Steve Browning

I would say they're not immediately as smooth as some other makes. They are also quite bright to begin with.

It occurs to me that each dmx channel is like a mic in a PA mixer and the lamp unit itself is a separate sub group (comprising those channels). You set each channels level and the sub group is the fixture (whether a single light or all those using the same channel numbers).

Yes. My lighting bars are wireless. I originally used both with one controller but that wasn't bombproof. Then I tried master/slave with the master wireless and a cable to the slave. That wasn't too bad but you are stuck with the options on the bar itself. I wanted a bit more control and went wired with a foot controller. My bars can operate with 20 channels (5 for each lamp) and so I intend (because of the limitations of the foot controller) to be able able to program lights 1 and 4, and 2 and 3 separately (so that the lighting is symetrical on stage). I want to make things a bit more sophisticated and have 3 fixtures instead of 2. Lamps 1 and 4 will be fixture 1 and lamps 2 and 3 will be fixture 2. The other two will become fixture 3 and will need to be assigned to channels 21 to 25. I believe it will work but we'll see!

This is a journey I have been on. I have a pair of lighting bars (of 4 lights) and two other lights. These are controlled by a foot controller. Dmx is actually fairly simple. The lighting bars allow 4 different functions and so channels 1 to 4 are assigned on the light bar. The same 4 channels are assigned on the foot controller and I can control the amount of red on 1, blue on 2, green on 3 and overall brightness on 4. The other lights have 5 available channels and are assigned channels 5 to 9. The 5th channel is for white light. The bars are fixture 1 and the other 2 are fixture 2. This enables me to create scenes that are selected by the foot controller. It took a bit of a sharp intake of breath to jump in but it turned out to be pretty straightforward if a little tedious. Hope that helps.

Hadn't heard of them but just had a look at their site. Very impressed and could well be replacing the late Studiospares for some requirements.

I had one experience when a Hi-Mass bridge practically doubled the acoustic volume of a bass but others haven't been so spectacular. Unless on an old Fender, I have fitted Gotoh bridges because they have 7 screws and tracks for the screws. Perfectly happy with those.

Excellent news. Thanks for the update.

I would make the Squier 70s CV Precision (in walnut) available with a rosewood board and dot inlays. I'd change a couple of other things myself, but the basic bass would be brilliant like that.

And, of course, that's absolutely fine. We all have our own perspectives/experiences. If what you're doing works for you then you're right and no-one can tell you otherwise.

This has always been the root of my reluctance to ditch the amps. I love the sound of my rig and wouldn't want to go down the route of the alternatives (Eich etc) to recreate the physical effect of having an amp on stage. Note I'm not talking about sheer volume-induced sensation. Your perspective is a welcome addition, and rather better than the IEM sneering that we endured a little while back. I get the idea of IEM, but would just miss the physical aspect of a sound source behind me. Even on a big stage, I like that bit of the stage where it has effect. It's a kind of oasis.

Paperweight? Tissueweight, given the weight of these things!! Keep us posted on here. I am in the process of arranging a trip to the Gibson Garage to meet my artist rep, so I make enquiries if you've not had any other success. I expect Andy will have an answer though.

The prices don't specify the length of the hire, but would probably be daily. That would be €100 for a bass amp. Add other kit and I might be tempted to look at van hire from the UK as an option.

Brilliant, Phil (as always). Thank you. I note your comments re compression and will act accordingly.

What is the issue you have. Steve at the Guitar Centre could well be able to help. There is an amp man on site who can add advice for electrics. Jeff Smith in Waterlooville is a very good luthier and can deal with issues too.

You angel!!

Not if they're travelling with their gear. No carnet for accompanied musical instruments and associated equipment.

I am doing some initial set up work with my XR18 and have a question. The band will convene (soon) to do the setting of levels for mics etc. Can I set up a vocal channel eq and save it, working on the principle that it is mainly overall room acoustics that will need tweaking thereafter(at each venue)? Similarly, can I ring out the monitors just once and work on the assumtion that mic/monmitor placings are going to be pretty similar going forward? Probably 'no' to both questions, but I thought I'd ask.

The journey continues. I have three band templates, making sure band members have the same channels when they are in more than one band. No channel strips on an XR18. I have used the presets where Behringer have provided them. We'll fine tune in the rehearsal studio. I feel that a penny has dropped and the controls seem really quite intuitive now. I'm very much a novice when it comes to compression and gates but the basics are there. I love the ability to save channel settings and copy them into a new template.

Maybe you get the chance to take the 'polaroids'.

I play in three bands with one guy and I can save his channels and copy into the other band snapshots. Brilliant.

Getting to grips with the XR18 and loving it. So much control and flexibility. Pretty much on top of scenes, channels and snapshots. What a great bit of kit.

I've often wondered what difference any of these variations makes. Can anyone explain?