jimmyb625
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Posts posted by jimmyb625
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The RCF 745 gets some really good feedback from people on here. You may be able to use them without a sub,depending on the size of the room you're playing.
They've also released the 945, which could be another consideration?
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Do you use a cable for your bass? If so, one of the best bets (in my opinion anyway) is to get a combined instrument and IEM cable. Ernie Ball make one (I put a link in the thread previously) as do the likes of design-a-cable.
You can then use a wired headphone amp, such as the Behringer P2, placing it next to your pedalboard/amp input.
Definitely cheaper and more than likely better quality.
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1 hour ago, Woodinblack said:
Not really, no. Yes, you can get interference although it tends to knock the channel out rather than distort the sound.
If your bass is clipping it is too loud for something, Either for your headphones (don't know what you are using) or too loud as an input somewhere - maybe turn your iem output on the mixer down and the xvive volume up?. Wireless is fine at dealing with the whole signal, I don't get any clipping anywhere.
Also if it was fine at the soundcheck and not with the band, I assume there was a volume difference?
Agreed. I'd start by looking at the input signal going to the transmitter.
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Just now, EBS_freak said:
Worth noting that 823-832 is part of the shared mic license (fee based) as opposed to the 863-865 free, no license required, frequencies.
I run ours in the 863-865 band, not run into any problems yet, although one festival wouldn't let us use them, as we hadn't put the tech spec through their frequency co-ordinator (bloody guitarists and their lack of understanding of what a tech-spec is for)
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Turin Brakes.
The band I do tech stuff for are supporting them on the next leg of their tour, so I'll be seeing them 10 times over the next three weeks. Fortunately, I really like them, so it won't be too much of a strain!
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I'll sometimes take a spare bass, if the size and importance of the gig warrants it. When we toured as a support act, I took a full size P bass type, but we were away from home for a number of days. We have another couple of dates coming up, but we're home after each one, so I'll probably just take a short-scale.
I don't rely on my amp for my main sound, just a bit of monitoring, so I don't usually bother with a spare, as I can get away with just using whatever wedges are available.
I always carry spare instrument leads and speakons, but never xlr's (unless I'm supplying the PA as well)
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1 hour ago, garyt said:
What are the verdicts on these pedals from Bass Rig owners?
Still really impressed with mine. It's been my main sound source since I bought it last year. I don't use high levels of drive when I'm playing with the band, but it's fun to have it available during rehearsal and practice.
Depending on the gig, I'll just take the board, which makes travelling pretty stress free as well.
I may one day get the '64 Black Panel as well, but that's purely because I feel the need to buy things!
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Harley Benton short-scale P-bass.
I'm not saying I bought one for this exact reason, although I did.
Cheaper than a roof box as well.
https://www.thomann.de/gb/harley_benton_hbp90bk_shortscale_ebass.htm
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2 hours ago, Clarky said:
Nice Fullerton era 62RI Precision at Andy Baxter's. £3k price seems a bit rich but what do I know, vintage Fender prices seem to have gone up hugely in past year.
https://www.andybaxterbass.com/products/1983-fender-precision-bass-fullerton-vintage-58
Looks in good condition, but I agree, it's a bit steep. My '73 was the same price last year. Maybe they're going for the 40th Birthday present market?
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Also guilty of hat-wearing...
This was my second hat during this particular gig! 🤣
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12 hours ago, nilorius said:
No way furniture manufacturing can be comparable to music instrument making.
Really?
Perhaps you need to look into the backgrounds of some high-end luthiers.
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If we're sound-checking, I'll usually play the opening run from our first tune, as it covers the entire range that I'll use during the set.
Sometimes, I'll play some really bad slap bass, mainly to annoy the drummer.
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I can't remember, does the QU-16 have the additional group outputs?
Forget it, just checked and it doesn't.
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37 minutes ago, Al Krow said:
Thanks. I need something that will feed a mono output from an aux-out on a desk to both ears of a stereo headset, and not to just one ear.
If your suggestions do that, I'll check them out.
Ok, just seen the other responses and I completely agree, either the Behringer, or sub-zero units are what you need. I didn't realise you were thinking of trying to feed the earbuds directly.
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I thought I'd try to increase my merchandising potential by getting these printed. 🤣
Ridiculously expensive (because I didn't do any research as to the alternatives, alcohol may have clouded my judgement...) and entirely superfluous, as I rarely ever use plectrums when playing!
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34 minutes ago, Al Krow said:
Btw any recommendations for a suitable adaptors for use with 3.5mm and 1/4" headphone jacks to use with the aux outs?
