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  1. Ghost last night at the Motorpoint Arena in Cardiff. Not something I ever thought I'd be into, but having been told about them by my sons (both into their metal in a big way) one Sunday afternoon sitting in the garden, beer in hand, I jokingly said that if they played Cardiff I'd buy tickets. The tour was announced the following day...! I have to say I do like the music, and they put on a great show. Really notable for me was the sound, which is usually pretty disappointing in the Motorpoint. There was none of the overpowering kick and sub bass mush that seems to be so prevalent these days, and for the first time in that venue I could actually hear the bass quite clearly. I think the overall volume might have been a bit lower than other bands I've seen there, too. One way or another their sound guys did a great job.
  2. If the Metro 16 is otherwise perfect then you could try replacing the feet, as per Twigman's post here:
  3. I do get a bit fed up with everything that surrounds playing in a pub covers band - trying to park, lugging gear, setting up, managing the PA, starting our first set half an hour after I'm usually in bed, packing up afterwards, etc., but almost always as soon as we're a couple of songs in I think - yeah, this is why I do it. The last specific moment that gave me an extra smile was probably our guitarist pulling off a particularly blistering (yet still tasteful) solo, complete with behind the nut bends, in the middle of... Mustang Sally.
  4. Sorry, I wasn’t being very clear - it was paul_c2’s question to Tubster about venue size and genre of music, which would be a useful reference point. Regarding the username, I’m afraid I have pretty much managed to stop - I hang my head in shame!
  5. I'm really interested to see how this pans out for you @Al Krow, and also to hear @Tubster's answer to the question above. I "do the sound" for our band (typical pub/small venue band playing mainly 60's and 70's stuff, up to a couple of times a month) - by that I mean I stand in front of the band for one quick song after we've set up and try and get a reasonable mix of vocals, BVs and keys through our pair of Yamaha DBR12's, while gesticulating at our guitarist to turn either himself or me either up or down depending on the venue and what gear he or I are using, all while trying to balance all that with a non-mic'd kit. I used to think of us as pretty loud, but lately I'm wondering if that's really true. I certainly feel that our mains aren't pushed in any way - they're on 0db and the main output on the mixer is usually set at about -8dB so, in my lack of a thorough understanding of the topic, that feels like we're not pushing the PA at all. Our drummer thinks we'd benefit from some kick through the PA, and I'd be quite keen to go through the PA myself and slim down the kit I'm taking (more often than not my two DIY (Baschat Mk 1) 12" cabs driven by an Ampeg PF500). However even though I don't need a lot of low end I still have my concerns whether a single 12" sub will be enough to handle the lower part of the bass duties. I've tried running through a single 12 myself and felt it was struggling (I know that's probably an invalid comparison), though a single 15 (Ampeg PF115HE) was okay. Any investment in a sub will be something that I'd drive, so I'll need to be pretty convinced it'll suffice before pushing the idea. The RCF 702 at roughly £700 would be quite a big investment for the band as the rest of the kit, even though most of it was bought new, only amounts to about £1,400. And I'll need to invest in a monitor as well. Hence I'm really keen to hear some examples of people using this type of kit in similar sorts of bands and in similar types of venues.
  6. Continuing the theme of giving you an answer to a question you didn't ask, the non-4k version of the Zoom Q2n has come down in price a fair bit since the 4k version came out - currently £98 on Amazon. I have one of these, and also a Tascam DR05, and the Zoom wins for audio quality.
  7. My J setup is a 2003 MIM, Fender Custom Shop '60s pickups, D'Addario Chromes, and I always have the neck pickup backed off at least a tiny amount, so a number of the things already suggested in this thread added together. The stock bass I always found a bit underwhelming, but the Custom Shop pickups made a huge increase to the range and clarity. The Chromes on top of that give a really rich sound to my ears - much better than the La Bellas I tried first (conversely I much prefer La Bellas on a P). Both pickups on full does seem to reduce the richness of the sound a bit, but even the tiniest smidge off either one really brings the definition back. Personally I find the neck pickup a bit too "plummy", if you see what I mean, but the bridge on full with the neck backed off a little is a pretty huge sound and in no way thin. I think with the new pickups and a set of a more "modern" style of flats you've got a pretty good chance of getting a sound that'll please you.
