly sounds boomy on certain notes it could be resonance-induced feedback on particular frequencies. I have the same amp and an under-bridge pickup and I do get some feedback if too close to the amp on certain notes/frequencies. I recently posted a thread about feedback on hollow-raised stages and it was suggested I get a HPF - perhaps that might help you? Or perhaps try using multiband eq to identify the particular frequency and cut it?

The former, ideally - I have a fairly large drum kit set up - kick, snare, four toms, overheads, and I would also like to add in a beater and near field resonant head mic (as well as the one inside) and also a couple of spot mics for ride, HH and secondary snare, and possibly a stereo pair of room mics too. ATM if I want to capture the varied BD sounds I end up going kick, snare/s, overheads and extra kick mics, or one mic for two toms etc. Plus it means having to reconfigure things if I want to record aux percussion stuff too. Entirely happy with USB but struggling to find anything affordable with 8+ mic inputs. I've looked at the Scarlett/Clarett stuff and I could use their OctoPre via ADAT but it seems a fairly expensive way of doing it. I could use the Behringer equivalents for around half the price but XR18 aside, I always find their mic preamps REALLY noisy. ESI appear to do a 10-input interface for around £300 but I've never heard of the company before. I don't really mind Firewire - at worst if I find a 'cheap' MOTU or Focusrite/whatever but want to upgrade my laptop I can just use the old FW one for studio-only recording use and then use the newer one for mixing etc.

Thanks Paul!

Thanks lads for spamming the topic...🙄 Maybe get a room?

Does anyone have any recommendations for a half-decent and reasonably affordable audio interface that will do more than 8 inputs at once? Theres loads of great ones up to 8 channels but it seems once you go past that you’re getting into £000’s territory! I do have an XR18 which currently does the job but it’s also my main live mixer so it becomes a bit frustrating having to tear down the mic setup etc every time I have a gig, and I confess I haven’t ruled out just buying another one, but wondered what other recommendations people might have. Setup is an old MacBook Pro so FireWire is entirely feasible if there’s old bargains to be had.

Thanks everyone. I think it’s as much I would like a more creative outlet but simply don’t have the musical skills or knowledge to do it all myself, so necessarily need to collaborate with others, which I guess then inevitably steers me away from what I was aiming for in the first place! Don’t get me wrong, I like playing covers in covers bands or standards in jazz - it gets me out there, the audience is reasonably receptive, but after a fair few years of doing the same thing it’d be nice to have that outlet to explore beyond the ‘usual’ stuff.