EBS_freak

MTD I reckon.

You're right, the prices are coming right down - and Eastern bulk manufacturing and reuse across brands, even more so. It seems like any audio device is almost expected to be able to function as an interface nowadays.

However... The next big thing is 32 bit... clipping is a thing of a past now as it can all be recovered. Gone are the days of poor gain staging. Funnily enough, only yesterday, I was looking at the new Zoom 32 bit field recorders... and this -

Of course, the big separators remain the quality of the preamps. The preamp on an interface, or a dedicated preamp upfront, can be the difference between something sounding thin - or fat and full of harmonic content. Yes, you can manipulate in post - but nothing gets close (and I'm not talking from an arty farty pov here) to a really good preamp. Really good preamps on high channel recording desks will run into multiple of tens of thousands of pounds. However, a unit with one or two pres can be enough for a really top end project studio - although drums may still be a challenge!

In answer to your question, I would guess most people could do with whatever interface they can get their hands on, especially if it's just for using in an amateur capacity. If the desk works for you, why would you bother with an equivalent quality interface... assuming that you can be bothered with plugging / unplugging a desk if you are using it elsewhere.

I like the idea of an always on tuner - always useful if you are holding a note, you can tune mid song/bar without your sound dropping out. Then you have the mute for when you do want to drop out and silent tune.

26 minutes ago, gazhowe said:

I’ll still be using backline so my only slight concern is whether the iem volume I need will cause an issue. 

I would be grateful for advice from anyone with experience of making the switch to universal fit iems and still using backline please. Also, any opinions on the merits of the UE6 Pro v a4s would be appreciated too please. 

Imagine standing with your setup now and sticking your fingers deep into your ears. Thats the isolation that an IEM will typically give you. With your IEMs, all you need is a little volume to get over that ambient stage volume. In reality, the volume you need in the IEMs can be pretty quiet - and it certainly can be a lot less than playing with no hearing protection. If your backline was for your monitoring needs only, you may as well save your back and journeys to and from the car - assuming that the PA can cover your FoH needs without backline. (I'm also assuming that nobody else on stage is requiring your bass cab for their monitoring needs).

UE6 vs A4s are going to be largely separated by price. If you can afford to go to A4s, then the balanced armatures in the A4 will reveal a greater level of precision, especially in the mids and lows. The UE6 has a warmer timbre due to the inclusion of dynamic drivers and arguably not as detailed (but you know, I'm talking in uber obsessive terms terms here, the UE6s are going to sound way, way, way better than the majority of universal IEMs). If you haven't clocked already, the UE6 is a great IEM in that it has greater headroom than 3 balanced armature based IEMs (by using dynamic drivers in the mids and the low (dynamics have more headroom than BA). So the key bit for bass players, is that where you need the headroom (in the lows), a balanced armature IEM would need 2 bass balanced armatures drivers to have similar headroom to the 1 dynamic driver in the low.

The easiest thing to do is listen to the difference and see if the extra money of the A4 is worth it to you... (you may even prefer the sound signature of the UE6. I love the UE6 and would be one of my top choice IEMs for sure).    

20 hours ago, basstone said:

Thanks for the response. ME500 etc.. would be a great idea but totally outside our budget I'm afraid. Maybe If I find I have "spare" Aux channels I could give a stereo mix to the lead singer, as that's generally the most problematic area.

In my experience, singers are the ones that make use of the stereo functionality the least! (And thats if you can stop them taking one of their IEMs out!)

3 hours ago, basstone said:

Question, what are peoples views on mono vs. stereo in ear monitoring. I am planning to go down the wired  in ear route for the church worship band at the same time as putting the drums in an isolation booth to get control of the balance and overall sound level. I have 8 aux channels available for band monitors on the AH Qu16 which would not be enough for all the band members to have stereo (there is usually up to 5 or 6 band members). Does mono work well enough? I'm also thinking of using the Qu-you monitor mix app  so everyone can set their own mix on their phone, along with some behringer P2 headphone amps perhaps

Mono works well enough - but stereo is a different kettle of fish. Having said that, I'd still take a mono IEM feed over a wedge any day. If you are feeling flush, you could always go down the ME500, ME-1 route...

Bump

Bow finishing, David Wilson, Sims guitars.

Meguiars ultimate compound followed by Meguiars ultimate polish.

If the scratch is deep but not through the clear, wetsand, 1500, 2000, 2500, 4000 (must use sanding block - tiny one as I'm presuming the scratch is small!) then Meguiars polish. (Not for the fainthearted... and don't go through the clear coat!  

Nathan East plays a stock BBNE2 5 string... apart from when he plays his 6 string BBNE2... which isn't available to the public (that kinda counts in a roundabout way, right?)

On 22/01/2023 at 08:17, stingrayPete1977 said:

I've never understood why Flea doesn't use the same basses live as he does in the studio? Wal and Stingray 5.

I'm guessing... cos Wal filter based preamp is a bit of a devil to adjust on the fly...

Anything in the studio has probably been processed to death...

and I think I read that he liked the carbon necks as they never moved, so on tour, they were consistent with no issues of altering the truss rod or getting action right. They just don't move.

But you know, I read this on the internet so it could be complete b*llocks.

