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jimmyb625

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Everything posted by jimmyb625

  1. If you need to change guitars, it can be a bit of a faff using wired systems, but that aside, I completely agree. We use LD systems U508, U308 and MEI1000 units, of which I think the U508 is the better version. We've had a few issues with the U308, which we've not yet managed to get to the bottom of, but it may well be down to it not wanting to sit in the rack with the other units.
  2. Get thee over to this thread. There's a short written test at the end https://www.basschat.co.uk/topic/389429-the-iem-in-ear-monitors-bible-thread/
  3. From what I've seen, there's been a change in the cabinet design internally, which includes a different (wooden) bracing arrangement. They still seem to relatively rare beasts out in the wild, so there's not a huge amount of user reviews available.
  4. Yep, 1973 is my YOB and I definitely, definitely don't have a P Bass tucked away, waiting patiently until November, when I'm allowed to have it. Nope, definitely not.
  5. Just bought a looper pedal from S'manth, for my daughter's birthday. Great transaction, really easy to deal with and brilliant comms! 👍
  6. I don't know whether it's "modern" music in general, or just the stuff that makes it onto the playlists that people take a "dislike" to. Around the North West, two acts that seem to be gaining some traction are "The Lathums" and "The Lottery Winners" all featuring real people, playing real instruments. I don't think either of them have made it onto the normal playlists, despite selling out decent sized venues and making it onto the festival scene.
  7. This is talking about mic'ing a cabinet on stage, not in a studio, so it's a completely different situation. There are different levels of engineers, just as there are different levels of people who call themselves musicians. The point being, if you turn up at a venue, where the person driving the PA has never heard of you or your band, expecting them to know what "your sound" is, is unrealistic at best. It'll be even worse at a festival, where you're lucky to get anything more than a cursory line-check. If you want someone who knows every detail of "your sound" and the complexities of every work of art you've produced, then it seems logical to get someone involved who you can take to the performances to help you achieve that. If people are having similar issues in a studio, they're likely using the wrong studio for them.
  8. Me? Yes, I have a 5HSP, although I don't use it too often and never live with the band.
  9. Interesting viewpoint. I take it from this, you have your own sound engineer, who you pay to attend rehearsals/mixing sessions etc?
  10. Duracell Procell for me. You can usually find them on Amazon, or ebay for under £20 for a 10 pack, or you can get them at a decent price from CPC (as long as you reach the free delivery threshold).
  11. If we ever get to the stage of having a crew, I'll be using 4 Ampeg 8x10's, together with a Trace Elliot elf.
  12. That was exactly the issue we had with our singer. Night and day difference when I managed to persuade her to try them.
  13. I've also been asked for a pic and autograph whilst I was tech'ing for the electronic duo I do stuff for, which was pretty weird.
  14. I think it depends on the style of music you play. We're now a 6-piece (formerly 7-piece) playing a mixture of Country, Folk and Americana (apparently) original songs. We've played in a multitude of combinations, ranging from a 2-piece, through to the full 7. Some line-ups work better than others and personally, I don't enjoy it as much when the drummer isn't playing with us, but they all have their place. If we were offered a really great gig/festival, where we had to play as a full band and the drummer couldn't make it, I don't think we'd have a problem using a dep. It gets harder to use dep players for the keys and violin though, as their parts are more intrinsic to the sound of the band. I could be replaced by any one who has a pulse...
  15. Do you have your own PA, or are you using the venue supplied one, as well as their engineers? The rig and room you're playing in is going to influence the sound out front, as will the engineer doing the mixing. It's likely that this will have a bigger influence than the mic you're using. Also, as others have said, the mic positioning is going to make a difference as well, so make sure you allow a good amount of time to trial it before you get to the gig. Ultimately, it's your money and your choice, but I'm not sure you'll get that much benefit. With that said, I've used the Sontronics Halo and the Sennheiser MD421 when recording.
  16. I've been asked a few times and it always feels a little odd. I've also had people queing for a concert say hello to me by name, which really threw me, as was the guy standing at the back, in the support band.
  17. Another one for the list, but a bit spendy, is the Origin Effects BassRig. DI out with cabinet simulation and also has a model that emulates an Ampeg (albeit the SVR).
  18. This is what I have: https://www.thomann.de/gb/harley_benton_jb_75fl_sb_vintage_series.htm You can hear it on this track (shameless plug)
  19. I bought some Superlux HD668B's after people on here seemed quite complimentary about them. They're pretty good, although I haven't used them for a while.
  20. A heads-up for anyone who struggles with using a separate instrument and wired IEM cable. Design-a-cable have a version as well, but this is pretty cheap (£38 at the moment) https://amzn.eu/d/adEflBz
  21. I was just about to say the exact same thing. Send them an email with what you need and one of the engineers will get back to you fairly quickly. I lost a nut from my tablet holder and they told me the part number I needed, sent an expanded spares sheet and gave me the details for the UK supplier (Barnes & Mullins btw). It's one of the reasons I use K&M stuff. A little more expensive initially, but readily repairable.
  22. When our first daughter was born, I bought my partner an expensive watch and in return, she bought me a 5 string Bongo. The message behind this story, is that it's the last time you'll see any money for the next 15 years (and counting)!
  23. I was out after Origin Effects brought out the BassRig. Then I decided to compound my failure by picking up a '73 P-Bass, as an early 50th present to myself. To top it all off, I thought I'd better try a short-scale, to see what all the fuss was about.
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