Never used them myself, but are you looking for xlr female to a 3.5mm socket?
Or do you want something like this:
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1 hour ago, Jakester said:
For everyone but the singer, why not use a Behringer P1/P2? Drummer isn't going anywhere, presumably the bassist (you?) and guitars aren't leaping about, so those are easy to sort out with a wired connection. Both allow for a stereo IEM mix too, the P1 being slightly easier to use. You can also drive an IEM setup via the headphone out by fiddling with the routing matrix in the XR18, so you can end up with 6 mono aux outs and a 7th stereo out.
For the singer, I'd have thought anything but the absolute cheapest-on-amazon setup would do? Look for a stereo input - that tends to suggest it's a bit better than el cheapo (IME).
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.
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53 minutes ago, Obrienp said:
After the gig, the rhythm guitarist/vocalist, who is suffering with tinnitus, said it was really great playing at that stage volume and we should do it all the time 😱! We are now considering a wireless IEM system. Any advice/experience gratefully received.
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/
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5 hours ago, SumOne said:
The 9 series 15" woofer range has big price difference:
- 945 (650Hz crossover) 135dB £1,229
- 935 (800Hz crossover) 133dB £930
- 915 (1800Hz crossover) 131dB £655
As far as I understand, they basically have the same housing, same amp, same 15" woofers, the same frequency response. So the almost £600 extra between the 915 and the 945 is down to the 1.75" horn vs the 4" horn, and that is important for higher range stuff like vocals and as it also affects the bass output because it means the crossover is a higher frequency so the woofer can concentrate more on the bass. So I'll rule out the 915 with that quite high crossover point, and I'll need to rule out the 945 on cost, which leaves the 935.
......But considering that the 932 with 12" Woofer & 3" horn is cheaper, has a lower crossover frequency, is smaller, 5.4kg lighter (18.8kg vs 24.2kg for the 935), the same 133dB, I'm thinking that's probably the one for me*.
- 932 (700Hz crossover) 133dB, £825
My question is: Is the 15" woofer significantly better for use as a bass cab than the 12"? It goes down to 45Hz vs 50Hz, that is the only advantage I can see on paper (and I do play dub/reggae on a 5 string so perhaps those low Hz are important), other than that is it going to be worth the extra size, weight, and cost?
*(not that I'm in the market to buy right now, I'm actually trying to sell bulky bass gear ahead of a house move...doesn't stop me internet window shopping to plan for the day I can buy stuff back again though!)
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.
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5 hours ago, CJPJ said:
Nothing to do the old men hitting 50 and wanting to have something as a special present? Not that I'm 50 this year or looking for a 1973 P Bass. At all. Definitely don't contact me if you have one to sell. 🙄
On 01/02/2023 at 17:46, miles'tone said:I would usually agree but I can see the attraction here.
It's my YOB and I'm sure there's other 50 year olds out there who will be thinking "all my life, everyday that I've lived, my bass has been sat there in it's case... Patiently waiting for this moment...Patiently waiting for MEEE!!"
There's a lot of rich sentimental 50 year olds about. I hear.
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.
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I've been feeling "Beastly" these last couple of weeks...
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Just bought a looper pedal from S'manth, for my daughter's birthday. Great transaction, really easy to deal with and brilliant comms! 👍
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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.
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9 hours ago, Baloney Balderdash said:
I don't see how that could possibly be the logical conclusion of my point, perhaps in fact rather the contrary.
Though to answer you question, I have personally always mostly been unfortunately whenever PA support was needed at gigs with happening to have a competent sound guy behind the mixing console, and in terms of recording it has always either been a case of one of my bandmates who happened to also be a competent sound engineer (and yes, some of this was on a real record label, with the same guy engineering/producing for other artists on the same label as well. And yes, he would usually mic up the bass cabs, and with several different mics too), or in later years myself.
What I wrote in my initial reply though is based on reading countless, hundreds, if you need numbers, reports throughout the years from different musicians on various musician forums being unhappy with the treatment they have received from sound engineers at gigs as well as in studio recording situations (and most of these musicians also pointing this out as being a general recurrent experience with different sound guys), and, compared to above described personal experience, what I wrote seems to be what all those reports really come down to: incompetent people who call themself sound engineers who are not working with the musicians, but rather insisting on cramping their one size fit all solutions down over musician's heads (be it out of lazy selfish convenience or genuine incompetence), or said in another way, insisting on getting their one "magic" square block down through just about any shape of hole they meet, and following this analogy, and I guess this is where the genuine imcompetence comes in, perhaps not even recognizing the hole actually being a different shape.
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.
How was your gig last night?
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