DanOwens

I had no idea how useful the ART DTi was until I owned one. I use it all the time now. It converts one connection to another (xlr, phono and jack) and any combination. It has two discrete channels, which is handy for stereo use or for using on two signal paths (or more since it can be used as a splitter), and its 1:1 gain. https://www.thomann.de/gb/art_dti.htm

I got a SkankDelvar diatribe in response to one of my posts! I'll die happy!

Hi guys, One of my guitarists plays a National and a Martin (not at the same time). The National currently has a 57 in front of it but I'm encouraging him to fit a Michael Messr pickup, and the Martin has a Fishman Rare Earth pickup in it. I've been considering encouraging him to add a pickup to the National for louder gigs, but to be honest there's a lot he needs. An Amp Sim for solos, or a boost, a tuner out, the ability to mute each channel. My thinking is below; I don't think that summing the channels pre-desk is the right way to go (although it would be simpler to set up, the EQ in the XR18 is very handy). Is there a product that could do this? Is there a custom maker (I see Bright Onion stopped doing custom stuff)? Or is my concept flawed? Thanks for your input!

I interviewed for a post within my organisation - in fact there were two posts and I was very friendly with one of the panel (he'd took me to lunch and told me to apply). It was a given, but I didn't rest on my laurels, I prepared for the interview and gave one clunky answer but the rest was gold. Three young women were recruited. They created an extra post so they could hire all three. Each of them is in their early 20s and they're all stunning. My mate who took me to lunch has a reputation already, but he ignored all the experienced people on the panel and literally hired the three young women. I still can't get over how blatant it seemed; there were far more experienced and suitable candidates; one of the recruited people had just finished university and is now on a salary £4k higher than mine! I'm not jealous of those that were recruited, I'm just horrified at the blatant sexism and objectivism of the panel (all men).

I bet there's lots who are much better at this than I, but sound-proof usually means a room built within a room where the inner room is mechanically decoupled from the outer room. There are lots of steps in between that, but fully soundproofed is a monumental task (especially when you take into account airflow etc). Acoustically treated, however, is easy. Just put baffles everywhere!

EHX Superego with a mute pedal in the front?

Brother I feel your pain. I had a custom routing switcher so I could split / sum multiple boards and pitch-to-midi. I was a dreadlocked DnB fanatic. I'm now a bald double bass player; make of that what you will! I wanted 5 parallel signal paths and the band were all midi-syncd so we had a lot of flexibility; my problem came in the sum / split phase and I think if I was doing it today my setup would be similar to you (I was doing it 10 bloody years ago!). Keep up the efforts!

If it's a normal BBOT bridge, or even something more fancy, you're unlikely to get anywhere near the radius of a double bass. I suppose you could add some longer grub screws to gain height, but obviously the higher the saddle, the greater angle between the saddle and the terminus, resulting in tension changes and the risk of snapping. If you were aiming for a slightly more exaggerated radius to the board than on a Fender, like maybe 7" or so, then you might get the bridge to match without modifying it too much, otherwise you're looking at a bespoke bridge solution too.

I guess I've been really lucky then as the Honeys on my NS have been on two other basses previously and I'm having no issues with windings, and before them I briefly had a pair of Silver Slaps that had been on one bass previously and had no winding issues either. It took about a week of practising before I could be confident that the Honeys would be predictable in their tuning, but that's not unreasonable in my mind since there's a lot of mass going on. Which Innovations did you try and for how long did you have them on the bass? I'd love to play about with some guts, maybe on a new bass....

I've used a few Innovation synthetics on my NS EUB, but never proper guts.

I play in an acoustic blues band and we stray into bluegrass on occasion. I mostly play EUB live, U-Bass in rehearsal, Double Bass if there's space and I got the Precision out for the last recording session. I'd focus on note choice, laying back in the pocket and having fun before i decided which instrument to choose, but then I already played DB, EUB and Slab. If I could play just DB, I certainly would, but my instrument doesn't prevent me from playing bluegrass. If you're looking for an excuse to buy a DB, though, then I wholeheartedly support your decision!

I feel open mics, jams or any number of by-the-seat-of-your-pants experiences are of such great value to our development. I used to play a lot of jazz; now I do a lot of accompaniment on the fly at open mics. I absolutely love it, and the workout of rapidly decoding whats going on whilst trying to play something that sounds good... well I'd take that over rehearsing the same tunes again and again!

PMT in Manchester have a pair of 710s in. Evidently I'll need to go plug a bass in and see. I was kinda expecting loads of suggestions, but K12s & Altos being close and Thomann being below the standard we're after is a surprise.

A later sub is a possibility. For our budget are we never going to get full range?

Yeah everything goes through the PA, including my bass. The HK LUKAS is the older one here: https://hkaudio.com/produkt/l-u-c-a-s/. It did have a sub and it was definitely welcome. Is it likely that the 710's low end will not be adequate?