Chrismanbass

Had a couple of hours to kill on a plane this weekend so watched this In general the BBC mix wasn't too bad

(hot tip the R3 mix is generally better for these kinds of things according to my friend working on the gig)

actually listening on my headphones (AT ATH M50's) the bass sounded too prominent in the mix and I wasn't a fan of the tone.

Some dodgy playing from SC IMO as well he seemed to get taken by surprise about soloing during the band intros section and

there was a fluff in the intro to soul man too.

James Morrison was a surprise highlight for me, I'm not a fan of TJ at the best of times and to hear that he's not very well

doesn't surprise me.

Quite a few faces in the band I recognised from working at Ronnies all top players so the excuse that they were under rehearsed

doesn't really ring true to me. What seems more likely is that the older faces are used to freestyling gigs a bit more and threw

them a curveball while on stage causing the band to have to react which with a bigger ensemble like that isn't an easy thing to

do.

agreed hole stopper would be my first port of call

alternatively have a look at a graphic eq pedal which would give you the ability to notch out the troublesome frequencies

[quote name='Fabrocker' timestamp='1496183068' post='3309462']
Hello Chris, we forgot about mic for audience, that's our first live rec.

Thanks!
[/quote]

awesome job in that case its a really good recording

something to rememeber for the next one

chris

Nice!

love the band

the lack of any ambience makes the whole thing sound a bit weird to me theres no crowd noise at all which makes it feel like there's no atmosphere at the gig which judging by the pictures isn't the case at all other than that a solid metal mix with a really tight band

don't know if you were looking for comments or not but just my 2c worth

Chris

maybe something to do with having to use open strings for a certain riff to make it work for example Living on a prayer in any key other than Em doesn't flow properly to me as theres always a small jump between the first two notes of the line

but i've always done it in EM or Ebm (tuned half step down) so never been an issue


but for simply transposing there shouldn't be any excuse really but hey if it works for people then who am I to judge

[quote name='tinyd' timestamp='1495015690' post='3300412']
I'm no sound engineer so I could be way off, but it bugs me that the kit in general these days is often mixed almost as if it's a set of separate instruments.
[/quote]


This!!!!

treat the drum kit as a complete instrument and you have none of these problems

Overheads up first and then fill in what you can't hear with spot mics is the way i've always been taught to do it

[quote name='Dropzone' timestamp='1495014279' post='3300392']
Every time I hear the house engineer that is all you get.
[/quote]


IME even support bands on major gigs bring their own engineer now (size dependant obviously) also you have to remember that the house engineer has only heard that band that evening and is "busking" the set dependant on what they can hear.

A band engineer will have spent months getting the bands sound right will have far more sway with the band on backline positioning, tone and most importantly volume all of which can make a MASSIVE difference in smaller venues i've seen and done things like pointing a particularly offensive sounding amp off into the wings to save the ears of the front row of audience members, putting up perspex around drummers and generally offering advice about backline tone with bands that i've worked with. I'm fairly sure that if i suggested these things with a lot of bands when I've been the house engineer (FYI I try and get the best mix for each band I encounter so If I'm suggesting stuff like this its not for my benefit) I'd be met with arguments and dubious looks at best

nothing wrong with shure 215's gigged them as in ear monitors and they were fine the cables are a tad brittle (I went through 3 pairs in a year my westones have been subject to the same abuse and are fine)

one thing I would say from experience is that if you can spare the cash then go for the 315's they're just that little bit nicer and clearer in the high mids without being harsh (a problem with the 215's IMO)

more drivers will obviously make a difference whether its £100 difference I can't say as I've not listened to them

I would also recommend westone as a company I currently run the 4R (quad driver) as my in ears, but they're probably a bit overkill and definitely over your stated budget (but very nice)

Westone do the UM pro series which are nice and reliable (able to be coiled round you hand and shoved into pockets) and IMO knock spots off the shures in terms of sound

the UM pro 10's are single driver at £104
[url="https://www.amazon.co.uk/Westone-UM-Pro-Clear-Earphones/dp/B00EXN4GK0"]https://www.amazon.co.uk/Westone-UM-Pro-Clear-Earphones/dp/B00EXN4GK0[/url]

or the UM pro 20's are dual driver at 209
[url="https://www.amazon.co.uk/Westone-20-Earphones-10-Screw-Detachable-Transparent/dp/B00FKXZE5I/ref=pd_lpo_23_tr_t_2/262-2277961-4718451?_encoding=UTF8&psc=1&refRID=EP3WKHGM1H6XN5A9DGVR"]https://www.amazon.co.uk/Westone-20-Earphones-10-Screw-Detachable-Transparent/dp/B00FKXZE5I/ref=pd_lpo_23_tr_t_2/262-2277961-4718451?_encoding=UTF8&psc=1&refRID=EP3WKHGM1H6XN5A9DGVR [/url]

