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jimmyb625

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Everything posted by jimmyb625

  1. jimmyb625
    This is the biggest drawback with T-Shirts, you need to carry about 6 (Small, Medium, Large, Men's, Women's), in order to sell one. We also went down the route of having some tote bags made, which didn't go down too badly. They're also quite useful as an "add-on" so people can put their other purchases in them.
  2. jimmyb625
    Have you got a spare input channel on the desk? If you have, dependent on the type of desk you have, you can take a direct out from one channel into a separate channel. You can eq that duplicate channel and set it to only got to the IEM mix (basically the channel fader would be down and the aux send would be pre-fade). Edit to add: What model of Fractal are they using? One of their biggest selling points is the ability to provide amp sim's. It might be that (if they're using it in front of an amplifier) they aren't using the modelling functions. From what I can see, both of the main outputs are capable of having the amp modelling. I will caveat this by saying I haven't personally used this particular model, but I have seen similar devices.
  3. jimmyb625
    Are you using your own desk and is it handling both FoH and monitors? Sometimes, what eq sounds good out front, isn't as great through IEM's. For both the guitar and bass, you need to find "space" for them in the mix, which will take a bit of trial and error. If you've got your own desk, which you're just using for monitoring, you're on a winner, although you should definitely set some time aside with the band to get a mix you're happy with. As @Bassmonkey2510 says, a mic on the guitar cab will be better, but a modeller is bestest! Getting the guitarist to make that switch though, may not be the easiest. For bass, I'm moving more and more over to just my pedals and the last two gigs, I didn't bother to use my amp at all. I've set it now so that the DI sound is one I like, which means I can feed it pre-eq into the aux mix for my IEM's. That way, if the FoH needs channel eq, it doesn't affect what I hear. The major downside for IEM's in my opinion, is the desk and engineer that you might get at some gigs. If you've got a good engineer, who's used to using them, it's great, but if not, it can make it quite difficult. Similarly, if the desk doesn't have enough spare aux sends, it gets tricky, as you need to start sharing mixes and the like.
  4. jimmyb625
    Mixing live musical theatre is a full-on task. I used to do some for an amateur group, prior to the widespread adoption of digital desks. It took 2 of us to do it and even though we only had 10 channels of radio, we were usually filling a 48 channel desk. I don't think the OP would want to use the same type of microphone as musical theatre does though. One of the more rugged types with a boom arm would be a better choice (imho) as the capsule types have a tendency to succumb to sweat and stage makeup.
  5. jimmyb625
    The only time we've played in Aberdeen, we had an onsite car park and crew to help with the load in/out. However, no one was there to see us and if we played again, we'd be lucky to fill the cafe at Torry Battery!
  6. jimmyb625
    Yeah, we've had that one as well. I think it depends what's going on in the theatre.
  7. jimmyb625
    Yes, it has a belt clip (wire) on it.
  8. jimmyb625
    This. It's fairly common for the red cable to be the "right" side, which corresponds to the "ring", which (if I'm looking at the right pocket amp) is the return. This means, connect the red jack to the output of your HX. The black cable should be the tip, so connect that to the HX input. The single jack is known as TRS - tip, ring, sleeve.
  9. jimmyb625
    The P1 is active, it's the PM1 that's passive.
  10. jimmyb625
    They also managed to do a very good job of signing Harry Joyce's name on a load of HiWatts...
  11. jimmyb625
    An evening out in Chester with Fine Lines, playing at Telford's Warehouse. Almost had a major disaster, as I went on stage without my hat, fortunately our eagle-eyed sometime tour manager noticed it. Positioning himself at the side of the stage with said head-gear, I was able to wander over allowing him to return it to its rightful location. It makes using a wireless all the more worthwhile! I was really pleased with how we played and we didn't get bottled off, which is always nice. Had a very pleasant brief chat with @lurksalot of the parish, who kindly turned up to support us. Obligatory photo's below. *edit to add, my jeans aren't too long, my legs are too short!
  12. jimmyb625
    Lovely to meet you and thanks so much for the kind words.
  13. jimmyb625
    LD. I had a damaged antenna cable on an IEM belt pack. I wrote to them and asked if there was a replacement part, or if I had to send it to them for a factory repair. "No can do" came the response, with the suggestion that I pay £150 or so for a new pack. Ebay provided a replacement for £5 and it took less than 30 minutes to repair.
  14. jimmyb625
    Where's the village? I feel this could be the rehearsal venue of choice from now on.
  15. jimmyb625
    Allen & Heath do have a similar system, albeit more expensive. Do you mean the CQ20? That doesn't have it as far as I can tell. The QU-SB does, although they're more expensive and (imho) will probably end up being phased out fairly soon
  16. jimmyb625
    It's basically a way of networking audio from the mixer. It allows you to use a unit (Powerplay) which will give you a custom mix, independent of any aux mixes you'd use from the desk.
  17. jimmyb625
    Your honour, I direct the court's attention to this post on the Internet, where the defendant clearly expresses the manner in which he attempts to circumvent the rules.
  18. jimmyb625
    I tried to get my lot to sort their own mixes out, turned out to be more trouble than it was worth.
  19. jimmyb625
    This Friday, we'll be playing at Telford's Warehouse in Chester. First one of the year for us, so I'm looking forward to getting out there again.
  20. jimmyb625
    Sorry to hear that. We have exactly the same problem. We can get a fairly decent crowd locally, but outside of our "area" we're pretty much unknown. Still, at least those 50 people will have enjoyed it and hopefully will get some interest coming your way in future.
  21. jimmyb625
    Yep, "I'm the bass player in Fine Lines and I do the tech for Mark Radcliffe" Far better than saying I'm an engineer.
  22. jimmyb625
    No, a digital stage box would be something like a Behringer XR18, or an Allen & Heath QU-SB. An hour seems like a long time to set up for a 5 piece.
  23. jimmyb625
    Talk to your teacher and tell them what you're thinking. Theory is a useful tool, but there may be other ways they can get you to learn it, maybe by showing you how it relates to bass lines that have been put into songs? You're probably making more progress than you realise, it's hard to be objective as your skills increase. Perhaps try recording yourself and then going back to the recording after a month or so, so you can monitor how you've changed as a player. I'd say you also need to think of what it is you want to do. Is there a particular style of music you like? Do you want to learn to play that style, or something completely different, just to broaden your abilities?
  24. jimmyb625
    Excellent, that's changed my perception, thank you. Yes, he was awarded the title Lord Lieutenant of Cheshire I think, whatever that is.
  25. jimmyb625
    Nice! We've had some reviews where they didn't even get my name right and used the old bass player's name.
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