jimmyb625

Just now, bassintheface said:

 

It's that old it can't even stand up!

The '73 Jazz is worth next to nothing, I mean, it's almost 50 years old. Everything wears out after that much time has elapsed.

As I'm such a generous guy, I'll give you £50 for it, probably only get some of that back for scrap...

3 minutes ago, Woodinblack said:

Are you complaining that a bass from the EU was too expensive?

 

I think it's the opposite way around?

4 minutes ago, Downunderwonder said:

The new ones are about 1/2 as loud as the ten year old ones which are about half as loud as the original ones. I would question how old that reference is. It sounds like they might be referring to the originals as 96dB is pretty damn loud, which they were!

Pales into insignificance compared to the old PIA 747, which used to struggle to meet minimum altitude...

This was the source:

https://www.chem.purdue.edu/chemsafety/Training/PPETrain/dblevels.htm

3 hours ago, iconic said:

Some great advice here.

 

As an aside, surely 96db is plenty loud. Snetterton, my local race track, has a drive by limit of 92db and, that's loud enough to feel uncomfortable without ear plugs over quite short a period. 

 

92db is a lot less than 96db being a logarithmic scale.....every 10db is twice as loud. 

Well, yes and no.

If you're looking at sound pressure levels, in a free field, then it's a 6dB decrease with doubling distance. 3dB is a doubling of power and 10dB is an apparent doubling of loudness.

The 10dB value is also conflated by our (humans) non-linear frequency perception, where we naturally perceive frquencies around the conversational area to be louder. 

According to one reference on t'interweb, 96dB is (roughly) equivalent to a Boeing 737 or DC-9 aircraft at 1 nautical mile before landing. I live directly under the flightpath for Runway 2 at Manchester airport and the sound/noise of a 737 has never concerned me. However, having lived here as long as I have, I rarely pay much attention to them, which highlights the problem of perception.

If it were me, I'd be looking at something like a Behringer composer pro. It's a 19" rack unit and they go for around £50 on ebay.

18 hours ago, bartelby said:

My first experience with them was back in 2010 when I went to buy a Mono Strap. Mark asked me what bass it was for, when I told him a Fender Steve Harris P he scoffingly told me I should buy a proper bass.

 

 

What bass is it for?

"One that needs a strap"

I've got a Vintage V4 "Icon" (with the fake distressing).

I happily gigged it in front of around 2,000 disinterested folks and would have no hesitation in using it again if I ever fell out with my current bass.

This one does it for me, the Warwick Lee Sklar signature model. At some point in the future I may upgrade to the German team-built version, but I'm in no rush to do that.

55 minutes ago, Thunderbird said:

I don't really understand all the binary and non binary stuff and to be honest I don't care 

All I care about is if people are happy and not hurting others it's all good 

And if someone regardless of sexuality or colour is nice to me I'll reciprocate as I really don't care about the colour of the skin or the sexual orientation 

As my mum used to say there's good and bad in all

This is exactly my view as well.

I went to Uni in my late 30's, it was the best thing I ever did. My only regret was that I didn't go straight from school, as it would have been free back then. Still, I know that if I had gone straight from school, I certainly wouldn't have done as well as I did.

Definitely go for it and as @EBS_freak says, treat it like a 9-5 and you'll fly through it.

One thing you might find, is for the first couple of days, your fellow students may think you're the lecturer! 🤣

Not sure about anyone else, but I made it.

I'm still clear in 2021, so I may as well sign up for 2022 as well!

In:

0

Out:

0

1 hour ago, casapete said:

My band has suffered from no-shows for the last few months. I completely understand people changing their minds when deciding to venture out, especially our audiences who tend to be shall we say in the upper age group. 

What does get me though is that when a theatre has sold tickets for us, and the customer then decides not to attend, as well as the option to move their tickets to a rescheduled date for my band, the theatre offer them the chance to attend any alternative show by another act at one of their venues - hence the theatre retain the money which is then redirected to another show. My band has generated that revenue only to see someone else gain from it. Far from ideal, and difficult times for our business.

I completely see you point, but there is a flip side to that.

I run a small (104 capacity) amateur theatre. We've had 22 months without a single punter coming through the door, whilst still needing to pay out in the region of £2k per month.

We've recently hosted 3 events (2 x band, 1 comedy) where we've tried to do our best for the acts by not charging venue hire. We're fortunate enough to be able to do that, as we own the building, but a lot of places are really feeling the pinch at the moment.

On 05/12/2021 at 01:25, chris_b said:

 

The truth is always preferable, no matter how difficult it is to hear.

You've obviously never been involved with amateur dramatics! 🤣

It's an interesting list, as they always are when voted for by the public. Nice to see Lee Sklar making it onto the list. Not overly sure about Wolfgang VH being in there, but in fairness, I know very little about his playing and for all I know, he could be incredible.

1 hour ago, Muzz said:

 

*Incidentally, there's an online petition to try and defend against them losing their license after a Noise Abatement complaint (yet another ar*ehole who buys a flat next to a music venue that's been central to Manchester's music scene for 30 years and then suddenly decides to get it shut down because they play live music till half ten), if you can find it, please sign it...

This is the one.

Utter tools!

https://www.change.org/p/manchester-city-council-remove-our-noise-abatement-notice

A great home gig for us last night, at a little 100 seat venue. Everyone was on top form and really pulled together well.

I'd give one of those two a call, as they're probably not standard items. You could fudge it using a TRS to m/f XLR insert lead and then an XLR to mono jack patch cable, but it's likely cheaper and more reliable to get one made up.

Designacable or customlynx.

You cold also try it yourself, if you're handy with soldering.

Edit to add, what do you mean by mono stereo jack?

2 hours ago, EBS_freak said:

Good to see some quality VanDamme cable deployed there!

Absolutely! It always strikes me as a bit of false economy using cheap cables, particularly in this setup, as it would take a bit of time to change mid-gig if there was a failure.

On 19/11/2021 at 19:19, EBS_freak said:

Let them do an inear mix for you - or invest in a split box/split snake. That way, you can take your own desk and be in complete control of you ears mix. It's documented on the first page. Funnily enough - been helping a friend build such a thing - here's the work in progress.

 

 

One row of the 16 XLRs in a line for FoH and the second for monitor desk. Everything on stage is plugged into the 16 XLR inputs of the MS8000s which then split to the two rows of 16x XLRs.

 

Being isolated splits, one of the desks can be in control of the phantom power and the other desk is than protected from receiving phantom power that would be otherwise present on an unisolated split.

This is how I run one of our desks. The outputs for FOH are at the back, so all they need to do is take their feeds straight from the isolated outputs. All of the phantom power is supplied by the QU and we use our own DI's (this particular desk is mainly for an electronic duo). 

Setting up is pretty quick and the monitoring is already done, with only a couple of tweaks here and there. 

That's a great gift!

I've never been into that place, despite it being fairly local. What's it like?

I'm very sorry to hear this, condolences to all who knew her.