la bam

I always wanted this amp.

Everything a class d amp should be. Banded eq, valve and s/s mix and loud and light.

1 minute ago, la bam said:

For me, frfr is only used as a fresh canvas to colour.

 

I've gone iems in one band and whilst the other bands are still in rehersal I'm going to talk them into it, but I'm currently at rehersal going straight into the pa.

 

If it helps the very best addition to the sound through the pa is a fantastic 8x10 sim I found. That added (to of all things) a behringer bdi21 gives a fantastic sound.

 

The pa we use isnt cheap - yamaha dxr15, but it's good. Around £500 per speaker.

 

So, if I had to get an amp for any of these bands I'd just get one of them and plug my pedal board into it.

 

Or, to be fair I'd probably end up putting everyone through it and have it as a personal monitor for myself.

 

QSC, RCF all great, but with yamaha you want dxr or dsr. Dont get lesser ones as they are a different quality.

I forgot to add..... most of these higher end speakers also have a kind of mini mixer on the back now, so you can always add in other instruments in there for yourself if needed.

For me, frfr is only used as a fresh canvas to colour.

I've gone iems in one band and whilst the other bands are still in rehersal I'm going to talk them into it, but I'm currently at rehersal going straight into the pa.

If it helps the very best addition to the sound through the pa is a fantastic 8x10 sim I found. That added (to of all things) a behringer bdi21 gives a fantastic sound.

The pa we use isnt cheap - yamaha dxr15, but it's good. Around £500 per speaker.

So, if I had to get an amp for any of these bands I'd just get one of them and plug my pedal board into it.

Or, to be fair I'd probably end up putting everyone through it and have it as a personal monitor for myself.

QSC, RCF all great, but with yamaha you want dxr or dsr. Dont get lesser ones as they are a different quality.

You can make any bass for any genre. All you need is a bit of time to eq and learn how to eq properly. And how to get the guitarists to stay in lane and stop coming into bass territory. If they come down there that's why bassists struggle to be heard or think they have a bad tone.

I've played all range of cheap and not so cheap p basses, j basses, stingrays, spectors, pj basses, all sorts in all sorts of music and bands .... and you can get any bass to fit and style. Especially rock. If you're struggling and some gain and drive / break up and it should come singing through.

Hi all, with so much going on with modelling now and impulse responses being downloadable and upload able to pedals etc, I was just wondering - can you make your own? Do you need software etc? If you had an IR and saw its freq graph could you copy it to a back up source etc?

13 minutes ago, Linus27 said:

 

Yes it was but I found I couldn't really hear the backline which is what made me feel very disconnected to the band, especially the drums. I very much play with dynamics and energy, reading and feeling what the music is doing and either driving or holding back but using IEM lacked the feeling of any energy of a live performance and somewhat flat.

That's exactly how I was when I did it with backline. I found myself just stood there concentrating listening rather than playing /performing.

44 minutes ago, Linus27 said:

I tried IEM a few times and I absolutely hated it. I felt completely disengaged and unconnected with the rest of the band and for me having something stuck in my ear muted the actual stage sound and interaction with the band, especially the drummer. The whole experience felt very clinical and lost the energy and feel of playing live. The rest of the band did use IEM but I found after a few songs, they all pulled one of the earplugs out so to have have one in ears and the other half the live stage sound. The singer especially did this as she found it easier to pitch.

Was that with still having backline as well?

That was my very first experience with them with using too when using backline as well.

Now we have no backline, it's a totally different feel.

Regarding back up etc, think of it another way, especially for small/medium gigs.

You are actually closer to the pa than the rest of the audience. There is now no other noise on stage (apart from drums) so in theory, if your audience is getting a good all round sound, then you should be. Theres nothing on stage where you are clouding the clarity of the overall audience sound.

Worst case scenario slightly tilt the pa inwards so you can hear the front of it better, but you wont really need to.

1 hour ago, Ed_S said:

Genuine question - what's your backup when your IEMs go down on a silent stage and you've suddenly got nothing at all? I play by ear, so hearing myself in context is a necessity rather than a luxury and IEMs as a way of doing that better certainly appeal in concept, but they seem much more risky than amps and/or wedges.

I take a spare behringer p2 (about £30) and a spare pair of normal earbud headphones.

In all honesty, if they were to go down you can still hear the PA clearly, so I probably wouldnt even use the backups.

I've seen the white one. Looks and sounded good. But then when I looked at them for sale (about £900) they seem to be a rock bass version, not the custom sig shown in all the videos etc?

13 minutes ago, Lozz196 said:

That’s what one of my fave bands, Booze & Glory were doing last time I chatted with them, still had full backline. They said it really helped rather than the hope/expectations of relying on monitors.

It really does. I dont think I ever had a decent mix using monitors with backline, simply because I had no control over it once set and they were too close to other wedges with other mixes in them. The iems let you just put through what you want into your ears, and theres no extra unwanted noise on stage from 3 or more wedges.

28 minutes ago, Bigwan said:

Jazz bass

Which colour / style?

One other thing is you dont need to give up your amps to use in ears. You can use your in ears just for your own monitor mix instead of wedges etc. Ie just tickle through what you need to hear.

Some bands have bassists pretty synonymous with a specific bass, but what would you all say U2s Adam Clayton is most recognised with? I really dont know on this one.

11 minutes ago, warwickhunt said:

I am trialling the whole IEM / Monitor / silent stage thing and I have to say that my overarching feeling at the moment is that I am personally not 'enjoying' the playing/listening/interacting experience!    

 

I've heard others say that I'll get used to it etc but I've no sense of the goal being achieved any time soon.  

