warwickhunt

14 minutes ago, wateroftyne said:

I can kinda take credit for this colour…

 

I wanted something that looked a little like aged LPB, with the effect of nicotine etc., so Adrian had a look around and suggested this. It’s bluey-green. Turquoise.

Yep my old bass.

I have (paper) diaries from 30 years ago and until recently I've been playing some of the same pubs now that I was then (different managers)... for the same £250 fee!  

A few ago we started cutting out the venues we least liked and started only playing those prepared to up the fee to £300.  Some gigs we lost but on the flip side we did pick up sufficient £300 gigs to balance it.  We'll still do late afternoon gigs for £250 as we can still enjoy our evenings or on occasion fit in an evening gig as well.  BTW these are 'normal' pub gigs; 2 x 45 sets, starting at 21:00, using our PA and small lights.  Anything requiring extra PA or really long timescales we price accordingly.  NYE would typically not be a pub gig and we'd want double money as a minimum but possibly triple.

I'd have liked to have tried this (nostalgia as I had the same one back in the 90's) but I'm MILES away from you.    

GLWTS

Sadly with shipping and taxes added this great amp would actually be cheaper in the UK to buy new through Thomann.   

Hopefully European BCers can take advantage.

If you are talking 'used' I don't think you can better these.  Added advantage of the tall, thin vertical arrangement.  Easy to carry through doorways as well.

1 hour ago, casapete said:

This is exactly how I feel about using IEMs. The rest of my band shifted over to them, so onstage it’s just me

( with my wedge monitor) who hears everything going on in the room. They tried setting up an ambient mike

to feed into their IE’s but gave it up after a while. I can’t do with the ‘immediate’ sound either and dislike the way

onstage communication has been reduced to lip reading! I appreciate it’s a bit of the ‘old dog new tricks’

thing, but I’ve lost count of the time we’ve spent at soundchecks when there have been IEM problems to

sort ( interference, channels changing etc). My old db technologies active 350w wedge will probably see

me out. 😆

re communication with the band live.  If you have one person who needs to stage direct/call songs etc, you can get a talkback pedal which in effect when pressed gives a signal direct to the desk outs 'except' for FOH which is muted.  Only downside is if you don't want the audience to hear, you'd need to mute this going to any live monitors (easily done).

Other end of the country otherwise at £275 I'd have been tempted.   

46 minutes ago, Chienmortbb said:

Are you sure this has not been photoshopped?

No.  It is a genuine pic taken from a local FB this morning and the engineer was displaying his rig in use which was for hire... sadly I'd not hire him based on that configuration alone!   

Just now, Downunderwonder said:

Comb filtering hell out front unless it's GF.Dead style separate stacks for instruments. As the subs are 3 and the the tops 2 per side I am calling nay, a thousand times nay!

Indeed.  

In fact there are 4 subs on the far side of the pic.  I'm guessing the 11,000 watt figure is calculated from 1000w per unit; 7 bins + 4 tops.  

The room that this image is taken in, is probably no deeper than it is wide in this pic (I've played it), so the various mistakes made with speaker placement will be compounded. 

I have to confess I wasn't at this gig, so I can't comment on sound quality but my head just says 'no'.

15 minutes ago, Woodinblack said:

Those speakers do look handy to hide behind though

A full line across the front of the stage would be handy for the introverted musician!

I saw a post on a local FB music group where a sound engineer was bigging up his PA hire and touting for work.  11,000 watts in an Arts Centre which I'm familiar with and I've played it with a decent pair of tops... so I decided to have a look at pics.  

I'm aware that the equipment design might limit placement but IMHO less might have been more in this instance.    

I had the QSC set 'flat' via the presets and the sound out of the desk was EQd to sound good with the RCF, which I had been using.  My outboard EQ via the Fishman and the Sansamp was set pretty much flat with the Fishman HPF taking out the lows and the Sansamp giving a smidgen of drive.  I also checked the Aux EQ and we had that set for my previous amp and cab set up, which had the lows rolling off from 100hz down over.  

I maybe could tweak the RCF further but then what would I have GAS for next?    

I did an A/B comparison with my RCF310 and the QSC K10 (first series) at a couple of gigs this weekend.  Stand mounted at the side of the stage, angled across/back.  

