Woodwind

Cheers Clarky. Considering that's being purchased from a shop that doesn't sound too bad.

That's great. I love the look of the one pick-up Wals. I missed the posting before it went in hold. what was it priced at?

just did a quick quote - 49quid for solo performer. I would want to know that would extend for PLI cover for workshops in addition to gigs so will drop them a line. Thanks for the heads-up! I will definitely put your referral in if I insure with them

Understood and I agree. I'm looking at arranging more of my own shows and use less conventional venues. I have looked at one off cover for these before and may go that route again. I'm not allowed to join the MU again (according to correspondence from them 12 years ago) 🤣 so although they would be a natural choice, I may have to explore other avenues

Can you do without a windows machine? Well that depends, but I have never owned a windows machine and have been using Macs as a primary computing system, professionally and domestically for 25 years. A Mac Mini is a very different beast to an Ipad, don't be put off running OS12 by the frustrating experience of iOS (I hate ios and don't use any devices that run it).

Quite a few venues I'm being booked for now ask for performers to have their own 3rd party cover. I am a little taken aback by this frankly, but can see this situation only becoming more common. In this setting I can imagine an audience member tripping over something etc In terms of the workshops and mentoring I do, again it's quite often specified on the contract that I have "relevant 3rd party insurance". Again I can only assume this is to cover physical harm to attendees related to my equipment etc. Despite all risk assessments being made (I always do these whether a venue asks for them or not and have them archived on a page on my website) I know freak accidents can occur. More pressingly I don't want to be refused payment for not having insurance.

I know the topic of insurance crops up every so often, so I thought I'd start a new thread for updated info'. I'm looking to obtain third party insurance for my performances and workshops I run. What insurance companies is anyone on here using for their groups etc and what is covered in the policy? Many thanks for pointers and help,

for the moment don't worry about numbers on a dial, but how loud are the two cabs sounding when the clip light engages? The thought of two big babys running when an amp is clipping terrifies me volume wise. Is the sound distorted or cracking? Have you got a lot of bass boost going on in the eq of your helix? It might be that with whatever eq you are running you have hit the maximum of what that power amp can deliver. If you just run one speaker cab with the amp settings in the same place how much of a volume reduction is there?

I'm a bit of a phil jones fanboi to be honest. I love the sound and aesthetic. I discovered them while I was still playing the double bass and have stayed with them for amplifying my woodwind instruments. If I had the money I'd already be using a third double4 for this sort of playing environment and I really like your idea of using a C4 as a sub!

I think I'll try at a rehearsal space just using a powered PA cab on the sub output. As I said to Bill above the effect is noticeable even on monitors. However I could well believe a domestic sub won't be worth experimenting with, so thank you for that pointer. Normally I play in venues with PA systems where the moments when the sub pedal comes in are glorious, but this run of shows are very much in a chamber music vein. I'd like to retain the musical aspect of the octave down coming in, but I could probably lose the "air sucked out of the room" that proper sub array delivers. Cheers Thomas

Thanks Bill. I only use my Hulk pedal at specific points in the music. The effect is noticeable even on my monitor speakers and I would like to recreate this if possible live, but yes it won't be the same as a full on PA supported performance.

Wow!!!!

I've said it before and I'll say it again, I absolutely love this bass!!!

One for PA owners I guess or those that work in sound etc I have quite specific amplification needs for my upcoming shows. They'll be electroacoustic, in-the-round performances in reasonably intimate spaces (20-70 capacity). Speakers set up spatially rather than backline. I have my acoustic instrument and a Phil Jones double4 for my effects, another Double4 for tonal samples and another amp for drum samples. I have a dedicated sub signal from my Mantic Hulk that when in conventional stage/audience PA based spaces has it's own channel in the mixer. However there is no PA for my new, quieter shows so I'll need a small sub. I'm looking at powered speakers. As these are quiet shows it's entirely possible a regular powered PA speaker would be enough for these extra lows when they occur, but I thought I'd ask here if anyone has experience with small Subs. I'm looking at borrowing a domestic HI-Fi sub to see if it's powerful enough, otherwise I'd be hiring something. It needs to be small for transport purposes. Thanks in advance for any pointers.

A few weeks in how are you finding Logic on the Air?

I hate modern lead free solder and whether it is fluxcore or plain I tend to use some Bakers No.3 Fluid Flux on the surfaces to be joined. you can mask off areas using tipex and get some really neat solder joints.

I can't wait to make one of these!

wow!! I absolutely love the look of this cab. Absolutely impractical for any musical context I'm in though.

Are you looking to try and sell it? The crack on the soundpost side is going to be a bit of a job to fix, but standard practice for a decent double bass luthier. My worry is the discoloration around it. Has a DIY fix been attempted at some point? That might cause more problems than the crack itself. My guess is a late 19th century German workshop bass, but not a blockless wonder. Get it to a luthier for appraisal and a quote on getting it in tip-top playing condition

By the lack of any hearing protection on anyone in the video my guess is it was underwhelmingly quiet. Spitfire has and works with some pretty serious engineers and there is no way any of them would be damaging their ears. They probably cranked it just enough to excite the resonance and reverb in that amazing sounding hall and got some good spatial recordings for the sample pack.

I would imagine any of the Bjork live Blu-rays would be well worth investigating with the obvious caveat you'd need to enjoy her music. (I say imagine as I haven't done so myself, but this thread makes me want to investigate myself)

I've been following them in Instagram for a while. I wouldn't be rushing to buy one based on my current musical contexts, but I am very pleased they exist. The fewer Fender clones in the world the better as far as I'm concerned. I hope Robin does well.

I'm quite intrigued by how many players of passive instruments have the tone on full. When I played a passive jazz the tone was mostly under half and it was similar on my aluminium neck kramer with passive humbucker. In both thos cases I would use new strings regularly, but found opening up the tone beyond half seemed to bring up an unpleasant midrange. YMMV of course

Fretless stingray 4, 3 band eq. currently set at: Treble down a third. Mids boosted a tiny amount and bass adjusted + or - a tiny bit based on the resonance of the room.

How does the pricing in Pond5 work? You set your price presumably? Is this regarded as royalty free music, so you exempt yourself from PRS and PPL earnings once the track is in use? 13quid seems very, very cheap for a track. I hadn't heard of Pond5 before so had a quick browse around the site. As a place to sell SFX it seems quite interesting.