nilebodgers

That is amazing service.

On 16/04/2024 at 07:38, DDR said:

i used my Sansamp (it doesn't have one) but to reach their 80's yamaha console from the stage we were going though a berhinger DI they had,,, ground lift didn't make a difference

 

yes hum is more appropriate i think... no difference when i moved or touched the strings

Sounds like a ground loop. Was the behringer di the one that is a cheap copy of the bss ar133? (Di100 I think) That is the only one with a proper ground lift and an audio isolating transformer.

I’d suspect their DI if a ground lift didn’t fix it.

52 minutes ago, tauzero said:

 

I haven't got the app to hand, but doesn't it allow partial saving of snapshots, or snapshots of a subset of parameters? I've only ever saved complete snapshots but I'm sure the snapshot screen has much more than that on it.

Never looked at that - yes you can limit the scope. I’d want to do a lot of careful experimenting before using that feature though!

1 hour ago, Jack said:

 

 

That's a pretty cracking idea actually. However, would that mean that any tweaks that were done on the 'faders down' scene wouldn't carry across once we went back to the 'faders up'? Because the whole point is we might want to make changes to IEM mixes or something.

Yes, that is the big problem with using scenes that way.

Higher end desks often allow what is being saved as part of a scene to be customised so recalls don’t overwrite certain control changes, but it is still possible to accidentally land in a mess unless you are very careful.

When I was doing corporate sound gigs that had an entertainment element we’d usually have separate desks for the band and conference. That meant the band desk was under full control of the band engineer and saves/recalls there wouldn’t affect the rest of the event or the system config. (E.g. zones off a matrix etc.)

… just assign all band channels to a DCA and mute the DCA instead.

I’m only looking in the xair simulator, but that is the standard way mute groups function so I’d be surprised if it doesn’t work. Are the little red squares corresponding to mute group 1 showing on each channel and do they change when the mute group 1 button is selected?

*** correction, the xr18 doesn’t have the flexibility to set where the mute is applied. The DCA method is the way to go.

Set up mute group 1 to be everything but the break music channels.

Assuming the iems are all pre-fade then they will remain live when mute group 1 is selected, but will not be in the main LR.

*** correction - use a DCA group and mute that instead.

16 hours ago, Rosie C said:

 

Thanks! I think "playing on the chord changes" is going to be the key. The music I have to work with tends to be either piano/organ music where I work from the bottom line, or 4-part choral music where I play the bass part. It usually works fine, but not for this one!

 

Everything I see is piano scores where the written bass part doesn’t sound good on bass guitar. I pretty much always play the chord changes with my own ideas for rhythms and inversions added in. I usually get away with busking it 😉

I don’t think I’ve ever heard a worship song that has a “signature” bass line that would be needed for the song to sound “right”. Not for congregational singing anyway.

5 hours ago, Rosie C said:

 

I'm playing at Easter Sunday morning service and looking forward to it. Looking through the hymns, we're doing "How Deep the Father's Love For Us". A little bit scary with its alternating 6/4 and 4/4 bars. Does anyone have experience of playing it?  

 

If you mean this one:

I played this a while back and I don’t remember any trouble with time sigs. (I always have the music though, never just chord charts)

5 hours ago, Rosie C said:

No bass in church today, but there were donkeys! Our church did a combined Palm Sunday procession with the local Methodist church, singing accompanied by drum and mandocello. The songs were "Make Way", "Hosanna" and "You Are the King of Glory". 

 

We had donkey disappointment today. There was supposed to be one, but it was a no-show. Humph!

Talking about P-basses, I took mine (with rounds) last time I played and it totally didn’t work compared to my usual Jazz with flats. The extra midrange punch just wouldn’t sit properly even after I’d eq’d the top end zing out of the rounds.

I was quite surprised how much better the scooped Jazz sound works for me with our simple instrumentation.

In my little church band (2 x Acc, piano and bass) we do mostly hymns and songs from the 80s and 90s. I have found that it sounds best if I stick to mostly roots and chord tones with the occasional fill. Busy lines are just too distracting for the material we play.