Volume - no discernible difference at all, at regular volume with both monitors turned to 100% (volume set via Aux Send).  I'm sure if I needed to increase the volume, the QSC would better the RCF BUT at regular volume no benefit having 1000w over 350w.  

Tone - 'subjective' with the vocals, guitar and bass mixed and coming through, I thought the QSC was less harsh and I could detect nuances in the sound better.  The RCF was 'fine' but seemed to pierce on higher frequencies.  We did experiment playing program music through them and we all agreed the QSC was the winner though the RCF was absolutely adequate.  The QSC was more balanced and I'll use the term 'sweeter'.  

I was always able to tell which monitor was in use, which was/is the deciding factor for going for the QSCs.

Note - I had someone swap the lead every couple of songs and I repositioned the monitors for the second sets (swapping stands), so that 'if' I was off axis it was relevant for both. 

I agree with all of the above.  Only (slight) negative is the input sensitivity pot which is on the side; it would be nice to just have it as a standard dial on top as I swap between instruments with very different sensitivities.  

2 minutes ago, TimR said:

I wouldn't normally be putting drums or guitar or anything else other than vocals through the monitors on a self operated PA.

 

The exception being on a very large stage some guitar if I'm a long way from the guitar amp. But even then that gives the vocalist problems.

 

I think getting a stand alone 'stereo' EQ for the monitors is a wise idea. You then just put one chanel through each side.

I think that just depends on each band's situation.  I've played for a lot of years where the kick, snare and guitar were put through the PA/FOH to give a bit of spread and were never needed back through monitors.  However, with the growing trend for bands to go to silent stage/no backline, bass, keys and guitar 'have' to go through the PA and back through the monitors in order to be heard by each other.  

30 minutes ago, Bill Fitzmaurice said:

You don't need anything below 100-125Hz as you'll hear that from the mains, and if you put it in the monitors it will make everything muddy. I run the same mix as out front, as I'm mixing from the stage and want to hear in the monitors what the audience hears. I run just loud enough so everyone can hear everyone else.

What @Bill Fitzmaurice said except in 'my' monitor (I supply my own unless I know what to expect); in my monitor I want the FOH mix + a bit more of me (bass and vocals).  

I would expect the mix to be good enough quality that I'd differentiate the mix even through my attenuated ear plugs.

Playing bass for 44 years (I'm 60) and I played to my biggest crowd of approx 1200 people this year and to top that I'm involved in negotiations to play bass with a big name next year at an even bigger gig!  You're never too old... unless you think you are!   

2 minutes ago, Al Krow said:

Cheers for that. 

 

#2 I'm actually thinking of working with a line up with electronic drums and guitarist losing his amp and going straight into the desk via a decent pedal board / multifx set up (Russ is going to be amused to hear me say that!) Probably means getting a new drummer and guitarist in the process, but they do say change is as good as a rest 😅

Our guitarist hasn't used backline in almost 10 years.  Initially he used a monitor (as did I, to hear him), then he went IE, hence trying to convince me.  Drummer used headphones to hear us when we experimented with my IE but he much prefers me putting a monitor on a stand and firing it diagonally back/sideways to the stage.  

8 minutes ago, Al Krow said:

 

Was interested to understand what led you to giving up on the IEM route / why they didn't work for you? This is the path I'm looking to encourage our band to go down - and if there are issues or problems that you found couldn't be solved be good to hear in case it's the same for a couple of them too.

First off I'll just warn of my initial absolute chew on getting a clean, undistorted 'bass' tone through my IE.  I tried Linsoul KZ10 from Behringer P2 wired to Aux out, KZ's into Rolls PM381 wired to Aux, KZ's via wireless to Aux out, I tried Hifi headphones via all routes which established it was a desk / output issue!  I'm under the impression there was some guitar set-up/architecture under the channel I was input to... just a heads up for that. 

As to why I didn't get on with IE themselves.  Several things, each of equal importance.  

1. I could never get comfortable with the fit of the 3 types I tried (KZ's + the guitarists 2 sets) and they always felt like a vigorous movement of my head would have them out.  I did try various size and material of bud but all 3 sets felt like they weren't far enough in my ear.  

2. The IE never inserted sufficiently to get good isolation, hence I had a lot of drum bleed which necessitated me tweaking/increasing the IE volume... which never felt right.  

