Huge Hands

[quote name='Annoying Twit' timestamp='1432050181' post='2777579'] Quite often there is more than one. If I remember correctly, it's the dispatched email that confirms that you're getting the item. I think the confirmation of order email can sometimes be rescinded. [/quote] I'm getting that sinking feeling as that is exactly where I am now... I've had the "order received" mail and "order confirmed". I'm now waiting for the shipping confirmation. I'm surprised they would go as far as confirm the order if I'd missed the boat with stock? Wow, two sailing puns in one sentence.....

I just got the second "your order has been processed" email - so I'm guessing there was more than one and I'm getting one! Let's see how many pieces it is in!

[quote name='landwomble' timestamp='1432037986' post='2777425'] Quite happy to take a punt at under 20 quid for a shorty P bass and 50 for an acoustic 5 string, [/quote] Ha ha, I just had a go at ordering the 5 string acoustic too before my browser updated with your message. I got a confirmation too - unless there's more than one I guess I'll be disappointed!

I have (paid for ) two of these - 4 months on and I'm still loving them. Enjoy!

[quote name='leftybassman392' timestamp='1431697914' post='2774093'] Edit: to add: monitor sends should always be pre-fade, and you should have mon level knobs on the channel strips. [/quote] I agree, that is what you would want, but I've just read through the manual and I can't see it specified anywhere as to whether they are or not (nor does it say it is post for the FX). I would never assume with a "budget" desk, as I'm thinking this is. If they are pre-fade, great, if not, then the wired bodge I metioned would be needed to totally separate the mixes and still use the internal amp for the tops.

[quote name='Triumphman' timestamp='1431695879' post='2774071'] Thanks for all this. I'm assuming 2 mixes is the best way to go but I'm no expert. The manual for the sub says, connect 2 xlrs from the main out puts on the mixer to the sub inputs. Then connect the passive (or active) speakers to the outputs on the sub. This wouldn't use the speaker outputs on the mixer at all? Would this by default limit the amount of bass going to the more delicate top speakers? [/quote] That reads to me that the sub and tops are from the same manufacturer and are designed to run that like so that the sub acts as a crossover, splitting the high and low frequency content between the speakers. This would also dsay to me that the amplifier inside the sub is powerful enough to run the sub and passive top speakers? What I was suggesting with the two mixes was so you could totally separate kick drum and bass guitar from the main mix, which is what I thought you were asking in your OP. Having a crossover and just one mix is probably the better way to do it, so you get full range kick and snare through all speakers. EDIT :... or what Dad says above probably makes sense too....

I've just had a look at an image of that mixer. I think you will struggle to do two separate mixes on it using the faders because I presume the monitor sends are permanently "post fade". If you can set them to pre-fade somehow, then it is a lot easier. The only way I can think of doing it is that you use "Mon 1" for your normal mix, and "Mon 2" for your sub mix. You would then have to make a y-split patch lead that went from the "mon 1 send" to the amplifier L and R inserts. It would make the FOH PA tops mono, but that probably doesn't matter one bit in small venues. It would mean that you would have to mix everything on the Mon 1 or Mon 2 knobs on each channel (not the faders - they would just need to be up). This is the only way I can see of doing it without having to replace your mixer. I hope that makes sense!

[quote name='chris_b' timestamp='1431688001' post='2773954'] Russell B Jackson......on bass. [/quote] One of my personal bass heroes, as I know you and I have discussed before on threads Chris.

He was a massive influence on me. Really sad, sad day. RIP - The thrill is definitely gone.

[quote name='jazzyvee' timestamp='1431340349' post='2770088'] I bought two boxes of Duracell Procell 9v batteries and they didn't last long at all. All done about 20 of them under a year. I wouldn't use them again for basses. I now have gone back to whatever Duracell or Energiser I find and they are fine. [/quote] I could be totally wrong, but my rusty memory is flagging up that I'm sure a few years ago I saw there were a load of fake Procell batteries flooding on to the market - a bit like the fake fags thing. Perhaps you had a batch of these?

