EBS_freak

I wouldn't go as far as that - they can mix what they want FOH - but perhaps what you are saying would put some people's minds at rest!

Modelling isn't limited to the Kemper. A Helix Stomp can be had for the price (or even less - I think they are circa £430 at the moment) of a decent 1x15 cab. Plus it'll give you a load of fx that will help go towards nailing the Muse fx. I would even wager that the Zoom B3n would give you a decent platform to build off. A lot of people however, will be put off because the Zoom or Line 6 names don't fit with their idea of boutique branding. I think I am not alone when I say there are IEMs and IEMs. A set of 215s wont give you the powerful bass that you crave... and as such, leads to a lot of people saying that theyve tried IEMs and they are cack. That's like saying I've tried PAs and the 50w Tandy special proves that PAs are crap. Granted though - IEMs again, depends upon a quality mix... but if you give the sound engineer less to worry about, the greater chances of getting good mixes that are representative of what you want to hear all round. If you're that concerned, with a DI setup, you could even carry your own cheap (XR18) monitor mixer and two way split (to FoH) to do your own mix from... then you can only blame yourself!

What's up Youtubers... (that's how it goes isn't it?). Anyway, decided to add another pile of musical theory stuff out there onto the wider Internets... OK, it's not totally bass (will be coming in later episodes)... but I hope that people can take some stuff away from this. This is the first time that me and my mate Steve have ever done anything like this so be gentle. Any feedback, subscriptions, likes or whatever happens in the world of Youtube would be greatly appreciated. Enjoy x

We're seconds away from mentioning Paul Anka Rock Swings 😛

Absolutely. I'd say Lemmy's tone is one of the easiest to cop. Of course, Lemmy was probably playing the gigs where he could have stage ornaments and run his massive rigs in an isolation box off stage anyway. But then Lemmy was deaf... so his amps were probably his IEMs anyway.

Are there really any signature bass sounds that could make or break a performance... when I say that, sounds that can only be obtained from micing up and amp and speaker?

Indeed - with things like the Helix and Kemper our there, I really don’t know why people are so eager to use something that they have a lot less control over. Tech has moved on - keyboard players don’t have to lug around Hammonds anymore... in fact, they can take around a whole lot more modelled instruments that are now indistinguishable from the real thing (and a lot more reliable too). Lugging heavyweight amps was cool (not that that there was much other option) in the 60s and 70s, not now.

So what about all these bands that are using shared backline on all these originals gigs? Wouldn't it make sense to get your DI right to eliminate that variable?

You'd hope that the sound engineers in the venues you play at would know the requirements of mixing bass for different genres... but to be honest, if they can't do that, thats still the least of your worries! To be honest, with the tech available today, you should be able to rock up with a DI feed that outputs exactly that you want. If you need to carry around a small monitor do so... but if your sound is that important, get your pedal board in line, get a speaker emulator on it... and work on your tone being right out that DI. Then anything you need on stage, FRFR it. I still don't understand why people are so reluctant to make use of tech that will actually make them sound better... or correction, make the whole band sound better. Exactly - the biggest benefit you can get from IEMs is in small, problematic venues. Less bleed into mics, you can lose the monitors - which gives you a load more headroom before feedback. Experience is defo a large factor here - having been on both sides of the equation, the benefits of low stage volume is defo rewarded at FOH. I can't understand why any band would want to compromise on their FOH sound just because they must have their on stage racket (and still complain they can't hear properly). At the end of the day, these are the folk that have all got tinnitus coming to them... The best thing I ever did was buy a set of IEMs that cost more than my rig. And you know what, they sound better too. And I don't have ringing ears after the event. And I can hear everything else on stage... and I got talk back so there's no shouting trying to get heard.

I'm sorry... Ashdown... transparent?

Fieldy clearly chooses his sound... and is pretty adamant what comes out of foh... much to the despair of... everybody.

Oh c'mon, you may at least be able to tell us the chord progressions! 😛

They'll be extinct soon anyway. The blues scene is very odd... it's a place where bedroom guitarists go to watch others knock out pentatonic licks... and it's kinda accessible because they can play over their idols CDs with their own nonsense pentatonic licks.

Signature bass sound. Jeez. Anyway, not having your own sound engineer... isn't that even more reason to make your rig as sound engineer friendly as possible?

Knopler, that guy with a pretty distinguished signature tone.. just moved on to Kempers. I don't think any of his fans have come to see his amp collection. As long as Brian May sounded like Brian May and there were some unplugged Voxes on stage, I don't think anybody would bat an eyelid if he was running a silent rig courtesy of a Kemper or something.

Ignorance and/or ego.

Quick question - if this was an ongoing problem, why didn’t you seek to change what you were doing such that you could get the sound that you are looking for foh from your DI? You know the saying, “insanity is the doing the Same thing again and again and expecting different results”. As for foh mixing bass cabs, they are a source of mayhem for on stage as the frequencies, unlike a guitar, are omnidirectional - meaning that pretty much every mic on stage will pick up what you are doing. In turn that will destroy what you can do with the foh mix. I don’t understand why band don’t work towards doing the best for the sound of the band as a whole instead of just looking at what they bring to the party. It’s the sum of the component parts which make the band sounds the way it does - and that means that there could be some compromises along the way. A lot of bands will actually see the sound engineer as part of the band lineup - especially as they can make or break your sound. They know what’s best for FOH (especially if you are a visitor to their venue) so work with them. It’s the sound engineers reputation as much as yours. If your band sounds stinky poo because of what you are doing and not the sound engineer, that’s not really fair on them is it? Are you really doing any venues where you require those size of cabinets?* * it’s rhetorical. You aren’t. Nobody is. It’s just stage dressing. And as for only being as loud as the drummer, you do know that there’s loud drummers and quiet drummers... and Quiet drums and loud drums... (and cymbals)...?

There’s isolation boxes that you can put the speaker cabs in... or even run the amps off stage... both common approaches to the problem. Or do a Springsteen and have the cabs facing up into the air instead of at the audience and vocal mics... Also re:DI, the processing available on a modern digital desk far outstrips any of the toneshaping that’s available on your amp... and any nuances of “tone” would be lost in a live performance anyway. If it was for a live recording, the recording forum your DI would go to the studio, be reamped and mangled far beyond the original sound coming from your amp anyway!

Are you running a mono mix then? What you need is to plug in two xlrs into a pair of stereo auxes on your DL32R and wire to a single xlr to put into your belt pack. In the XLRs that go into the mixer join pins 1 and 3 in each XLR. The two 2 pins are your L and R that go to pins 2 and 3 that go into your belt pack XLR and pin 1 on the belt pack XLR is the ground (that joins back up with the joined pins 1 and 3 mixer side). Just done this off top of my head. If in doubt get obbm to make you up a cable.

News in. Bonamassa open to the idea of letting the PA doing the work... Here’s his guitar tech doing a line check (with ear defenders)

Nup - P2 is balanced mono (or unbalanced mono) or stereo off a pair of unbalanced feeds. There’s an internal switch to change between the two modes. P2 is a dedicated headphone amp so provides the correct loading for your aux and headphones to be driven optimally.

Early adopters!

It’s a nice unit. Remarkable for the price really - especially when compared to the Fischer model. I bet Fischer are proper peeved at Behringer.

Bit rare at the moment aren't they!?

Feck you beat me in the edit...