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warwickhunt

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Posts posted by warwickhunt

  1. We tend to set up with FOH PA cabs slightly 'toe-in' to spread the sound to audience but not so far that they bleed onto the band area/vocal mics.

     

    Toe-in so that sound is also less reflected off side walls and beamed more at the audience... if that makes sense.

     

    • Like 2
  2. I don't actually use the loop out as I don't want the parallel 'spur' coming back into the Tonebone.  It goes from the tuner out, to the other pedals and from the out of the last pedal to a separate input on the amp (as opposed to summed back into the Tonebone).  No earthing issues when I did try the loop however.  

    • Thanks 1
  3. image.thumb.png.408b78724d9b6201f2749bdce89b1efb.png

     

    Looks chaotic but I'm trialling ideas with pedals in my arsenal.  I'm wanting to get an early Cheap Trick/Tom Petersson tone, which was achieved with valve guitar amp set ups.  I'm also trying to introduce the illusion of 12 string bass but that is secondary. 

     

    Tonebone (splitter) / Fishman Platinum Pro (HPF/tuner) / TC Bright Spark (Drive) / TC Plethora X5 (effects) > Tech Soundsystems Blackcat amp. 

     

    I'm using the Tonebone to send the output straight to the front input of the ampamp, whilst taking a parallel out (from the Tonebone tuner out) to the Fishman and effects.  The Fishman has a HPF which I have maxxed out so that this parallel signal has as little bottom end as possible; I have the option to EQ this signal but not found it necessary yet.  The signal then goes to either the Plethora (for Chorus+Octave or Flanger and the option of the Spectracomp Compression) first and then the Bright Spark or vice versa... unsure if I have a preference for which first/last.  The output from here goes to the rear of the amp where there is an attenuated input which I can decide how much of this affected signal is bled in.  The good thing is the the effected signal volume/blend can be adjusted from the Fishman and/or the adjustment on the amp rear and it is not affected by increases in preamp gain or output gain.  Turning up the input gain gets me more of the 'clean' signal without adding the effected chain.  

    • Like 8
  4. I deconstructed a leather sofa (destined for the tip on FB Marketplace), I drew out a 'net' of what I needed and my (clever) wife stitched me a slip cover for my cab.  Looks superb and very hardwearing.  I did consider offering up a service to BCers to make bespoke covers all made from recycled/upcycled materials such as leather but tbh the hours that go into sourcing, deconstructing, constructing... not even accounting for the time it would take to liaise with buyers to get the correct sizes, makes cost prohibitive.  

    • Like 1
  5. 14 minutes ago, javi_bassist said:

    Last weekend I played with IEM in a very small club. My signal chain was:
    Bass-->Pedalboard-->Rolls PM351-->Sennheiser XSW. The thing is that my in ears don't isolate that much which hadn't bothered me until last Saturday. I put foam plugs already and I have tried a lot. Do you guys have any tips to improve isolation? The in ears are Sennheiser IE100 in case it helps.

     

    It could well be that the only answer is custom molded plugs.  I had the KZ10, used and liked by many (as the budget option) and I could NOT get used to the fit/isolation, including trying many of the recommended buds/plugs.  I moved to Sennheiser IE100 (your IE) and they were a perfect fit with great isolation, even using the silicone buds that came with it, I had excellent isolation.  I even tried swapping the IE100 silicone buds onto the KZ10 and they were no good (perfect on the Sennheiser).  

     

    In short, the shape and ergonomics of 'some' IE will not fit with some people and it could take lot of experimentation to find the right ones, unless you go custom.  I was lucky that the 2nd pair I tried fit my ear canal shape great.  :/

    • Like 1
  6. 39 minutes ago, Pirellithecat said:

    My (limited) experience with Sound Engineers is that they "want" a pre EQ DI feed so that what you do by way of changing settings on the amp during the set doesn't affect their settings on the mixer.   So generally they prefer a straight DI from your bass.   This is beneficial in some ways as it leaves you more freedom to adjust your amp to get the stage sound you want should the need arise.  So that's a very simple arrangement and if its a passive DI needs no power supply etc and can be relatively inexpensive (check out Behringer).  The DI box matches the output impedence to that required by the mixer so it's not quite the same as just plugging your bass into the mixer. 
    Another option is the Behringer BDI21 which is an pre-amp/DI - one went on here for £20 recently.  Good Luck!!

     

    I agree this is what many in-house engineers would like and not an issue for a lot of folk... only problem is when the sound you are trying to create is integral to the band's overall sound. 

     

    I play in a band where my bass/amp sound needs to try and replicate a particular tone (12 string sounding with a bit of drive on the top end).  I specifically split my signal with the 'dry' signal going to the front end of my amp (to give a nice big bass tone), with the split signal going to a HPF > drive pedal > chorus/octave > to the rear attenuated input on my amp; I then blend in the effected signal to suit.  This can then be easily sent premixed from my amps DI to a PA desk.  Except when you get an engineer who is trying to insist he wants the DI before any of that stuff so that he can get a nice clean signal and get a traditional bass tone FOH.  No thanks mate you've missed the point!   

    • Like 3
  7. 37 minutes ago, SH73 said:

    What if it comes with a nice 7 figure bonus?

     

    Those ships sailed a long time ago!  