To both of the above I could have gone custom moulded IEM but the cost given #3 didn't seem worth the risk.

3. With IE seated at their best and me not moving my head (difficult as I also sing), I could get them to work OK but I felt isolated from the whole playing experience!  Obviously I've had 44 years of playing bass live and the whole sound stage (inc audience) is around you, the IE took away that spatial sound... I suppose a bit like sitting in a room listening to something you get the reflections and room acoustics but with headphones on it is very 'immediate'!  

Plenty of people have no issue with #3 but it was plain odd for me.

If the man says it 'belonged' to him, then there you have it... me, I'd not trust him to tell me it was Friday... on a Friday!

Fair does that the item is pulled by the seller but with that response I'd be inclined to even doubt the COA!    

Hold the page...

Penny just dropped that the guy involved in this is Pete Barton, I'd not trust him as far as I could throw him (and yes I know I've put it here in black and white).  I made a purchase on ebay a couple of years ago from him (TKS cab) and he tried to pull a stunt on me; long/short paypal refunded me but he was an absolute con man.  In fact my tale of woe may well be documented on BC and I believe at the time, he registered on here.  I'd need to check but I seem to recall several people contacted me re. him and he apparently left a few people with a sour taste and he was a d*ck (their words).  

28 minutes ago, Downunderwonder said:

Ahem!!!

It literally is 1 acoustic guitar + 2 vocals at 'low' volume @Downunderwonder, we never play noisy or large venues... think café/lounge volumes.  In fact I've been known to take along just my Ashdown Acoustic Radiator (60w 1x8 combo with 2 channels); the regular set up is a 4 channel A&H desk into one RCF310 and volume barely ticking over.  

I think the limitations are more re the RCF than the @jrixn1 QSC but agree it makes sense to not put anything too low through either.  I have a Fishman Plat Pro in my signal chain (bass and acoustic) which has a HPF set at 45 or 60.  I set it and leave it so unsure as to what it is set to but it is just enough that it doesn't affect FOH sound but eliminates wasted energy in the monitor.

1 hour ago, Owen said:

I guess if the FOH is doing it's thing then the LF will be happening anyway. And if you are mixing monitors on your phone then there will be access to some serious EQ options. Therefore you can let the FOH do the heavy lifting, cut the LF in your wedge and save your back. I do really like my QSC K10.2 but I cannot imagine there will be a night and day difference between the RCF and the QSC. I will be interested to know. The QSC does have some useful on board processing. 

QSC 10 / RCF 310 - main difference should be headroom but the 10" driver is the limiting factor.  

K10 / K10.2 - this is where I'm on the horns of a dilemma (atm) as I have access to the K10 (series 1) but it is an unknown if the 10.2 is worth the extra outlay (used).  Gut says 'no' as I'm never going to test the extra power the .2 has, as it will never be doing heavy lifting (my monitor or acoustic duo PA) and I don't imagine there is masses of difference in sound.  On board processing would be nice but when I'm using it with a digital desk I can do everything pre monitor and when used with the duo, we have basic needs and a neat little A&H mixer.  

Moving up to a 12" RCF or QSC is starting to make less sense for my needs.

Good to hear this first hand experiences; 44 of my 45 years of gigging experience has been cabs and amps and I know what I like and what worked for me with those... I'm now just looking at simplifying/lightening the load in my 60's BUT I don't want a massive compromise (sadly IEM was a step too far but that is not the point of discussion). 

My present RCF310 is performing fine but I suppose I'm just feeling about to see if it can be improved upon for not a lot of extra outlay.  I've got the loan of a QSC K10 (with the view to buying the pair for £800), so I have the opportunity to 'potentially' A/B the RCF/QSC on Saturday but I'll need to be sure I'm not messing everything up for the band/sound-guy.  Shouldn't be an issue but I need to make fair comparisons.  

16 minutes ago, Woodinblack said:

The last paragraph is very specific - "For the last 10 years I have used A waterstone bass live every night on the number one hit START"

 

I saw from the jam in 2015, I took photos, sure enough he is playing a waterstone semi acoustic bass on start - its white.

Yep, that was my thinking.  Obviously he got 'this' bass from Waterstone or their distributor but the wording doesn't say that he ever played 'this bass' live.  I also have recollections of him playing a white one when I've seen him with From The Jam.