18 hours ago, visog said:

Erm, thank you for asking @EBS_freak - that's very polite for the internet. So I think Matt might have wanted to another signature artist to go with a different form factor. The AJ is quite different for example. Let's face it, despite their phenomenal talent as players, they're probably not making a particularly good living so any income stream, like a signature model commission, is probably highly prized and an overlap a perceived incursion into the  signature space responded to with some wariness. I do think Matt Garrison created a 'thing': 4-finger technique + ramp (arguably a Gary WIllis innovation) + a 5-string high 'C' = Matt's thing. For the record, I'm all in with it having seen him in a tiny club in Manchester tearing it up with Gary Husband and Randy Brecker! Yes, quite a line up. So along comes Janek who puts his name to an ostensibly similar model. Does it matter? Probably a bit to Matt although I don't suppose there was any intent from Janek to plagiarise Matt's bass, Janek I think just liked similar features and was offered a commission.

 

 

Hmm, looking into the Garrison vs Janek signatures, there really isn't any discernible difference between the two at first glance. It would seem that all the Garrison esque changes have been incorporated... so yeah, if there is a kickback, I can see Matt being p1ssed. I've never really thought about it because it's not likely to be the sort of thing that would ever be something that I'd need to consider. Fodera designs I guess are a bit more specialised I guess... but looking through a different lens, all these Fender Jazz bass signatures... how different are they to each other... really? I mean, they are all kinda the same with just a few notable exceptions (e.g. the Marcus one)

And it took that long to get that out? All seems a bit playground. Also - I wasn’t aware that the high C was anybody’s thing?

I hope that Janek gets to his goal. Getting YouTube to work is pretty hard - but for me, he’s going to have to be far more engaging!

3 hours ago, visog said:

Me in the gym - good workout fodder

And what was your take on it?

I dunno. The marlowedk signature was short lived love.

How many people will buy a Scott or Janek bass because of them?

I bought a Nathan East signature cos it’s a killer bass. Nothing to do with Nathan although I do really dig on his playing. I wish it didn’t have the East inlay on the 12 fret.

Those trinkets are great!

I do love an Arduino project. My latest is a foot controller for online presentations, controlling multiple cameras angles, camera sliders, teleprompt control, lighting controls, mute (of course!) bringing in graphics on screen (via key/fill) and stepping through presentations/infographics etc. Total tap dancing work out but it's pretty ace. One man band television studio! (But great for my online conference stuff - keeps my hands free (I do a lot of talking with my hands!)) 

48 minutes ago, Al Krow said:

We've invested in a pair of RCF 912As which can handle bass very well without the need for an additional sub-woofer, so I'm feeling far less annoyed at having to cart the PA to gigs mainly for the benefit of the rest of the band, now that it's doubling up as my bass rig too! Having a desk with enough aux outs to enable us to have individually tailored monitoring is a very nice bonus.

At last. How long has it taken you?

...Im not saying anything.

5 minutes ago, Al Krow said:

Not a bad shout! Anything that's just an adaptor costing < £10?

You dont want an adapter. An aux isn't really designed to drive headphones...

There should be a headphone amp in there somewhere, whether it's on the other side of a wireless connection, or in this case, in between the aux and the headphone. Plus it gives you the ability to easily change volume should you need to. 

1 hour ago, Al Krow said:

Btw any recommendations for a suitable adaptors for use with 3.5mm and 1/4" headphone jacks to use with the aux outs? 

A Behringer P2 is the answer you are looking for.

5 hours ago, BCH said:

£85   !!!!!!!

The DAD6001 may be.... but...

The clip isn't. https://www.bax-shop.co.uk/miscellaneous-adapters/dpa-plastic-belt-clip-for-dad6001-xlr-adapter

Ooh, I like that. That ball joint is quite useful.

I've come across these before, from DAP (just reverse the clip to change the orientation of the XLR). Nice solution but obviously, it's not quick release, so becomes part of the XLR.

I don't personally like having something without a volume control on my belt though - but each to their own. (So even if I had a dedicated amp, I'd want a volume control post that). Again, what works for you and all that. 

There’s your problem. They aren’t great. A single balanced armature just won’t cut it.

39 minutes ago, JJTee said:

Mike Watson, who played on Gimme, Gimme, Gimme, Mama Mia, The Winner Takes It All, and Super Trooper,  and a few others, is British. Very much a unknown too - even more than Rutger!

Totally! Although he didn't tour with the band, so visually not represented in any of the live performances.

1 hour ago, Beedster said:

 

ABBA's basslines are quite extraordinary, and quite prog in their own way, certainly equal to many prog players in terms of skill and creativity 

Rutger. He’s quite possibly the best unknown but in the open bassplayer out there. If he was American or British, he probably would have been more of household name! Love his stuff.

You'll get a bazillion different answers... but as far as what I did to get the ball rolling...

https://www.amazon.co.uk/Beatles-Complete-Scores-Transcribed-Score/dp/0793518326/ref=asc_df_0793518326/?tag=googshopuk-21&linkCode=df0&hvadid=310081590442&hvpos=&hvnetw=g&hvrand=3500387670720029362&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=1007151&hvtargid=pla-525453688488&psc=1&th=1&psc=1

And played a long. Did a number of things, got me into reading the notes (although tab is included if it's not your thing). Got me understanding melody in bass - Paul McC is a master on this front.

I don't play anything like Paul McC now - and got very much into techniques and expanding my trickbag I guess... but that was a super solid starting point. Nowadays, I think the players that I more gravitate towards are the likes of James Jamerson, Nate Watts, and say, folk like Bernard Edwards... but that melodic approach can still be traced backed to those early days battling through Paul's basslines. And then there's the stuff that I have focused on which pushes the technique... but is ultimately quite useless in most band situations.

Of course, getting into transcribing your fave stuff and how you want to play really helps develop you.