[quote name='Dad3353' timestamp='1492424861' post='3280077']
It's not the cabs that count, it's the electrical connection between the speakers. Most amps, and many cabs, have two outputs, wired in parallel. Connecting a 4 ohm cab to each of these would, indeed, give a 2 ohm load to the amp, whether using the amp connectors or the cab connectors (ie: daisy-chained...). However, with the use of a specially-cabled series box connected to the amp, the cabs (and thus their speakers...) can be made to be electrically in series, showing a 8 ohm load to the amp. It's not that common, but has no danger to the amp. The solution will work just fine, and the overall sound will be fuller, and so seem slightly louder.
[/quote]

Indeed upon doing some research on the subject I realised that the speaker connectors are wired so that they're parallel and thus deleted my incorrect comment

this is what lead to the earlier confusion about amp loading in my first post

thanks for bearing with me everyone

Chris

have a read of the impedance thread in the amps and cabs section I think you've either posted wrong or misunderstood

if you have one cab at 4 Ohms and add a second cab at 4 Ohms the Load will be 2 Ohms not 8 Ohms


this will cause damage to your amp due to it pushing out too much power with too little resistance which can lead to overheating issues (assuming that your amp wont run down to a 2 Ohm load if its the Markbass in your signature then I know it won't as I own one)


what you need is either one 4 Ohm cabinet or 2 8Ohm cabinets to create a total load of 4Ohms which is the minimum resistance its designed to work at

in reality more speaker area means more air moving but also less power going to each speaker I've used extra cabs in the past (1x15 under my 2x10) but its more for tonal reasons than actual extra power

again apologies if I've misinterpreted your post and the confusion is just a typo

anyone going to or been to this? I'm working this gig and it would be great to hear from any basschatters in

I've got to say he's incredible holding it down all night with just flashes of sheer brilliance

also it helps that he's a lovely guy to boot

for anyone that hasn't come across him check this out

[url="https://www.youtube.com/watch?v=3yVBniL-hyg"]https://www.youtube.com/watch?v=3yVBniL-hyg[/url]

Hi James

narrowing down a budget makes things a lot easier but if budget is truly open ended then have a look at the Yamaha DSR series of speakers I've used them on countless gigs with one of the sound companies i work for they're awesome and pretty indestructible the 15's have enough balls to handle most things inc kick drum and bass and they sound good out of the box without having to do much tweaking (which is my main bug bear with a lot of active speakers)

[url="https://www.thomann.de/gb/yamaha_dsr_115.htm?ref=search_prv_6"]https://www.thomann.de/gb/yamaha_dsr_115.htm?ref=search_prv_6 [/url]

on the other end of the budget scale (slightly) I've also used the yamaha dsr stuff and its great for what it is ( not as good as the DSR boxes but its a fraction of the price) its a plastic box which imo don't sound as nice and not as easy to neaten up as wood (black sharpie works a charm) but for what they are they're good and they won't break the bank too much

[url="https://www.thomann.de/gb/yamaha_dxr_15.htm?ref=search_rslt_yamaha+dxr_276909_0"]https://www.thomann....ha+dxr_276909_0[/url]

I've attached thomann links so you can see the speakers I'm talking about I'm a sound engineer for a fairly famous jazz club so feel free to give me a shout on here if you have any questions

cheers

chris

edit: i clearly didn't read the rest of the thread before commenting but yeah what everyone else said

edit 2: .....,,,..,.,..,.,.,..,..,.., (heres all the punctuation I should have used think of me as the ikea of commenters)

They're usually called HF horns or Tweeters and It does exactly what it says really.

provides high end, Useful if you wan't a biting tone or play slap to get that real zingy sound

but it depends what kind of tone you're looking for some people like that some people don't neither is right or wrong really.

FYI your Laney RB3 has one according to Laney's website

For the people complaining about too much low end at big gigs I totally agree and wish more of my peers (I'm a Sound Engineer for a fairly famous Jazz Club) would read this article
It makes some exceptionally valid points and probably goes quite fair into explaining why some gigs sound bad

[url="http://www.audiotechnology.com.au/wp/index.php/time-to-shelve-the-low-end/"]http://www.audiotechnology.com.au/wp/index.php/time-to-shelve-the-low-end/[/url]

Ps. the guy writing has mixed for a few people all of which have a reputation of sounding excellent on tour

Have you ever thought of producing an audiobook version? maybe members here could contribute some soundtrack snippets?

Mine is a nice simple clean set up

Basses

Bacchus custom Jazz 5 string (fitted with bartolini pickups and John East preamp)
Overwater by Tanglewood contemporary 5 (backup to the Bacchus and has a bit more umph in the bottom end)
both basses strung with D'addario pro steels 45-135

(Van damme instrument cable with Neutrick connectors from bass to pedals)

pedals

Visual volume pedal (I like the LED's up the side and it has two inputs)
TC electronic Polytune (running out of the tuner out of the VV pedal)
sansamp bass driver deluxe (the one with two inputs and two banks) xlr to FOH from this pedal plus then jack output to amp and parallel output to In ears mixer

occasionally a Boss Bass chorus pedal if needed


(Van damme instrument cable with Neutrick connectors from pedals to Amp and in ears)

Amp

Markbass Little mark 3
Markbass Traveler 102p
Markbass STD 151 HF (this only comes out for big tributes where I need the look of a big amp)

In ears

Alto ZMX862 mixer
Bass line from sansamp in channel 1
monitor line from monitor desk in channel 2
Westone 4r quad driver in ears from headphone out of desk (I've found that moulds slip out of my ears when i get sweaty and move when I sing BV's losing all the bottom end)


For Theatre gigs i just don't use my amp.

not as simple as i thought when I started this post

I went to Tech Music Schools which has now become BIMM London I can put you in touch with a few guys there if you'd like so you can have a chat

from my experience of studying at Tech and then doing a bit of stuff for ICMP the course details are pretty similar in terms of content so the thing that would sway me now would be the teachers. Which teachers inspire you to want to be better and their methods of teaching the curriculum I've come across good and bad ones at both places so its down to individual choice really.