[quote name='EBS_freak' timestamp='1431425154' post='2771080'] I think that the stories of wifi interference within hotels etc are greatly exaggerated. Over 500 gigs in hotels and function venues in the last 3 years alone - I've only had problems once - in a TV studio that was running 8 wifi access points and over 50 channels of wireless. RF tastic! [/quote] I thought I'd mention it as the corporate building I work in London uses the 2.4Ghz spectrum for all of it's staff in the builidng as they all use laptops and they've tried to phase out a lot of wired connections (as have their neighbours). If you run a frequency scan in this building, you will see the 2.4GHz spectrum is massively congested. Hotels are probably only using one or two repeaters to deal with about 200 guests, whereas we have 4,500 working in this building! They do occasionally do corporate events with bands here in the auditorium though! EDIT: BigRedX, we've both been on here long enough for me to guess your band probably isn't that corporate, but I didn't want to assume

I would point out that your Sony mics appear to be using the wifi spectrum - might not be so good if you're doing a lot of corporate gigs or near internet cafes with big wifi hotspots.... My only other comment would be that when I used to be in the game about 10 years ago, I always found Sony radio mics seemed more designed for corporate and light theatre work - they wouldn't hold up in a violent environment like you've suggested. Of course things may well have moved on since then, but might be worth trying to get a trial unit if you can before you splash the cash?

Welcome Neil, I also live in Crawley (although I'm not from there originally) and play a bit of double bass on my trusty EUB. Enjoy the forum!

[quote name='crez5150' timestamp='1429629447' post='2753412'] The other aspect is do you know what limits the venue are working too? maybe they can't push too much because they are working to sound limit factors. [/quote] This is a very important point that crez5150 makes. One of the reasons I gave up live engineering was that venues like where I worked were getting jittery about EU laws on hearing health and safety - they believed they had to stick to a 90dBSPL average or all bar staff etc would have to wear ear defenders etc. I remember walking in to a venue where I worked and it sounded horrible. I went to the sound box to see the engineer holding a dBSPL meter and trying to mix whilst watching that because a manager had told him off. The easiest way to bring the level down for him was to pull all of the bass end out. Mind you, even when I switched his masters off, the general venue and backline sound were still pushing him over his 90dB "limit". I also once played a gig where the drummer and percussionist kept tripping out the venue's PA safety limiter in a soundcheck - even before we'd put anything through the PA....

Wayne, I think you're probably picking up on people who are just a**eholes in general, regardless of whether they're a engineer, promoter, doorman, barman or whatever. I could reel of a list of musos I used to work with who were nightmares and probably brought out the worst in my attittude when I was engineering. It is all about working with people, and some people just can't. Funnily enough, I had a big row with my own band on Tuesday because, even though they know my background and normally happily peddle me out as a "sound expert" to deal with engineers - they refused to acknowledge me when I asked them to turn down because the rehearsal studio amp I had was a bit underpowered and I couldn't hear myself - they were way too loud anyway. It certainly brought out the grumpy sound engineer in me that night - and we're still building bridges with each other 2 days later! In reading your earlier post, and as Ironside1966 alluded to, the venue may have told you to turn up at 5pm, but probably forgot to tell the engineer, or just assumed he would be there. If, as you said in your post, you approached him with the "where the effing hell have you been" attitude, then that probably would have put the rest of your day on a bad footing with him, and might explain why he didn't respond well to you. EDIT: I'm originally from Gateshead, but it wasn't me

[quote name='crez5150' timestamp='1429629447' post='2753412'] The other aspect is do you know what limits the venue are working too? maybe they can't push too much because they are working to sound limit factors. Are they working with poor quality system? I'm in venue's everyday looking at PA and you'd be surprised how many have blown drivers.... Drivers that have been replaced with non manufacturer product and cheap far eastern ones because of budgets... Just because the PA has a name on the front doesn't mean its got the components inside. [/quote] Ha ha well said - I could probably fill my own thread with tales on this sort of thing. I can even remember reconing speakers without a jig - just by eye and feel - some lasted 10 minutes , some lasted years! [quote name='crez5150' timestamp='1429629447' post='2753412'] I always find these threads amusing that muso's often think they know me than the engineer (which in some cases may be) [/quote] Hear hear! Harrumph!

