essexbasscat

Good point earlier about raising the backline amps, always a winner that one. Also relative positioning of mics, monitors and FOH. Were the FOH speakers directly facing any reflective surfaces ? avoiding that helps. Were the high pass filters engaged on the desk ? Acoustic guitar OP ? did you cut the bottom end at the desk from the acoustic ? that could cause the muddiness (and even boom) you mentioned right there A 2x10 OP ? if it's a 2x10 bass cab, it may be biased towards low end frequencies, which may re- enforce the muddiness you speak of. Just more food for thought

[quote name='JTUK' timestamp='1388775372' post='2325991'] Impossible to say, really, you have to be there, but you may not have been entirely to blame either. We have found that the P.A soundman's answer to this is often to just turn up the P.A when what you should be going for is a mix. This means you both have to concede there is a problem and then decide on the best way to approach fixing it. It the band decides one thing and the soundman another, what normally happens is that both parties give up at some fraught point. The soundman decides he can do nothing positive and may attend only the most drastic noises and the band resign themselves to not hearing themselves and just getting through it. What makes this much much worse though, IMO, is when sounds have to be EQ'd.... as then you are fighting sound as well as levels and most of us don't often get 2hr sound checks for band and support. The way to help here is that you know the band has sorted its own sounds out at some point and know how it NEEDS to sound... The one thing that gets sacrificed usually, is the stage sound, but then your engr better be worth that..and often they aren't... IME. The only thing I can really offer is find a sound guy you really trust and knows what he is doing and put him on the gig payroll and also practice getting the band sound sorted in very quick time...which means that you want to be hearing everything everytime. Gts and keys need special attention because they either have or want full range sounds............. You can't allow this and still get the bass to sound seperated... Basically..IMO..anytime you can't hear the bass, the band mix is shot... [/quote] Excellent post

Thanks all I did wonder if CTS pots were regarded in much the same way as the SM58 microphone, an industry standard that so many people bought because it seemed that everyone else did. However, the CTS pots do appear to be highly regarded in their own right. I still wouldn't mind finding that old thread though where someone tested another high end pot. Thanks again

[quote name='BigRedX' timestamp='1388750829' post='2325521'] Sound is such a subjective thing, and best quality electrically doesn't always equate to a pleasing sound. [/quote] Ok, I'm curious. Can you expand on this a bit ?

Excellent 6v6 and thank you. Is there any difference in sound quality between the three ? are PEC worth the extra in your opinion ?

Out of interest, what mics were you using ? I'm no expert, but I've heard that some mics are better at reducing feedback than others. Examples of feedback reducing mics are renowned to be; Sennheiser e945, Electrovoice ND 967. There's also examples of reducing boom from hollow stages by using de-coupling devices such as the Gramma Pad. Was there a graphic equaliser that demonstrated which frequencies were feeding back ? Just some thoughts here. I'd be more than happy for people to discuss these ideas, whichever way the discussion goes, if we all learn from the process

Hi all There was a thread around here a while ago where someone tried one or two different potentiometers in their bass. They didn't use the tried and tested CTS pots, but an alternative. I remember they waited for the pot to arrive, installed it and reported back with their findings. I've had a search, but can't find the thread. I've just bought some Fralins for my RW P bass and would like to install the best pots for the job. Ideally, I'm looking for some high quality pots that have just a bit of 'weight' to them when they're turned. Not sluggish drag or grinding resistance, but a well engineered positive feel. Can anyone recommend some high quality pots or recall the thread ? Thanks BC EBC

Windmills of your mind from the 60's goes all over the place

If you're looking for silly cheap, try a Westfield e4500. It's a through neck les Paul that really does punch way above it's weight. I set one up a little while ago and was pleasantly surprised what you get for under £100 secondhand

Totally agree Beedster, always rated the bass work on those films. Can't get through 11 without picking my bass up at least once

Y'know that's not a bad idea NW, it would make the mizward more user friendly. Still wouldn't mind hearing about other decent quality small (ish) desks though ..... Anyone ?

[quote name='nottswarwick' timestamp='1387705124' post='2314617'] How about a different case for the mix wiz? We have one where it can be stood vertically in the floor if space is tight. [/quote] Thanks for replying NW. Any piccys or links for the case ? I'm using a gator case at the moment, which allows tilting of the desk for connection

Update; - I've discovered Dynacord desks which a few people recommend, but we're talking £800.00 (ish) secondhand ! they would have to be substanially better than practically everything else to justify that many beer tokens. Soundcraft any good ?

Guilty pleasures ? My Gretsch electromatic pro jet or my Telecaster Deluxe (thanks Pete) through a Fender amp with a smidgeon of reverb The other guilty pleasure ? the size of my bass / guitar collection

Hi all I'm sizing up the market for a smaller dimension PA desk, one that would be suitable for those smaller to micro -size stages that we sometimes get lumbered with. Something with 8 XLR inputs + four phono channels (making up a 12 channel desk) would be ideal, along with at least two outputs for monitors. I already own a 16;2 Allen and Heath MixWizard desk which sounds just fine, especially with it's four band EQ. However, its' case is definately on the larger side, which just makes it physically too big for small stages. Thinking around the smaller Allen and Heath desks, I've heard the Zed series are warm sounding, but only have three band EQ's. The PA series have the four band EQ that I like, but I haven't heard much about them in use. I've heard a 12 channel Mackie desk with my speakers and frankly, it just demonstrated how much better the A +H desks are. The Mackie just sucked the quality out of the sound, while the MixWizard made the rig sound top quality. My question is, can anyone recommend a relatively small sized desk of good quality ? doesn't have to be A+H, I'm keen to hear people's opinons of other makes too. Quality is definately a key factor however. Thanks everyone

have a look at the fret levelling beam on e-bay, does the job a treat

Always thought the correct height to enable you to play the instrument properly is the correct height. That's it. You can look cool by changing your cloths, wig, shoes, hat, underpants on the outside etc

Glad to see someone mention Led Zep II. The opening 20 or so bars Woman From Tokyo by Deep Purple - superb

Jose sold me a scratchplate and kept up good communication throughout, easy to deal with, no hassle.. Wait a minute, I'm just saying what everyone else has said...