  8. I'm using a first gen iPad mini to control a Soundcraft UI12 using it's internal WiFi only and (I'm probably tempting fate here, but... ) I've never had any problems. I take the the iPad out into the room when we soundcheck but after that it stays next to the mixer, so that might explain the WiFi stability. An advantage of the Soundcraft mixers is that they have relatively sophisticated feedback suppression built in. You can set it up before the gig (I think it has a limit of something like 7 notch filters) and leave it, or have it in a live mode where it will add filters on the fly. The only thing with that is that it can occasionally see loud sustained notes as feedback, so I would only use the live mode on monitors and not mains.
  9. The knock off boards use a different serial chip - if you haven’t already done so you’ll need to download a CH340G driver. I don’t think the baud rate should matter too much - I’d try either 9,600 or 38,400. It’s one of the preferences you can set in the arduino development environment software - I can’t recall exactly where at the moment but a quick google search would probably yield the info.
  10. I bought this a bit over a year ago from jeid on this forum, planning to use it with a power amp, but one way or another I've never got around to buying a power amp and I tend to use either no effects at all or a Line6 HX Stomp when gigging, hence this is was never used by me and is surplus to requirements. It's in pretty good condition overall, with a little bit of rack rash and some very light oxidisation on the rear panel. I'm sure if you're looking you know what this unit does, so I won't reproduce the Tech21 blurb, but here's the link to the product page in case you need to check the specs: http://www.tech21nyc.com/products/sansamp/rbi/ Looking for £190 posted within the UK, or £180 if collected from me in Cardiff. I'm also able to deliver locally within Cardiff, or near where I work in Swansea Vale, and within reason along the M4 area between the two. Not looking for trades at the moment as I'm freeing up some cash for a non-music project. Strictly cash or bank transfer only, please. My feedback is here:
  11. I've had a quick look around and every place other than kennysmusic has this as a 38.1mm nut. Similar to my previous post, I hope that's the case because I quite fancy one of these but I'd want it to be a Jazz width nut. I've been quite concerned for my sanity recently because I've been unusually GAS free, but it seems that order is being restored!
  12. I'd suggest they're actually the same size and it's just that (1) the photo on the left is a bit clearer, (2) the pickups are angled a bit so that you can see the side of the casing? The photo of the squier is less clear and I'd guess the pickups are set flatter. It could also be that the Squier was photographed further away, which would mean that less of the side of the pickup casing would be visible. All this conjecture is because I quite fancy giving the Squier a go, but I'd probably want to put a pearloid scratchplate on it!
  13. Me too - I currently use Amplitube v3 on my Mac, but every time I start it now I get a message telling me that it won't be compatible with the next version of OS-X, so Helix Native is a tempting alternative. Am I right in thinking that Native is a plugin only, so I'll need a host of some sort? I do have Logic but perhaps Mainstage might be a better option, unless there's other stuff around that fits the bill? Also, for anyone who has both, is there a simple way of syncing patches between Native and HX Stomp (or any Helix for that matter) or is it a case of storing patches and importing them into the device?
  14. Stage left for me too almost always, mainly because I once read that the bass should be on the same side as the drummer's hi-hat to aid hearing it for timing, and I was young and impressionable. Okay, maybe not young... I did swap to the right on the one gig we did without our keyboard player and didn't find it any problem, though. With regard to keyboard players straying into our sonic space, I did have this problem once. I addressed it by (1) asking him nicely keep his left hand under control, and (2) setting up a high pass filter on his PA channel to take a lot of the low frequencies out. I think (2) was more effective!
  15. Fatos bought my TC Flashback pedal. Really easy transaction, despite Royal Mail refusing to accept my prepaid Tracked 24 postage and slapping a returns service label on it?!
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