I notice there are a lot of threads about this sort of thing at the moment. As a former sound engineer, all I can say is that not everything is black or white, good or s**t. There can be a myriad of factors. One can indeed be that the engineer is hopeless. However, for example, one could be the acoustics of the room generating standing waves or issues, so s/he's notched stuff out. Or that the PA is underpowered and full-on bass could trip/blow amps/speakers so the engineer is being careful. There could be something out of phase. There could be a fault. There could be an issue with the bass player's gear. I have done multi-band nights where one band thinks I'm a fantastic engineer, and the next one thinks I'm s**t. A lot of it is to do with perception. No matter how professional we think we're all being, an engineer will add their own personal taste to a mix, so they do have to be considered. This is why bands that tour with an engineer often stick with the same one for years. Remember, a good gig is also a two way street. I've said this before, but it is usually one engineer against 5 or so good mates in a band. The engineer has to find a way to get on with your band. If you make them feel welcome and that you're willing to be cooperative, they will relax and it should make for a better nights. However, if visiting bands are continually not engaging and generally having bad attitudes, an engineer's tolerance threshold will probably be quite low! Finally though, I do acknowledge that some engineers can be tw*ts and will never get on with anyone. I've met quite a few in my time! Perhaps we should invite some of the current crop of engineers who reside on this forum (I have been out of the live audio game for about 12 years) to start a thread about some bass players being enemies of sound..?

I once did a gig where we'd had to rearrange the stage at the last minute due to jobsworth venue management and literally finished soundcheck, the venue opened and we started straight off without a break. Halfway through the first song my bass cut out. My amp was on, so I figured it was the lead. I spun around for my gig bag with spare leads in and realised it was over the other side of stage with no hope of reaching it thanks to the last minute reshuffle. Whilst the song was carrying on without me, I unscrewed the jack at the guitar end. In the dark light of the stage, it looked fine to me, so I put it back together and plugged up wondering what to look at next but hey presto! it all worked! I did the rest of the gig without an issue, and wondered what the fault had actually been. It wasn't til I checked my gear after the gig that I noticed the connection in the plug I pulled apart had snapped at the solder joint - somehow when I put it back together I must have wedged it back on the terminal. Someone was obviously smiling on me that day!

I used to play in a blues band where the singer used to wind me up - no real personality on stage, hardly any talking to the audience etc. We would just play through the set and go off stage. However, I then had a mate come to see us who said he liked it - he said it had an air of "This is who we are, if you don't like it f**k off". I saw his point, but it wasn't really my thing. I have since worked with a totally stage confident front man, who used to get the audience involved all night - he even tried a 10 minute stand up routine one night while we just stood there. When it died a death, he just turned to us, shrugged his shoulders and said "Worth a try.." and carried on with the gig which went down a storm. He gave it up a few years ago - damn shame!

..Any time I hear Morrissey's voice...sung or spoken. If my brain doesn't burst, then I get destructively violent to my surroundings. I'm not proud of it....

[quote name='discreet' timestamp='1429050151' post='2747559'] Or perhaps as it's TV not everyone has a super-hi-fi cinema-type sound system... [/quote] Perhaps it's the super hi-fi system that is the problem. I don't even have a sound bar on my TV!

I find these comments odd - about 10 years ago I bought a "Later with Jools Holland - best of NuSoul/R&B" DVD. I thought the mixes were really good on all of them, especially the bass, and I love the DVD - I still often watch it now. As this kind of music lends itself to good bass tone - perhaps the mix is more to do with the band's source sound than we would like to think?

[quote name='Huge Hands' timestamp='1428916147' post='2745801'] I think that Alex was saying that the cab works better horizontally so that the port is [i]facing the floor [/i] [/quote] [quote name='alexclaber' timestamp='1428917887' post='2745823'] Having the cab horizontal with the port on the [b][u]side[/u][/b] [/quote] Whoops! And to think I own two of these..... EDIT - Alex - I wish you'd stop posting pics of these with the steel grills - it makes me go all wobbly and doubt my decision to go with the silver cloth look....

I am 6'3 and sometimes struggle when a single cab is horizontally on the floor and I'm stood up. When I have both stacked, it is fine (to me). On the small gigs, I often vertically mount the single cab on one end. I think that Alex was saying that the cab works better horizontally so that the port is facing the floor and helps with low end, but I find there is still plenty of oomph when it is on it's side. Then again, I'm not normally thrashing mine.

Just to add to the OP's question - I don't have a 610, but I do have 2 of the 210 4 ohm cabs and am completely bowled over by them. I love the low B string sounds I get out of them and they are pretty light too. I wouldn't have wanted to drag a mini fridge sized cab around with me - no matter how light it was, hence avoiding the 610. I may buy aniother 210 at some point to replicate the 610 if I was ever doing that kind of gig regularly, but at the moment, one 210 is often enough for what I need! Positive testimonial from me!