Monckyman

LD are doing 15" active subs as part of their "Dave" range and I have to say they sound pretty good. Their systems run them with 10s or 12s .

Sounds like one or more voice coils overheating to me. That would explain the smell. These cabs may be tuned low, but they are still 500watts in an efficient cab. Your tech man should be able to sort is easily enough.

I have loads of bits of foam just for this purpose. I lose them all the time, flinging them out for the song where I don`t want it, then losing it... I`m looking at the bloke in Holland that makes purpose built mutes for about £80. Got an easy on.off lever. What? it`s only £80....

I wouldn`t worry about phase cancellation just yet. You can position your rigs to avoid that and can even reverse the phase on the input with a phase reversed cable or via a D.I or small desk with a phase reverse button. Suck it and see first.

Great idea and also a fantastic tool for sharing future setlist songs with bandmates.

[quote name='Gust0o' timestamp='1320625820' post='1429215'] Welcome to Basschat [/quote] Actually that`s Basschat.co.uk.

Basic studio equipment would include a few quality D.Is. no question. The Producer is not being honest.

He`s in Mono

Si, yes you could get your own P.A for pubs clubs functions etc, but you still can`t operate it in any meaningful way if you are onstage yourself during the show. And it still doesn`t address the low quality of staff in toilet/touring venues where you have to use their p.a anyway.

Probably not. Mebbe Panda scratchings.

The use of inexperienced (clueless) sound engineers can be blamed squarely on the venue manager/owner. They simply don`t want to pay a decent wage to better qualified staff because they can`t appreciate the difference enough to warrant the outlay. So as long as bands aren`t physically attacking the engineer, they`ll stick with him/her. Especially if they are cheap as chips. This isn`t restricted to small clubs. I`ve got a shedload of pictures of me and other engineers fixing f***ed P.As in venues across Europe who won`t spend on maintenance,spares and repair bills. So they let touring crew spot the broken bits,and then provide the bits if we fit them.Which we do because we have a show in four hours and half the p.a is f***ed... I have replaced drivers, horns, all sorts of wiring looms, pointed out and marked broken channels pots sockets on desks that appear to have never been cleaned in their lifetimes,rewired monitor desks where the local staff appear to not understand the concept of PFL buttons and listen wedge outputs, and all at venues who only exist to make money from live touring bands. Perhaps another thing to bear in mind when you get to the venue is although the staff may have been screaming for what they consider to be essential equipment, the management regards this area as a low priority and will do so until the shows appear to be at risk of not happening, and their income with it. Engineers tend to get a little jaded by this, while doing 4/5 bands a night, most of whom are ignorant of basic stage etiquette,don`t thank them for their efforts and are quick to blame them for any apparent sound blemish. So... On the other hand. I did the Liquid Rooms in Edinborough a couple of weeks back on a short tour around the UK and they have spent enormous amounts of cash on the sound equipment including a nice D&B flown rig, inc stage monitors,a Midas digital Pro8 for foh and a Pro6 for monitoring and it all worked and was staffed by competent and enthusiastic staff. So,it isn`t all bad. I think that as musicians (myself included) we simply have to trust our sound to people we don`t know,and hope the club has found someone competent and keen. Wanting a stranger to accommodate your desire for a blend of d.i and mic to capture the essence of your expensive pre-amp and boutique cab is a luxury not likely to be found in the toilet venues of UK The only way around this is to pay your own engineer to do what you tell them to do. MM

<shrug>

[quote name='ironside1966' timestamp='1320610509' post='1429000'] There is a simple answer to this a lot of engineers don't know how to mix a jazz or folk band so they treat it has pop or rock. [/quote] Quite possibly.

[quote name='LawrenceH' timestamp='1320608410' post='1428959'] I certainly didn't say the overall sound was muddy - just that I happen not to like the bass end, in particular the interaction with kick and bass, and often find that the bass drum doesn't sit in the mix well with folk-y/jazzy bands, being far too dominant. It's just an opinion, but then if I'm there are as a punter my opinion is just as valid as anyone else's including that of the engineer as to whether the sound is any good. [/quote] Yes, you are right.

Hmm, if I`m not working I think I`ll pay a visit for that

Steve, glad you`re sorted. I expect Bobby could help you sort the details. I was just given a tabs book for an audition and it`s all by and for, the guitarist, with "capo on 2nd play Em" etc Bloody useless

Wish I had your job! You doing any gigs in Manch?

Get it up to your ears. As the others suggest,a stand ot a flightcase. I`m using an Ashdown mini 4x8 in one bar that`s ridiculously tight, and I get it to sit nicely on a heavy duty keyboard X stand right at my chest/ears. (yes I have ears in my chest). I can have the volume fairly low, but if I need a bit of detail I can just turn my head in towards it. Your setup is pretty light and small, you shouldnt have a prob finding a stand.

I`m not semi-pro. I make my living as a live sound engineer. Nor am I jousting. I`m not attempting to contradict anyone, nor say they are ignorant or amateur. Nor am I attempting to lecture others on basic microphone theory. I said which mics I prefer for the job. If others choose to differ then that`s up to them. Muddy sound at festivals being attributed to the wrong mic choice on bass cabs by ill-informed/lazy/deaf sound technicians is an interesting theory. I just can`t understand why it still goes on what with all this excellent advice on the tintanet.. Nice to know the profession is respected.

Time for a break then. good enough reason.

All of them. Except the Crafted from driftwood 18 stringer eco basses. oh, and the ones with LEDs.. And um, the .....

Agreed with above. Getting your rig off the floor is a must, and perhaps swap places with a guitarist,you never know if it`s a wall near you that`s kicking it off.

I don`t think it wise to get into all the "reasons for leaving"with the band members, because they`ll probably try to talk you out of it with promises of this and that,and arguments may ensue, but in effect nothing will change. If you want to do something else with other people, just say so. Nothing wrong with that and they should accept that quicker.

Hey. Your amp cares not. I have used my VHA in this way and it works fine, completely bypassing the amps own pre-amp. Your amp uses valves and mine doesn`t but I can`t see why that should matter. The sansamp would also be fine going through the amps input stage too. Your choice.