Fender American Series Tele from 2004. (the American Standard was called American Series from 2000-2007)

- Candy Apple Red with white (original) scratchplate.
- Alder body.
- Maple neck with Rosewood fretboard.
- Very little fret wear (had a fret polish and not played since).
- No-load tone control.
- Original pickups and hardware.
- (Tone control pot was faulty when I got it so was replaced with a new Fender part.)
- Original Fender hard case.
- Very good condition overall apart from 2 small dings on upper rear body edge (shown in pics).

Price: £750.00

I don't want to post so probably Norwich/Norfolk collect given I am up in North Norfolk.

No trades thanks, I have way more gear than I need already!

1 hour ago, rmorris said:

Bit tangential. But needing a new desk chair - got one for Christmas that has flip up armrests so I can play bass/guitar seated in front of mixer without awkward manoeuvring.

What did you get? It’s a problem I need to solve too.

I can’t believe how many vendors there are. It’s like a hydra of scammers with randomly generated names.

14 hours ago, Chienmortbb said:

A problem you do not have with an active DI. 

The bss Di is active, but it has a transformer so it can provide true galvanic isolation. (As does the KT DN active Di)

Active DIs without a transformer cannot provide real isolation or break some ground loops so they can’t be relied on in all situations.

7 hours ago, Owen said:

I recorded 5 DI boxes I owned (no, I don't know either). One was the BSS we all know and love, one was the Behringer we see everywhere. To all intents and purposes I could hear no difference between those two. There was an old, knackered cheap one in the mox which turned out to be not nice, but otherwise they were much of a muchness.  

The bss di has a mu-metal screening can on the di transformer, the behringer copy doesn’t so can’t be anywhere near a mains transformer without picking up loads of hum.

For passive boxes the EMO ones are absolutely bulletproof and last for ever. Some of the radial ones can damage the transformers when dropped, but are good boxes otherwise. (I think it was the stereo one that had this problem)

The BSS AR133 active boxes are pretty much the universal choice in uk pro audio, they are just a bit bulky IMO.

Anyone opened one of these up yet? Icepower module?

This is such a tricky question. If the band owns the PA, who owns the band?

If I was ever in a band again (unlikely) and they didn’t already have a PA then I’d probably buy something basic that I owned myself (I already have quite a few mics, DIs and cables). I used to be an audio professional until I retired and it would drive me nuts if someone else was bodging it.

If I was in the market for a digital desk I’d go for the Soundcraft models that run with an inbuilt web server to provide the UI. That has a much better chance of longevity and can’t be randomly borked by OS updates like the Xair products.

18 hours ago, police squad said:

I bought this

https://www.screwfix.com/p/kewtech-kewcheck-103-13a-socket-tester-230v-ac/45558

 

Good choice. The Martindale CP501 is also a good basic tester.

41 minutes ago, MacDaddy said:

 

 

 

This is “Desolate Shore” with Clam on bass…..

Yes, on my Jazz in those gauges. (Tension feels the same as 45-105 roundwounds)

I really like them for the mellower stuff I mostly play nowadays.

On 06/01/2023 at 09:44, Huge Hands said:

I really wanted to get involved in this conversation as I was born and raised just 5 miles south of Newcastle and spent most of my weekends wandering the town but have just realised I haven't lived there permanently for around 28 years!

 

I have plenty of nostalgia for the area and images of the Tyne bridge still stir huge patriotic and homesick vibes in me, but have no recent knowledge other than what my family briefly tell me.

 

I used to go up there regularly but poor health has kept me away - I am hoping to take a trip up there around Easter as my parents are getting much more frail.

 

Of course I would recommend it.  I would just say to Blue that the Geordie accent can be very strong and sometimes sound like a completely foreign language if you're not used to it!     

 

If you get the chance, try Greggs' stottie cake (bread) while you are there.  It is a revelation and not sure why Greggs never took it across the UK when they expanded.

I grew up in South Durham and went to uni in Newcastle. I remember being on the bus once in town and I heard some old people speaking what I thought was German. It turned out to be English, but the thickest Geordie accent imaginable.

I had a great time there. A lovely city.