TimR

@Boodang yes. I mean expensive OR complicated. ie if you try and do it cheap it'll be complicated. I'm guessing by the time you've bought an XR and an iPad you're well into a £1000+, then there's the IEMs for each member of the band. Everyone will need them if there are no monitors. So that's 5 sets. Compare this to an analogue mixer and 2 powered monitors and you're not going to get anywhere near £1000. Then it gets complicated taking thrus to additional mixers.

I've got a bass in the loft. Only because I'd hate to chuck it in the skip. When I'm famous it'll be worth millions.

Sewms to be Barbara Dickson first call bassist. Fretless and other on Albums: Words Unspoken To Each and Everyone My Own Line Time is Going Faster My Own Adventure.

It's made of plywood and sat in a loft for 50 years? I'd be surprised any of it was flat.

Moving head lights for a pub band aren't the kind of moving heads you have in a theatre.

I would sort that out first. Keys through a backline amp. Then you will be able to lose the keys in the vocal monitor and the keys will hear themselves better.

What is the Keys using for monitoring? Does the monitor have keys and vocals in it or does keys have a combo amp?

If everyone wants their own personal sub mix that's going to either be expensive or complicated. The XR-12 and 18 will allow you to have several sub mixes. Fairly expensive, especially if you have to factor in a tablet. Else if your mixer has thru I/O (unlikely for a 4 chanel mixer) then each person will need their own mixer and a bunch of leads. Most bands have a mixer with 2 Aux outs and live with 2 slightly different mixes out to headphone amplifiers or monitor speakers. We just have one monitor 'mix' with vocals only (sometimes a touch of guitar) driving 2 powered speakers in series. Sounds to me like you just need more monitors but turn everything down. Which seems to be the main cause of all issues on this forum when it comes to stage volume and hearing yourself.

I don't think it does.

You can't take a single mixed signal and then de-mix it.

Just buy more monitors and connect them into the current monitor chain. Depending on whether its a passive or active monitor, and what connections it has will depend exactly how you do that.

Drummer sells his mixer and buys a new one. World peace is restored.

Wonder if it's playable. 50 years in a loft, going to need a bit of truss rod love.

Isn't the Bass of Doom Jaco's bass held in trust by Trullio?

I'll stick to using my finger. 🤣 At the end of the day it's 4 LED PAR lamps.

Currently playing with Barbara Dickson. https://www.barbaradickson.net/my-own-adventure She's currently on a farewell tour but seems the bass parts on the Album were recorded in France and I can't find out who is in her live band.

Yes. Was considering just limiting the travel to a 220 ish degree arc so the band and dance floor don't get the beam.

I have a couple of moving heads. Not used them in anger yet, but played with them via the Obey. Again fiddly to get your head around the programming especially as the positioning is done by fader rather than joystick and but does the job.

6 chases is fine. You also have scenes so can have the whole stage set as a single colour during set up and breaks. You can vary the speed with the tap button, there's probably a midi switch that you could program to do that. Would need looking at the manual. As you can have colours other than the 7 basic ones you get from automatic mode you can program a load of scenes with custom colours. So already that's an improvement. If you want to have different colours for each song, then you'll need more chases but I don't think anyone will notice. And it's a lot of programming and a lot of selecting and matching scenes with songs.

iPad DMX solution is expensive for a few par cans. Software that does what you want is a few hundred quid. I have a Chauvet Obey 40. Just program a bunch of chases in and select a different chase for each track. Programming is a bit fiddly at first but with a bit of work it's a reasonable solution.

I think my SR400 is in need of some serious attention. It's 20+ years old. So I got to thinking £400 over 20 years is less than 40p a week! Maybe a new bass rather than swapping out the jack and preamp and probably the frets are worn as well. I haven't tried either of the SR600E or the Premium. The Premium is double the price but maybe the SR600E with swapped out Gotoh machineheads (The ibanez ones get a bad press amd I've broken 2!) would suit my needs. Anyone experience of either or both?

I was going to be in a signed band at one point. Unfortunately it transpired that the A&R mam was just interesting in grooming the 17 year old singer. Who told him in no uncertain terms that he wasn't into men. Well, that and I got thrown out of the band because I wouldn't grow my hair long because my day job required me to look smart. 🤣 My dad was semi-pro and out playing every weekend and he told me to get proper job and play music as a paid hobby. He was right.

It's a nice idea. But ultimately you still need to ask people before you book in case they or their significant other hasn't put something in their diary. We have 2 WhatsApp groups. One for general chatter and one for gigs. Organise gigs and tunes etc in the general chatter and transfer to the gig chat when confirmed. One person regularly asks for dates people are busy and gets all the gigs. This doesn't Delete conversations in the gig group regularly.

Sometimes we also need a reality check. A 4 piece covers band playing a local pub...