Pirellithecat

The Mackie control app does look good! I've downloaded the CQ18T Control app (CQ MixPad) and that seems pretty straightforward and clear too for "on the fly" use. I'm probably more likely to feel comfortable with the A&H CQ 18t mixer as it has a built in screen and some rotary controls etc. This means that I'm not dependent on any Network connectivity when playing live, i.e. if the wireless didn't work I have a base unit which (I guess?) will be fine. Last thing I need is a glitchy connection whilst trying to play bass, sort our stage sound , sort out FOH sound and stand up whilst still breathing!! This is why Yamaha DM3 and A&H CQ 18T are more "attractive" too me. Does rely on Magic, but looks as though it doesn't!

Update. Been playing with a Yamaha DM3 mixer this week - all set up with full PA. Steep Learning curve! Compared the in "house" FOH speakers (Mackie SM450 mk3) with my RCF 932's RCF's more detailed and less congested - The Mackies have a fairly "middy" presentation which is "mellifluous" at first hearing, but they are nowhere near as accurate as the RCF's - so I guess any input/mixer "peaks" at the 2-4k region will be presented in all their glory!! (Ouch!) Can tame the offending frequencies with the Digital EQ and would even attempt a bit of Dynamic Compression if I could work that out! Using the Mackie Mixer, I can't really address the problem area due to limited mid range EQ - I can get it better but this affects other areas of the mix. So, been playing with a 31 Channel GEQ unit too and I'm optimistic that the Mackie plus the GEQ can ameliorate the issues I perceive. Where the GEQ really pays dividends is on the Foldback EQ to manage any feedback. So I'd need a pair (and a rack and and .......). Going to try out at least one in a high pressure gig on Saturday to see how it goes. However, buying a pair of stereo GEQ units (plus Rack) is going to be around £250 all in, and then I have to transport and set them up at every gig - which is probably going to be a hassle. In the world of digital they are probably obsolete tech too so I'll end up with even more gear with collapsing value. Which leads me to think that I might be better selling my Mackie/Case/etc. and investing in a digital mixer. The DM3 is a great compromise as it has physical faders, is relatively "familiar" and isn't too big - but it is VERY expensive. So, if not this, then am I bold enough to try an A&H CQ 18T ????? Let's see what the weekend brings ..........

Many thanks ...... ! Very tempted to have a go at the activisation project! As though i really need another bass ............! Are the EMG Alnico PJ pickups the PJAX series or just a combination of the PA plus the LJA? I think I'd probably go for the "non X" series as I suspect I'd like the separate tone controls rather than the VLPF .... but who knows!? Better find something to sell to raise the funds ......

Dithering about what to do with mine. Had a bit of a set up with it this afternoon, and whilst I had the strings off removed a Machine Head and Weighed it - it's 106.1g. So if i were to replace them all with Resolite GB640's it'd knock 165g off the Headstock weight. I'll probably leave that until I've used the bass a bit more as there are other things I'd also like to change, partly to reduce the weight and partly to see how it sounds with different electronics. I've carefully removed all the "stock" electronics and, probably temporarily added an EMG PJ Geezer Butler set and the ABC control. It's certainly easier to use and dial in a tone on the hoof, but it doesn't have the character of the original. Probably worth upgrading to some form of active set up if I decide to keep it and mod it. Another thread methinks ..........

Thanks for that - Any ideas on an affordable "outboard" EQ option? I can't seem to find anything which separates Low and Upper Mids that doesn't cost a huge amount. Other than that I guess it's down to a Graphic Equaliser? (or 2). The other option, clearly, is to use a Digital Mixer which has that function (RTA/Pink noise built in). But I have to weigh up cost and complexity of yet more bits of gear to carry/setup/worry-about vs a decent Digital Mixer and the learning curve associated with that. I'll await thoughts on Mics etc. and then get on with sorting it.

Thanks all, So, some quick Vox Pop questions..... 1) Might an alternative MIC help with harsh treble, (whilst being relatively immune from Feedback from the Monitor(s) which sit directly in front of it on stage)? Thinking Sennheiser e935 or Sontronics Solo - others?? 2) Is there an additional EQ Strip that can be used on the Mic channel which gives access to more tonal options particularly in the Mid Range? If there was something I could add to the Mixer Case (there's space but depth is the issue) that would be ideal. I need to control the frequencies involved in Monitor Feedback, AND the vocal harshness, and this is not possible (for me at least) with a single Semi Parametric mid control. 3) Of the vocal "pedals" is there one which allows EQ adjustment plus a few obvious FX's (The Reverb/Delay options are combined on the Mackie, which isn't ideal as the delay element isn't independently adjustable 4) Is Dynamic Compression another Rabbit Hole or worth exploring? And then I think I've probably bored you all to death so I'll stop being a nuisance!!

