mike257

Lovely stuff! Plenty of nice new Yammies. I've mostly been tour managing and guitar wrangling recently, but I did get to give a dLive a little run out in the real world at last before Christmas and it's a VERY impressive piece of kit.

My mate Ali bought a keytar. He seems quite pleased with it.... https://youtu.be/ulDZdUzn7EY

I wasn't blaming the sound guy. I am the sound guy!

This is about right though, because, unless I hear something that obviously and immediately requires some remedial tweaking, I want to quickly flash through all inputs to make sure I've got a good clean signal I can work with, then hear things in context with the band playing together before I make any serious sonic decisions and start to tweak. No use me arsing about with things in isolation if it isn't going to sit in the mix right when the rest of the band start.

It's really never going to be the kit. It's all in the players own technique and touch, how hard/soft they play, the angle they attack from - spent two weeks teching for a great session player who stood in on a tour I was looking after, I knew the lines as well as he did having worked with the band for ages, but when I line checked his bass, I sounded almost exactly like I sound playing through my own kit. He sounded completely different. I was lucky enough to work for Victor Wooten for a couple of shows. I can 100% confirm that having his actual bass in your hands and pedals at your feet in no way makes you sound or play anything like him 🤣

Better?

I have it on authority from mutual acquaintances that this was a fully unprovoked attack, and that the singer gave the offender a well deserved pasting.

Although the inputs have an instrument level, the outputs will be at line level, so a lot hotter than the front end of a bass amp is expecting to see - I'd bear that in mind when you're hooking it all up.

As much as the first three records are still my go-to more often than not, I think (especially if you dig in to albums/b-sides/live shows, rather than just the singles) they're one of the few bands that have managed to nail down a more broadly appealing songwriting approach whilst keeping a lot of what made them exciting in their early days. It's still full of musically clever bits, unusual time signatures squeezed in to the context of a catchy song, and little bits of weirdness amongst the more polished sound. They're still absurdly great live too. Albums 2 and 3 are probably my faves, but there's gold on every record.

At the bare minimum, I'd be looking at Sennheiser G3. You should be looking at a Channel 38 (Sennheiser GB band, 606-648) unit, although these come with the obligation to buy an annual license from OFCOM for about £75/year. If you have a tour manager or FOH engineer who is advancing the show (and for a show of that scale, someone should be advancing it properly - happy to chat about this if it's not something you're familiar with) you can ask them to put your wireless requirements in to the production rider and see if it can be supplied by the visiting production company. If you are carrying your own, include details of it in your production advance so that the person from the sound company doing the RF co-ordination can include it in their frequency plan.

I'll take this please - the one in my guitar tech workbox just packed in and I need to replace it before next weekend's gigs! Drop me some payment info and I'll fire it over. Cheers!

I don't think I particularly looked like one, but the smoke machine definitely helped!

Got a three pack of these for an absurd £54 a couple of years ago on Amazon. Normal price is about double that but still a good deal for what you get. Definitely punch above their weight for cheap mics. I find they work well on brass too.

No, I'm saying that it's an overly simplistic reduction of a complex set of factors, some within your control, some that aren't. I'm certainly not disputing that there's people out there who are putting together overly kick-heavy mixes, but that big waffling post was me trying to give an insight into why getting a great mix, even in a prestigious venue with a quality sound system brought in, is not as straightforward as people might assume.