     

    More chance of a 7 figure advance that requires payback within 5 years at 5% interest!   LOL

    • Like 1
    • Haha 2
  8. 3 minutes ago, Doctor J said:

    Lovely. Why would someone put a bit of card under a just-a-nut, though?

     

    You occasionally get one where the nut is so low that you end up with the string adjuster nuts virtually popping out of their respective seats; a shim (no idea why they used card, that is ridiculous) can get you a couple of mm so that the screws are at least threaded in and secure.

     

    Which does raise the question why random Warwick basses are higher/lower than others!  LOL

  9. Nice one!  

     

    I've said it on many occasions that I've had and sold Pro I instruments (inc first year of issue and Custom Shop) whilst still retaining my Pro II bass... it just feels and plays better!  

  10. 3 minutes ago, Phil Starr said:

    If turning off the vocal mic cures the feedback problem then that’s what is giving you the problem. Unsurprisingly as his voice is a lot quieter than the drums so that mic will have more gain. 
     

    If you have a digital desk then you should apply a gate to his vocal mic. It switches the mic off when he isn’t using it. Find out what pattern of mic he is using. If it’s a cardioid like the SM57 then the dead spot for the mic is at the back end which should be pointed at the monitor. If it’s a super cardioid then the dead spot is at the side. Your drummer needs to get as close to the mic as possible to get his volume up so the gain can be reduced ie he needs to ‘eat the mic’.

     

     

    Could he use one of those sensor optogate type devices that turns off the mic unless he is in range of the sensor?  

  11. Just now, ToLo said:

    Yes. I have massively overthought this 😅

    thank you

     

    The only thing you can't achieve is 2 sounds, one of which is solely the Sansamp, which you can only do by having the pedal into the return of the effects loop, thereby bypassing the amps preamp.  

  12. I might be missing something but you could be over thinking it. 

     

    If you go bass into the Sansamp and then out to your amp, you have two sounds available; Sansamp off and you have your amp tone, Sansamp on and you have Sansamp + bass amp

     

    Alternatively plug your bass into your amp, put the preamp into your amp effects loop and you have 2 sounds.

     

    Either of these options give you the same outcome that you were trying to achieve in your OP... yes/no? 

  13. 3 minutes ago, RAY AGAINST THE MACHINE said:

    I've just been thinking about when I first saw them . It was in 2001 . They did a show a night playing each album in order. ( Monday , 1st album , Tuesday 2nd album etc)  . I cannot remember if the last time I saw them was at the Shepherd's Bush empire, or Royal Albert Hall. That was from approx 2022 onwards . 
    The only song that seemed to be a bit 'moody', was when Tom Peterson sung on one song . It'll probably work for you if you do it .

    Anyway, good luck with it . 
     

    On a slight relevant tangent , one of my mates from that bunch found slayer too much . However  after begging/ persuading him to see them , he saw them twice and thinks they're a great live band . 🙂

     

    Yes, that's the one song that I do lead vocal.  :)  They actually have a lot of 'dark' brooding material, which is the stuff I love! 

    • Like 1
  14. Just now, RAY AGAINST THE MACHINE said:

    Not a fan of cheap trick on record . However, I went to see them at the Islington academy ( iirc) in the '90s as my mates are big fans of theirs . I ended up seeing them on a few more occasions . Great live band . 

     

    Still going today; 50 years with 1 non original member (Daxx a son of a band member)... not bad considering.  I was never the greatest fan in the late 80's-90's but I had to do the tribute thing as a fan.  ;)  

    • Like 1
  15. I've been trying to get the idea of a tribute to Cheap Trick off the ground for years (who?).  Absolutely it is a niche market but Cheap Trick have been MY band for almost 46 years and I had to create this tribute as they were never going to call me!  Long story short (it started 12 years ago LOL), I finalised the line up of CHEAT TRICK this year with 3 other guys who were massive CT fans... and it fell apart again within 2 months due to issues with the guitarist.  In stepped the guitarist from my other covers band who is a technically brilliant player and he got us off the ground, mainly due to the fact he could write out and read the main song structures and was ready for a debut gig in 4 weeks.  Sadly he wasn't a fan of the band we were trying to recreate and after a year of waiting for him to actually cop the style of Rick Nielsen, we had to let him go as he just couldn't understand that a tribute should at least be playing in a similar style (he's more Paul Gilbert/Steve Vai), a 1000 notes a minute isn't Cheap Trick!  

     

    This week, we organised to audition a guy who we knew to be a Cheap Trick fan... BOOM!  He walked into the studio and proceeded to run through 30 songs with us, emulating Rick Nielsen's style and chord/note choice to a 'T'.  Not only that but songs we hadn't even asked him to look at, that he'd never tried to play, were handled like he wrote them.  

     

    I have to say that I left the studio space with a grin a mile wide and buzzing to be chasing gigs this year to get out and about.  

     

    Has anyone else had that Eureka moment or conversely that dread that someone in the band just wasn't the right person and you can't progress? 

    • Like 28
  16. 8 minutes ago, Bill Fitzmaurice said:

    Ask them what the speed of sound is. Every acoustical engineer, pro or amateur, knows that number as well as they know their own name, as it's the prime factor in calculating wavelengths. If they don't know that number and don't know what the importance of wavelengths is they don't get to offer an opinion. They may have one, but they should keep it to themselves.

     

     

     

    Indeed but it is essentially 3 other musicians who are preprogramed to think that the only place for bass bins is in 'that' wrong place!  :/  

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