Thanks everyone! I have a spectral analysing app on my phone ... I can try that. I know that "shrill" doesn't really help, but, until i can identify the frequencies responsible it's the best I can do. I hear it as "shrill" when I perambulate round the audience during the sound check and sometimes when I venture out to check (whilst playing). I've had feedback from a sound engineer I know who said our vocalist had a fantastic voice and he'd really like to record her with a decent Mic and proper studio equipment. he's very diplomatic so i guess he meant "is that the best you can do!!". Apart from that I've had 2 separate reports from musicians in the audience, "sounds great except for high volume, high frequency notes in really loud bits of songs. Described as "painfully bright"! And yes it's just the main vocal. And suggesting any of this to the vocalist (and/or her partner .... The Drummer ).... wouldn't be a wise move! Thickening up other parts of the mix might work as long as I don't end up getting more feedback issues, but a Vocal Pedal or a better EQ "strip" might be an economic way to go. I don't think its something that will need much adjustment gig by gig as once I can work out how to tame the frequencies involved, they'll just be part of the EQ for her Mic . I'll check out the pedals .... ta!

Exactly what everyone tells me ............ at sound check I'm in the "audience" playing bass to the one song we use as a sound check. I obviously teleport from there to the stage to adjust the EQ .... zip back to check it's OK (whilst playing bass), repeat as necessary in the allotted 4mins of the song, and then ...... hope for the best! It's not perfect, but between England dithering over penalties (leaving us an hour to get everything unloaded, set up, tested to make sure all the bits are joined together, and work) and a 4 min song to see how it sounds, it's unsurprising that we have a few issues. But - most are now manageable - it's just the Shrill Vocal, and after that's sorted I'll have the luxury of 4 mins to adjust stuff at my leisure........ 🤭 The context of this is the band's attitude ... "why do you fiddle about with the PA? Why don't you just use the settings from last time and then we wouldn't have to do anything other than adjust the volume if the space is bigger" . Tough job, but someone has to do it ............. That's my experience of Pub gigs here in the North of England. Perhaps I'm the only one!! 😂

Well another gig .... and another comment about vocals being "bright" on the full-on bits! Tried even more EQ cut to the mids, but - with one Mid frequency knob labelled 100hz to 8kHz - with a mid point label of 600hz- trying to do this "live", on stage is problematic. Hopefully will try a different Mic at next outing (SennHeiser e 935 or a Sontronics Solo), and in the meantime I might "play" with the mids to see if I can "find" the right freq (location on the dial) to cut. The alternative is to get a friend (who is a sound engineer) to come and mix us "live" offstage and then use his settings as our "benchmark" in the future. I don't think using the Graphic is going to be realistic in terms of having time (or offstage ears) to adjust it from the stage during a gig ........ May just be that if the Mics don't solve the problem, I'll have a look at a more flexible mixer ....................

Gigged last night ........ Nice to play. Neck is very easy to play and the frets all seem to be in intuitively in the right place - I know that sounds strange but in swapping between 20 and 22 fret basses - I sometimes find the frets aren't quite where I expect them to be! The Sire 24 is great in this respect! The bass is noticeable noisier (as expected near to or at certain angles to the Bass Cab) than my PJ or P's - quite a difference! The large control knobs are a little intrusive. I find the V V T arrangement quite off-putting - might just take a bit of getting used to as the control of volume is more difficult and their effect on the tone is much more impactful than on a PJ. The positive to this is that the bass is more flexible, tonally. So, it's going to be a case of; Get used to it (the pragmatic option ... for now!) Then - perhaps, change controls for smaller knobs and (probably) Vol Blend Tone, which might mean either an EMG ABC installation (Battery ???!!) or ..... Go Active Or, trade for a similar bass with better Hum-cancelling pickups and, probably and active preamp). Given that I like the 24 fret neck - it's probably just about worth modding this rather than going for an eg. V7, as there are a few things I'd probably do with either (lightweight tuners, ? Bridge upgrade). But a few more outings first!!

Thanks for this - Works out well in Weight terms - i was thinking of something more "traditional" but I'll have a nother look. The Sandberg ones are very light ?40g, and if I go for a different look then these might also be a good option.

Anyone know the weight of the Wilkinson WJBL200's - they look like a direct (ish) replacement so if they were OK in terms of performance they might be an option .......

Contemplating an overhaul on the above bass. It's a bit weighty, and the original tuners are a bit old and worn out (bit like me really!). So thinking of replacing them with lightweight ones - I see the Gotoh Resolite GB640, might do the trick weight wise but will need new holes etc. The Gotoh FB30 looks like a direct replacement but is even heavier than what's on there now (i suspect). Anyone know of an alternative?

