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Phil Starr

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Everything posted by Phil Starr

  1. Yeah it's a good stage tone, most of the top end will just end up competing with the guitarist and vocalists part of the frequency range, so with a bit of high mids added in you'll sit nicely in the mix. Who needs extra string noise anyway
  2. Just in case people don't know @VTypeV4 has been a professional sound engineer for 24 years and counting. The sort of quiet experience that we should all listen to. I'm going to be busy every evening next week taking his advice and tweaking the results in the studio. It's worth visiting his long thread and seeing what he does. It's a real eye opener about how touring shows operate their sound and a festival of great mixers, not just the Yamaha he started out with. You will have mixer envy.
  3. Thanks for this, I've been hoping you would come along, I've been stalking your long Yamaha mixer thread for years. I'll give that a try as a stating point
  4. Hi Dave, most of the 'hot' pickups are going to have a lot more windings in the coils. You'll often see this in the specs with the higher impedance or DC resistance of the PUP's. More wire and thinner wire=more resistance. This has a secondary effect, coils have something called inductance where the impedance (resistance which is frequency dependant, sort of) rises with frequency and acts as a low pass filter. More turns means less treble and a darker sounding pickup. That may be what you are hearing.
  5. So how to go about getting this sort of sound, any ideas?
  6. That's what I do, to be fair it's the monitor feed he worries about.
  7. I can see the attraction of building a cab inside this case, it's a convenient size for a cab and you wouldn'tneed to worry about the finish as it already looks like a bit of pro gear. A 2x8 would work and so would a 10 maybe even a 12. youc ould easily build a bass cab or a guitar cab based on this. If you decide to go ahead PM me and I can help with dimensions and tuning. The only problem I have that is if the vocals /guitar are sounding a bit thin it's the low mids not the bass that needs addressing.
  8. Funnily enough, I'm helping someone else out with a disguised built in cab. and i was also thinking of advising your to damp the rack cab with expanding foam. A lot depend supon what you mean by: There isn't really any significant 'low end' in guitar/vocals so perhps you could explain a little more about how you picture using this.
  9. I have loads of presets available and started up with the most basic of them in place. I got terrible feedback issues and realised that all of them applied quite a lot of compression which isn't really helpful with my sort of pub gigs where the complete set up often has to be done in 30 mins, there's little time for a proper sound check and any mixing has to be done when I can get out in front on a wireless connection. It would be great to hear what you have done here when you do copy the settings across.
  10. Are you mad? Or was this suggested by the singer? 😁 Great songs though, your audiences will love you. I've always fancied doing Filthy Gorgeous, proper party song .
  11. So how do you go about this? I could do with some helpful pointers to what is practical and what works for you. It's not been an issue for me to date given the limitations of an analogue desk small enough to sit on stage and mixing for other bands has just been a matter of small adjustments to whatever echo was available until it sounded OK, tweaked throughout the set and on the rare occasions of repeat gigs marking the desk with bits of tape to recall last weeks settings. I'm old enough to have used a WEM Copycat 🤣 Now I can set up scenes as well as save 100 different gig settings it seems sensible to explore this a little and do things a bit better. I play with three singers: a man who hates any hint of echo but sounds better with it, a female singer who loves and demands it even in her monitors and a second woman who is happy to let me do whatever sounds best but doesn't like a lot in her monitor. So you are in a typical pub with a female vocalist, pop/rock covers and it's packed so not a lot of natural reverb in the room and you have both reverb and delay available. Where do you start?
  12. I've had a couple noise problems off my BD121, it has picked up some electrical noise from some cheap lights somebody was using at a private party and also made some odd high pitched noises just once at a pub gig. Again it might have been some radio pickup from something faulty in the room. I swapped from 8.4v to 9.6v rechargeables and the problem never recurred but the BD121 is clearly more susceptible to radio pickup than the Sansamp. Both can be quite noisy at the extreme setings but shouldn't be when set straight through. If the noise is mainly high frequency you don't need anything above 8kHz from the bass so you might be able to reduce the noise by filtering or just easing off the treble. I tend to use the SAnsamp nowadays as it is more resistant to old batteries and has been totally reliable but dare I say the Behringer sounds just a tiny bit better to my ears. Most sound engineers much prefer to take a feed before the fx units or modellers as they are often a source of noise particularly when chained.
