Monckyman

The Behringer x-air range is about to be solidly thumped by the Soundcraft Ui range,sonically and financially. Got mine waiting to be picked up. Will report later!

There may be some crossover products but it hasn't done Midas any harm and the behringer X32 is a great example of behringers new quality control.

Always seem to stick Suburbs by Arcade Fire on.

Swan do ok as well. But you seem to have got it sorted with Amptown

Funny ad, but shows why that type of music should be quietly put away with the stack boots for ever.

Because.. A/ They have to rely on locals who don't care about the band or know their material. B/ Their is often very little time left for supports to soundcheck as most headliners seeing a 4 hour slot from get in to doors, will take 3.59 hours to soundcheck. C/ Support bands often don't put the same effort as headliners into getting a realistic stage balance between guitars bass and drums, BEFORE amplifying via monitors and FOH, perhaps because headliners have experienced crew to help achieve that, and space in pre production rehearsals to nail it? But I'd mainly go with A&B

Nooo not the LS9!, every time I use one i keep trying to put my finger through the touch screen it hasn't got. There are terrible chancers out there, despite everyone thinking they are being churned out by grant seeking colleges.I recently supported a well known band in a venue in Stoke...We were all miced and plugged in and got a rapid line test kick yeh snare yeah hats yeah tom yeah etc til main vox then it was OK lets hear a song.. I looked incredulously at FOH, then turned sideways and glared at the "monitor engineer", texting someone while sat on a stool near the desk. Given that two of us were on in ears, it would have been impossible to even attempt a song.After a bit of prompting, this young lad, leaned over and started turning on the master channels, and waited for instruction, which I forcibly gave him. At no time during this process did he apply any EQ to anything, neither inputs or outputs. Time was, of course short as the "well known band" had squeezed the marrow from the time table. So we played a song, got "Youth" to adjust, played another song, which is when I noticed FOH had gone for a cig. I must admit to a (long) moment of boiling rage. Getting the gig, getting here, rehearsing, costing it, getting the musos all in the same place sober, had all taken its toll, and now these pair of f*** knuckles were treating us like the sh*t on their shoes. I stopped myself from comment and we left the stage, knowing that no improvement was possible given the workforces attitude. The gig was OK, we probably sounded appalling in FOH, certainly did onstage. left feeling raped. We take out own FOH now, though we really can't afford him, it's far better in the long term than spending on getting to a gig only to be subverted by a local twat. So I feel the pain, but they are the exception, really. Apart from that bloke in Bristol... : 0

Why,yes Monckyman there are several extensions available on Amazon ranging from 60cm to 200cm. Bought a 60cm one which is enough to get the Sonic port on a pedal board with my tuner and D.I whilst keeping the pad at a decent height on my mic stand. It was just too short before. On another tip, One of the bands I play for has the luxury of a FOH engineer and I have been conferring with him over the last few gigs to get my FOH tone just right. He initially thought the jamup pro presets I had were a little sharp on the high end, so after a little tweaking he has now pronounced himself satisfied. Sounds fine to me in my ears also,and I use no backline at all. So, going of Tayste's tip I have copied that amp across to 4 presets labelled 1-4 and will set up 4 Fx paths that I use In the show. This way when I change preset I will keep the amp and gain and output, and just swap out chorus and reverbs and filters etc to suit the song. I'll check with FOH that nothing I use changes the output level too much but he'll compress at the desk anyway. I'm ok for now switching patches by hand between songs, but will add a pedal controller soon for toggling stuff like Octavers and drives in and out. Def beats carrying an amp about!

Eyoop. How did your bike get on top of your rig?

all getting a bit snarky. My advice is, if any of you are interested enough in live sound to have a negative opinion about everybody else's efforts, perhaps some dedicated study of the real problems facing sound engineers, often mixing bands who's stage sound is awful, through an unbalanced rig, in 10 minutes, so they can do the other 4 bands who insist on "our check, man". It really is invigorating. Then you can move on to moaning about the onstage sound, the lack of mics on the bass amps, the predominance of guitar amps in FOH and singers who barely breathe into their mic and deal with that. Happily, I don't do much of that anymore, but you're welcome to, seeing as it's so easy : )

I really like my Rickenfaker, it sounds great with flats, (not sure if I need the nut doing to accommodate) but it's the lump under my right fore arm I'm struggling with, I either play too far back to the bridge or end up sticking my arm between the camels humps. Which means a softer tone than i want sometimes.. Dropping it a bit helps., but then I look all lemmyfied..

Anyone know if you can extend the lightning cable on a Sonic Port using a Lightning extension cable?

Interested in the above as I don't like doing gigs on something with no spare cable! Here's an interesting development for those who use Jamup to record into DAWS like Logic and Cubase etc. [url="http://www.musicappblog.com/audiomux-review/"]http://www.musicappb...udiomux-review/[/url] This will allow you to send Stereo Audio between your mac and your Ipad, via the Lightning to usb cable. Great for amping bass tracks by using Jamup or Bias and routing straight into a track on Logic etc via audiobus. It can't do FX loop send and return yet,for re amping and integrating reberbs etc in real time but that looks like the next upgrade along with multiple audio outs... There is a sister app for Midi so you can send midi from Logic to a synth app on your ipad, and send the audio back to Logic for recording. The two apps bundled are £7.99. Bargain. Pretty exciting stuff.

Where oh where is Fumps?

[quote name='discreet' timestamp='1424636299' post='2698639'] I believe it's possible to get used to both. It's not a problem I'm likely to encounter, as my fretless playing sounds like the noise a lone goose makes when it's lost in thick fog. [/quote] Just like your fretted bass then ?

I reckon if the Aux in goes through all the processing it would be good for level matching two basses with different pickup output?

I'm going to guess about £150 for this, to compete with the Sansamp stuff. I'd have one like a shot.