Chienmortbb

Our singer will not use IEMs.

We did not mic the drums although we did have the drum mics there. With the monitors, it was the onset of feedback. I believe, but I am happy to be corrected that the monitors were at the wrong angle. They are passive and cuboid in shape, and were on a typical bookshelf monitor so really pointing at out legs. This is where I will start next week. Either add to my collection of one 8” active speaker, or make some new monitor stands angled at around 45 degrees.

Well FOH got good comments and as the Singist was in a chatty mood, all was good BUT I could not get the stage monitors to a usable level. We could hear the FoH quite well on stage and that make me wonder whether that was adding to the problems. We go again next Sat with a few changes that might help. 😀

Tonight I am in total control of the PA so to add to the usual gig nerves I have that to contend with! Add the tantrums of a muddled aged child (singer).., However I have worked through things many time at home and I should be OK😀

What are you using as the control unit?

Some of you will know that @Phil Stayt bailed my band out last weekend by loaning us his RCF Art 310s. Yesterday I battled monsoon and heatwave (typical British summer day) to travel fro Poole to Chard. As you would expect Phil and I spent a few hours discussing speakers. In particular we compared my cube shaped 8” cabinet with his easy build 8” cabinet. My cab was designed to go with my Ashdown After 8 that I had extensively modded and called the After 80. Having been blown away, week mildly amazed, at how my 8” and the 6” cab Phil built, with Fane drivers worked for bass, he did an optimised version of the 8”. Yesterday was the day we compared them. Both cabs used the Fane Sovereign 8-225 driver. Phil will explain why but basically it was the same driver in each cab at substantially the same tuning and cabinet cabinet volume. However the new cab was closer to the traditional cab rather than the cube of my cab. Apart from small issues caused by a cubic cab, we expected the cabs to sound the same. As the saying goes, every day is a school day and the cabs sounded quite different. The difference was that my cubed cabinet had the driver quite close to the floor. Once the other cab was laid on its side so that both drivers were at a similar height above the carpeted floor, they sounded very similar. There was little difference to the low end but being nearer the floor/carpet really attenuated the upper frequencies. We are all aware that rooms with lots of soft furnishings sound different to hard floors/walks but I was quite shocked at the difference.

BE aware that if you just leave the pipe/port at the same length, you will get unexpected results. You may remember the old Bose Bug Eyed PA tops, where the ports extended outside the front baffle, it is my understanding that you do not change the tuning much. However, you will have more internal volume (in litres). @Phil Starr, @Bill Fitzmaurice and @stevie will probably correct me. (flak jacket and tin helmet donned)

Suits Wyman then.

Oh, and the thread is in the wrong place!

Having had 5h1t experience with Elixer acoustic strings, I would need my 12ft bargepole to touch the brand again.

Makes sense, if the flats are like the rounds, they look as though they have been aged 2 years in the California sun.

Thanks, I will pass that on to our singer.

What is a rehearsal?

Thanks guys, some good advice. My mic, a Sontronics Solo, has a high output, the other two, one SM58 and one XM8500 are lower. However once the gain is set I can use the channel meters to ride the virtual faders to achieve what I want. I rather think I sing louder than our lead vocalist so I need to be aware of that, and put guitarist will not get close to the mic 😔 We had a disaster last gig (see how was your PA) and I have wrestled control from the lead singer, with the backing of the rest of the band. I will let you know how it goes on Sunday/Monday.

It reminds me of some of the old Vox shapes, but it is fairly unique. Let's face it, we all buy as much with our eyes as our ears, and it looks cool.

What level do you set you backing vocals compared to the lead vocals? I have seen -6dB me mentioned but I trust the collected wisdom on here more.

Towards the end, I had some drop-outs where my sound dropped for 1 sec or so. For the last few numbers, I had the bass plugged directly into the amp. The only thing I missed was the tuner.

Yes, Monza plus Bugera and at times the Sansamp patch on my Zoom B6.

Spitting sawdust does not even come close and to add insult to injury, after wr got going again, my mic was “not working”. I managed to joke that I did not sing much in the second half. At the end he said that he did not realise how much I sang until he could not hear me. Classic comment of the night “ I have tried everything else it must be the one of the cables feeding back”. Anyway thanks again for your help, Phil.

Many of you will know that I have a decent digital mixer, reasonable speakers, passive and some active that I bought from @Phil Starrof this parish. last night I met Phil accidentally. We were both booked at a mini festival in a tiny corner of North Dorset without us knowing. Phil’s duo did a really good set and went down well. We had PA problems from the start. We could not get a decent volume on the vocal only PA without feedback. The singer/bandleader is protective of his PA. It is a Behringer powered mixer feeding two Samson speakers. I decided to move the speakers well in advance of the stage and, in moving one, It felll over bending the jack plug and sadly the jack socket. So we were running on one speaker. Phil kindly offered to loan us his RCF ART 310s but the mixer had no line level outputs. I dug into my box of goodies and my speaker to line level box was used to feed the ART310s. Not only did this improve the sound but it also cured the feedback issues. A huge thank you to Phil for going above and beyond, and for proving to our Singer that his PA is 5H1T. So two questions remain, firstly can I persuade the singer to use my gear in future and should I let Phil have his RCF ART 310s back? (only joking).

DeOxit or any cleaner can only be a temporary solution to noisy pots, any contact or switch cleaner should be used sparingly. In this case, the effects loop is two switches and the contacts can only really be accessed from within the case. For switches or switching jacks, I recommend a standard switch or contact cleaner, which is both cheaper and probably more effective. The other option, although not ideal, is to install a patch cable into the EFX loop, although even those contacts may corrode over time.

Where are you based? Someone mighty be able to take a look for you.

I have no idea but am answering to bump the question to the top of the pile.

MK2 will use the same spacing of the horizontal bars, but the PSU will be mounted in an enclosure under the board. The power sockets will be underneath, making it easier to mount pedals. I had the board on all day, yesterday in ambient 23 Celsius, without any problems. Running on batteries or the new power supply makes no difference as far as I can hear. I will get the scope on the output one day.

All installed and wired, just need to stop playing and start tidying up the cables and adding Velcro.