 

A few considerations for me are that I'm playing in 2 bands (both share the Soundcraft Ui12 desk as it belongs to the guitarist who is in both bands with me) with 2 different drummers both of whom are old school and use acoustic kits (one brings a massive wedge monitor).  Band A is a 3 piece and the guitar is on the far side of the stage with no amps on stage; Band B is a 4 piece with a guitar next to me using a cab + IEM. 

 

However, all of this is secondary to the fact my playing is generally reactive to the whole band/audience experience and I find myself not being as nuanced as I would be with backline on stage and tempering how/what I play.  I think that I'm missing some of the volume or dynamics when I play using IEMs (even though I use molded plugs when gigging with backline) and I can't get comfortable with that.  

 

In short you can say that I am WRONG to not solely use IEMs but for me I have to enjoy the musical experience and I'm slightly isolated from that with IEMs

That was my experience when I first tried them a few years ago and I didnt try again and went back to amps. I got round it this year by slightly popping out the in ears so they stayed in but I could hear the crowd too. Other ways round are just placing a mic towards the crowd and having that on a channel.

Yes, it's the small pubs etc where I think iems would be great, reasons being:

1. No need to squeeze past every punter who stands in the doorways with your amps on load in and load out. Twist, turn, get injured.

2. As i mentioned before - i genuinely believe it's the amps on stage that cause the issue. They're usually firing directionally at the back of someone's legs, facing the wrong way, and trying to do two jobs (be a monitor and add to FOH sound) and not succeeding efficiently for their intended purpose.

For anyone who hasn't tried it, and wants to without the expense, forget iems and just try putting everything through your desk using pedals not amps. I'd be amazed if you couldnt just gig like that as the sound will be so much clearer and balanced through your pa.

Then add in your iems in time for your own personal mix if needed.

To be clear though, I dont use my iems fully in and sealed like some do (I think that's what puts some people off at first) as I do find I like the ambient noise of the crowd as well. But I get a nice mix of my choosing, fully controllable at any time and FOH sound is much better.

With a bit of forethought and planning the whole band can be set up and sound checked in 15 mins too.

It just depends what you as a band like. For me, my last band was so loud it was awful. It was literally so loud you couldnt hear the guitarist on stage despite him being 10ft away, yet on his own his sound was so loud it could bend peoples legs. It was just a horrible frequency and volume mess.

So it was very hard to play and enjoy and there was hearing damage too.

Iems would have sorted that in a day. I'd have been able to sort my own mix and hear everyone and be happy and let the guy worry about the foh sound. Guitarist could have had his own mix of ear splitting mids and guitar twoddle of just him and it wouldnt have affected anyone.

As it was because of that awful stage sound the band split.

16 minutes ago, BigRedX said:

 

One of the bands I play with ditched on-stage amplification last year, and although we haven't gone for IEM yet, simply getting rid of lots of conflicting sound sources on stage has done wonders for both what we and our audience hears. Admittedly with a line up of vocals, synths and bass VI live with drums and additional synths on the backing it's been easier for us than the typical band. We played a small "festival" (in a pub) last year where the foldback was a single tiny wedge monitor - no problem - we just angled the main PA cabs slightly back so we could hear them and ended up playing one of the best gigs we have done. 

Yes, works great. 

I've gone this route after years of thinking about it. However.... the biggest revelation wasnt that iems are better in themselves or anything else, it was the fact that it's the amps that have been the problem for listening to everyone all these years. Get rid of the amps off stage and I reckon you can even play without iems if you can hear the pa.

Hi all, so I've gone and done it. Completely by fluke too.

After years and years of valve amps, ss amps, class d, helix, pedals, sansamps, stacks - everything - I've found a great great di live sound.

And it's cheap. And light.

It's a behringer bdi21 (around £35) and a nux mld (around £130).

So, the bdi21- your think it's because I didnt have a sansamp, but I've had plenty and bizarrely this one beats them.

But, the secret sauce is to couple this with the 8x10 ampeg cab sim on the nux pedal. No preamp, no drive, just the 8x10.

The sound is fantastic!! Straight into our PA it has depth, tone for days and that valve 3d harmonics.

Honestly it's a great fluke combo but the sound is lush.

In fairness it's probably what these types of pedals have been missing.

Simple for me......

Cancelling rehersal on day of rehersal is completely unacceptable.

One off fair enough. Twice, no. Third time they're out. What's the point of trying anymore?

Not learning songs? Unacceptable. As above.

If they're committed they will learn the songs and turn up.

If they're not ,then .......

Chauvet LFS75 dmx gobo projector.

Superb led projector - high end, not the cheap ones.

You have gobos made that display what you want - band name, logos etc.

2 available. £195 each.

Pick up Leyland Lancashire 

Simplest way is to gig at 3/4 volume on your bass. Then you can go louder or quieter easily depending on requirement. Other simpler ways are digging in harder and rolling up the tone control. It's not really about being louder, more being more prominent in the mix.

More costly alternatives are a mid boost pedal, compressor, boost pedal etc.

I grew up listening to my mums endless albums of roxy music. Obviously as a kid you rebel against it, but once I got old enough to appreciate they're absolutely fantastic!!

On a side note though, they make me a little sad as I genuinely dont ever see any young band coming out with music like that ever again. It had maturity, technicality, skill, superb sound, hooks, melodies, numerous instruments and just fantastic all round sound.

Wow! £299. 

I'd say that's the best bargain on a new bass for years. 

Used to love mine. In all honesty I liked my lb100 tribute better than my clf l2000.

I had one and loved it. Great sound, quality, everything. Just a slight shielding hum as mentioned.