The thoughts about a more benign vocal Mic, are very interesting!! Sounds like it might be well worth investing in the Sontronics Solo, sounds ideal ..... ! So thanks for the info ... could make a big difference! (and be slightly less costly than an A&H CQ18-T!) In the light of input on here, last night tried the following; More dramatic management of Monitor volume and EQ - replacing our old monitor with a more "modern" one, with much better EQ controls (and adjusting input EQ's on desk). More robust management of the EQ's and volumes to FOH. (Lot's of CUT!!!). And no Compression! (Didn't use the Graphic Equaliser on this occasion as complexity is an issue - but plan to in future.) Spent more time on my IEMs to sort the "sound in my head". - lot's to do here but continuing to make progress and it allowed me to ignore the Stage Sound (as I wasn't much affected by it!!) Pretty much sorted the FOH sound at Sound Check and, fortunately, had a musician friend in the audience to confirm all was well at various points during the gig. And it Worked well ...... Bonus point. During the gig I noticed the Drummer scowling in the general direction of the Guitar amps, so I enquired .... "too much midrange "mush" from guitar(s)! Can't hear drum monitor as it's just part of an overall noise". I may have smirked, shrugged, and said "Yeah, tricky one that - you should probably mention it - nothing I can do from the mix point of view" . I am, though, a child!!! Seems like the Serenity Prayer might have to become the amateurs mixer(er)'s creed ...........grant me the serenity to accept the things I cannot change, the courage to change the things I can, and the wisdom to know the difference.

Thanks - that's good - not too much difference then - I could probably live with that ......... !

So that's a VS next to a VT with the Split Coil removed a Jazz Pup replacing it? Or 2 VS's the blue one with an added Jazz Pup at the Bridge position and a reworking of the Split Coil recess hidden under the pick guard to accept a Jazz ............. or .....

Yes - it's a daft question! I guess I'd like a Jazz bass, (2x jazz pickups) in a P Bass body, but with a (relatively) skinny neck. I recently bought a jazz bass - but I much prefer the P Bass body style (weight/balance/less cumbersome/stands on a stand easily). I also have my fantastic VM4. It would be very hard to resist a Sandberg TT if the body were P-like ... hence the question. I guess I need to go and see one (again - now I know what to expect from a Jazz Bass) so that I can judge.

Very Nice!! This is one of those "Doh" questions but .... can anyone confirm - the bodies on the California TT MKII's (4 String) are different to those of the California VT MKII's (4 String)? I'm almost sure they are ..... but thought I should check .... ! Ta

Very Pragmatic solution!! 👍

😂 Rabbit hole ..warning! I'm sure that its something that most people don't notice or care about ..... but, once noticed it's a pain. When there are two pickups in a passive bass, the wiring circuit "sees" both pickups. The effect of this is that, particularly when both pickups are at "Full" there is a change in the tone/volume. No problem, until you roll off one of the pickups. At this point the volume/tone changes in a "strange" way, which means that you have to "re-mix" both pickups to get the tone you're after. This is fine at home but gigging it's a bit of a nuisance. Happens with traditional VVT AND/OR Volume/Balance/Tone. This from EMG " Insertion loss is a naturally occurring yet frustrating phenomenon that occurs most frequently with traditional balance pots, usually when it is in the middle position. It is characterized by a drop in signal strength that occurs when two competing signals are mixed; the nearer you move the balance knob to the middle position the more directly it affects the signal of the other pickup." They sell an ABC control which rectifies the issue, and I modded one of my other basses from VVT to VBT using one. Works really really well, but you do have to add a battery to the circuit. I may well add one to my V5 if it makes the grade as a gigging bass.

Set up my Sire V5 yesterday. Neck relief, string height, intonation, Pup height etc. Now all to Fenderesq specs. BIG difference. Now plays very well indeed and sounds better. I'll get a few more miles out of the strings and then replace them with D'adarrio NYXLs strung through the body so that it's comparable to my other basses and post an update. Still not a fan of the black plastic knobs or the insertion loss, but I'm not sure that most people would find that a problem. So lots to like!!

Well ........ Easy bit first ....... Mic technique - getting better, sings very close to the Mic and still "cups" the Mic "Bulb" from time to time (I have explained - and its now pretty rare). Wondering about adding a little more compression on this particular Mic ....... currently just a "tad"! In terms of FX - usually use Reverb plus a small amount of delay - bit limited on the Mackie, as the delay is a combo with Reverb so I've been experimenting with just Reverb of various types. In terms of EQ ....... well this is a trade off, as we have to manage feedback via monitor, and, as vocal mics are in front of drums AND Guitar cabs they pick up lots of mid range "bloom". So, usually there is the HPF on, bass rolled off a fair bit, as is the treble, with as much of the Mids (freq/volume) as we can manage without monitor feedback. In an ideal world I'd cut some of the upper mids (1500/1800) and the lower mids (400/500 ish) but can't do that on my Analogue desk. So a bit compromised really. (Monitor has significant "Cut" across the range!). Indeed, the Graphic Equaliser might be best used to tailor the monitor(s) leaving the FOH EQ with more options. I might check ot a few Mics though ............. Feel free to point out any obvious errors!!!

The Antediluvians 🤣 To be fair, it's mostly just me who wants the sound to be "better", most audiences (exception last gig) don't mention the sound quality (it's usually just the VOLUME!) Mostly though they just stand there drooling over the vocalist and the shredding guitard, whilst consuming inadvisably large quantities of alcohol! 😭