In terms of facilities I'd say that BIMM London is one of the best equipped colleges out there

[quote name='Sibob' timestamp='1487076064' post='3236765']
Thanks very much, yes we've played there a few times and is always good fun!

[/quote]

cool I thought the name sounded familiar I'm sure I've done you guys on a previous occasion

album sounds lovely btw just having a listen through on Spotify

Nice thats one of the venues I engineer for unfortunately I'm not in town this week otherwise I'd pop my head in

I appreciate its pretty late notice but give me a PM if you have any questions about house gear/venue

if not have a good gig I believe its a guy called Simba working upstairs tonight, he's a lovely guy and knows his stuff

Chris

[url="https://www.youtube.com/watch?v=LXjqTqj4_qY"]https://www.youtube.com/watch?v=LXjqTqj4_qY[/url]



I've heard this done by a female singer before and its pretty awesome

I work there I'll let you into a little secret they're our house amps and get played every day and he was just using the 4x10, the 2x12 is literally just to lift it off the floor

as EBS_freak said we're incredibly spoilt in that venue in terms of PA it comes from having very good owners who understand about investing in a club to make it the best that it can be rather than just treating it as a cash cow


PS. its also where your £5.25 for a bottle of beer goes

[quote name='stingrayPete1977' timestamp='1469016950' post='3095083']
will only use six D and B monitors as long as cold play aren't in town and lent them off him.
[/quote]


as long as there's still enough power for Chris Martins steam room ....... yes thats right they tour their own steam room .....

Can't help myself as I've never come across this with the x32 app (could you potentially connect some tablets to the x32 and use the x32 app rather than the x32 Q

alternatively maybe ask the question in this group on facebook its an owners group and hopefully someone should be able to help

[url="https://www.facebook.com/groups/BehringerX32/"]https://www.facebook.com/groups/BehringerX32/[/url]

[quote name='blue' timestamp='1467376319' post='3083214']
I've played Summerfest for the past 5 years. The sound check the supporting acts get is a joke.

Blue
[/quote]

As harsh as it sounds thats because you're the support act and not the big draw like the headliner in the eyes of the promoter so if you sound crap no one really cares (apart from a small minority of people who've come to see you not the headliner)

if the headliner sounds crap then the promoter has people asking for their money back

not a nice situation but thats the reality of it.

[quote name='AndrewJordan' timestamp='1467027320' post='3080533']
Hi Chris, I run PA for our band. We often play in quite small venues at fairly high volumes which means we often get feedback from foh which I fight with a graphic. In fact thats all I use the foh graphic for as I have no measuring quipment for setting a flat sound. I could be wrong here but, I was of the impression that if I am getting feedback at say 100hz then something about the room is exciting that freq and making it louder in the mix. Therefore if I cut it enough to kill the feedback then it should be pulling the frequency down to a more even level with the others. Feel free to tell me if I am wrong. I am here to be educated.
[/quote]

sorry been at work

so basically there are a few different ways of creating feedback which all kind of overlap a little bit

the first kind is the room resonance kind where there is something bouncing madly around the room due to the surfaces/shape of the room. we've all at some point or another encountered a really boomy room which kicks off when you play a particular note. This kind of feedback you can most definitely fight with a graphic as I count this as making the PA flat in the room.

the second kind of feedback comes from what i call overgaining for this i have to explain the difference between volume and gain

volume in essence is how loud the signal coming out of the PA hence the use of faders for a good visual reference of your mix

gain on the other hand is how sensitive the mic is (in reality its actually how much the signal from the mic is amplified but it results in the same thing) so if you imagine a vocal mic sitting on the stand there is an invisible ball around the mic which is what the mic picks up as you turn the gain up the ball gets larger and the mic becomes more sensitive.

if you gain the mic up too much because you need the extra volume you end up with it picking up a nearby speaker and it feeding back at a few frequencies

this means you then have to chop some frequencies out of the graphic to stop it feeding back which means that the whole PA mix will suffer because of it and again you end up chasing your tail adding more eq to other stuff than you need to

the third way is pointing a mic at a speaker be that from bad PA positioning or just someone being dumb
but this is pretty obvious

to me it sounds like you're overgaining a little bit to compensate for a quieter FOH rig than you actually need (or gaining up too much and then pulling it back on either the faders or the master)

no problem I'm happy to answer more specific questions over PM if you have any