Jack

Admittedly a sample size of only 1. But then, they've been useless 100% of the time we've needed them. Statistics, eh?

It took me a few goes to realise you meant a couple (of bands) and not a (romantic) couple.

My wife has just moved from sumup to square after 3 years with sumup. When there's a problem (hardware in her case) they just don't want to know.

Now discontinued.

Phil brings up two or three times that, if one does get a digital mixer, it can be beneficial in many ways even if you don't use a lot of the more advanced features. However, IME it actually starts you down a path to using them. Yes, a digital mixer has a lot of channels usually, yes it can instantly recall settings, yes it's easy to meter and monitor. My hard rock band quickly outgrew the ancient desk, Maplin power amps and passive 1x15" tops we'd used for the first six months or so. We agreed to buy an active Alto system of tops and subs and whilst the band plan was just to keep the analogue Soundcraft desk I took it upon myself to treat us to the then-pretty-new Behringer XR18. What we found is that, because of all of the features that could really be used to tighten the sound up, we started putting more and more through the PA. It helped that we were already bringing a more capable speaker system too, which meant that the guitarists could bring smaller amps, but even just in terms of the mixer the eq, highpassing, dynamics processing and in built effects meant that over about 3 or 4 years we just started putting everything through and we slowly became an 'everything through the pa' band. Because we could do more monitor mixes it meant that the drummer could finally hear what was really going on, so they played better. We finally had enough channels for us all to sing backing vocals. We can multi track record to a laptop and listen back to the gig after the fact, allowing us to work on both our sound and our performance. I wired in a music player permanently so that the second the set is over the drummer just leans over and instantly the break music comes on. That makes us look super slick. When we ask "what's the best bass for metal?" the real answer is "it doesn't matter". Most gear choices we make are more to do with want, gas, lust and epeen than anything else. But the revolution in pa, both in terms of affordable digital mixers and small lightweight active speakers, has really been transformative in a way that I don't think anything else has been recently.

Just seen this advertised in chrome. I've actually been looking at adding a thumb rest to a bass but I can't see anything about shipping to the UK. Loving their terms and conditions.

See on the other hand I would absolutely try and stay away from passive speakers and separate amp racks. You can pick them up cheaply yes, but that's because nobody really wants them anymore and when you come to upgrade in the future (which you will) then you won't be able to shift them on. A cheapy pair of active tops can be mains now and then wedges or sidefills later when you upgrade the mains.

Couldn't agree more, Bill. However, we all have to start somewhere and £750 is very much just a start.

Yay, pedal! Ooooooh, prices.

A pair of Alto TS or similar should be about right. My hard rock band has been using an Alto system for about ten years. 2 TS115a tops and 2 TS118a subs. It's not the RCF that my indie band uses, but it's enough.

That amp seems to have 6 outputs on the back, which were you using? For the future, with your markbass, just use the normal di output and it should be fine with nearly all mixers. If it ever is too loud then use the pad on the mixer.

Last night I had my first ever paying gig as purely a soundman. A friend of mine is in a band that was hastily put together to play one of their other friend's 50th birthday party. The entire band were amazing musicians, but they have about 4 gigs total experience between them. I was asked to come along and provide some direction and a lot of plugging in advice as well as sound duties. Rig for the evening was an Allen and Heath desk, Martin Audio PA, lots of Sennheiser vocal mics, an e609 on the guitar amp, Radial stagebug on the bass, and whatever drum mics the drummer brought. PXL_20240127_222727719.mp4

Had a work colleague who went and said it was brilliant, no idea if he specifically saw your band but I'm going to just imagine that he did!

In that situation I'd be keeping an eye out for an Ampeg B100R or a GK MBE.

Well I can't comment on the jack cable paragraph but I do appreciate the ebay link thank you. I also know what I've done wrong now, I thought the pedal standard was 2.2mm inside barrel. Oooooops.

Perfect! Thank you. Although, quite where that was when I put exactly those words into the search bar on Amazon I'll never know! Thanks again.

Hi all. In my office I have a wall wart that powers a multi effects unit. It's all standard Boss-sized plugs. However, the cable isn't long enough and it isn't a right angle. Can anyone point me in the direction of either an extension cable (female to right angle male) or just a female-female coupler that I can use to join two other cables I already own please? Every time I look I end up on patch/signal cables, rather than power cables. What I want is either of the pictures, but for Boss-sized power cables and not signal. Thanks in advance!

Out of interest, which angle was which camera?

Well in terms of intended use case it might be a little different, but practically you've got a pa cab that you're sending a lot of bass guitar to and bits of other things. All the same rules, best practices and limitations still apply as if it was a monitor.

It's not complicated at all, what you're describing is just a monitor.

Apart from a few rare exceptions I have only used my cabs as traditional wedges. It gets all the bass we need as well as the other things that I need to hear.

I dont have the Triton anymore but I have the Cordial CIW1 and it's great. You can get a lot of DI in something the size of an adapter these days.

The answer is Subaru Outback.

For the record, with a digital mixer you can record each track individually. As in, you could mic up and record all the drums but just not put most of them through the foh.