  13. I can do simple DI is actually Direct Injection. It is just a way of getting the cleanest possible signal to your mixer whether that is on stage or in the recording studio. Your microphone, amp and speaker all colour your tone (hopefully in a good way) and your guitar lead probably adds in a few crackles a bit of background noise and even maybe some radio pickup. Your amp also probably adds in a little bit of hum and some noise of its own. Any sound engineer wants to start with the cleanest sound possible and they can add in any colouring they want later. Microphone leads are noise cancelling so plugging the shortest possible guitar lead into a DI box means a clean sound from then on. Some amps have a DI box built in. An interface is just a way of converting the sound in your lead into something a computer can understand: analogue to digital. You'll see terms like A/D converter and so on, it's all the same thing. Fortunately almost all interfaces have a DI built in so you can plug your guitar lead straight into them without needing an amp or a DI box. Some mixing desks have an interface built in, I've got a really old Alesis four channel mixer and it has a USB port so if you have a USB port on your mixer try plugging it in and see what it does. If not you have to buy an interface like the ones suggested DAW is Digital Audio Workstation. It's basically an App or computer program that turns your computer into a recorder and a mixing desk. There are loads of them out there ranging from simple to really complex. Plenty of them are free and really good but for a few hundred pounds you cn have more power at home than the best recording studios could dream of even just a few years back. There are even apps that will process everything for you online so if your computer is old and slow you can still mix tracks down Soundtrap is one I used during the lockdown to work with friends when we couldn't meet. They've never shut down my months free trial If you do go down this route then it's worth knowing that one trick is to record from your amp and through a DI at the same time and then you can mix the two signals and have a mix of clean and dirty sounds. Hope that helps
  14. Remove his stool and make him sit on the monitor Failing that buy a vibrating butt plug that will accept audio.
  15. Please don't even whisper that near any of my band 😨
  16. Hot Stuff; Donna Summer What was I thinking? five minutes of almost unbroken octaves, my pinky hurts!
  17. The B&C ME10 mk2 is good. and the Celestion H1-7050 or the H1SC-8050 would work well though the latter would need an adaptor for the specified compression driver as it is a screw fit horn
  18. First of all I'm going to say there are a lot of details to do with phase issues and a whole lot of other thngs involved in designing a really good crossover. Something that 'works' is simple enough and you can design a crossover using theory and software but speakers are far from straight resistive loads and neither are they flat response so combining two without a lot of distortion at the crossover is tough without a lot of experience and good measuring gear. That's not to discourage you or anyone from using a generic crossover but just be realistic about the possibilities. Having said that you can have a great sounding instrument speaker that falls short of perfection. However the BC 112T Mk3 has a really well developed crossover so don't dismiss it as a fully worked out design. You can change teh shape of the box to fit your alcove so long as you keep the volume of the box the same On the other hand it's quite right that the top frequencies above 8kHz aren't really important for bass and won't actually be there art audible levels in the output of a bass pickup. Though even a 4" driver will be beaming at 2kHz so a well designed horn will give you better off axis response. I've been experimenting at home with a 6" driver and a 12" bass driver using DSP for the crossover and found that a 200Hz crossover worked well and gave a remarkably smooth sound. Using a small cone driver to cover all of the mid-range means that these frequencies won't be beaming and a smaller lighter cone is more able to track the mids accurately. Our ears are most sensitive in the 1-3kHz range so moving the crossover out of that region is really helpful. Having nothing above the pass band of a bass pickup is just not having something you will ever use. The tests I've been doing have just been proof of concept, there aren't many reasonably priced midrange drivers available off the shelf. 6" is too big really and I've bought 4x3" drivers for the next stage of development. These little drivers don't have the power handling or sensitivity to achieve the right volumes on their own. There's nothin new in all of this, it's been understood since the 1930's and probably earlier. Ideally you'd split up the entire audio range into 4 or 5 bands but passive crossovers are difficult to design and always bring in some distortion. Fortunately for bass the pickup itself acts as an inductor and cuts all the high frequencies depending mainly upon how many windings there are in the coils. The strings of course don't vibrate well at high frequencies so there is much top to start with. So it's relatively easy to reduce the crossover point for a compression driver and horn to around the 2kHz point without crazy expense and minimise crossover distortion to get great radiation control of the upper frequencies, which is what @stevie has done with the BC112T and his LFSys designs. It's also possible to crossover at much lower frequencies and get better dispersal at sub 2kHz frequencies and let a single driver or array of drivers cover the whole mid range but with significant beaming above 4kHz which is what Genzler have done in their bass arrays. You'll have to design your own crossover for that and probably need to wind your own coils as high inductance/high power coils aren't widely available off the shelf.
  19. Well done, that's a perfectly valid way of getting some control though long term if you are handy with a soldering iron using a stereo /TRS jack in the insert will give you a more reliable connection. You'd need a short lead with two 'stereo' jacks with the ring of one connected to the tip of the other. A half inserted plug is going to be susceptible to knocking too far in or coming out and breaking the contact. Another way of splitting the signal would be to use something like the Behringer di120 before the mixer. The other problem is that you only have the mixer's tone controls so eq options are limited. I've got a SansAmp where the feed is post eq so I could take the XLR to FOH and the jack out to the in-ears channel so that would be another option which gives you more tonal control of the in-ears sound. I've got a BD121 here too I can check if that works the same way if you want.
  20. Thanks for the offer, at some stage I want to update all the old designs with a standard format to make it easier for people to build without having to trawl all through the old threads. I may get back to you
  21. I bought my ART310's as floor monitors, I'd previously been using some old passive Yamahas and Wharfedale Titans and even tried some Behringer monitors. Switching to the 310s gave me a whole ot more headroom before feedback, really dramatically so. All of the things I tried gave way more output than you need from a floor monitor only 2m away from you so gain before feedback was the limiting factor always. The improvement was just because of the smoother frequency response. You'll need to cut the bass a little if you put bass through as they are designed to be flat response on poles radiating 360 deg. On the floor with 180 deg radiation the bass is raised to uncomfortable levels. I shelve out the bass below 120-150 Hz and use a 50Hz filter on mine as i have fully parametric controls on my mixer but just rolling off the bass with a conventional tone control worked with my old analogue mixer Good luck in the studio
  22. With the 310's you'd have two 10's and the Evox uses a 12" sub so you'd expect two Evox to work better at really high volumes, probably more important for the drums than bass. On the other hand the nicest bass sound I've ever had is through my 310's on poles. I can't really say how the other differences would pan out without actually listening to them.
  23. Yeah I've noticed that I had a quick look on Marketplace for the Evox 8, theres a few around but the prices! I'm about to sell on a load of stuff and looking to see what the going rate is, everything has gone up in price in line with the new prices in the shops and maybe a bit more. I almost feel guilty in making a profit on everything but it's all going back out on better gear and that has gone up too so it's really just inflation I suppose. I sold my Wharfedale Titans just over a year ago for £300 and the price now is £450 and upwards for good used ones. Did you see my post about the RCF ART310 offer at Thomann. Under £300 and rated by RCF at 127db max the same as your Evox 8. I've used mine as backline with no problems and as PA in a lot of Somerset's pubs. My advice would be to take your time and buy once though, hang out for the speaker of your choice, I made do for years with whatever I could buy cheap, out of necessity at first but habit later on, then I decided to buy what I saw as the 'perfect' system for any band I was likely to play with and waited until things came up at a price I could just stretch to. I bought things one or two pieces at a time and sold most of my old stuff as I went. It took a couple of years to complete the upgrade but I have just what I need, the band sounds better and I didn't waste money on stuff that was OK but needed upgrading later.
  24. It's worth knowing that the KZ10's have a 10db midrange cut built into their sound so you probably need to be fairly enthusiastic with the eq to get the same sound as the audience are hearing From their website
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