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Phil Starr

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    Chard,Somerset

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  1. To be fair that was for a particular hall and given that space and access to top quality kit and lots of it most of us would do something similar. The useful thing about this video is the heat maps which illustrate the dispersal patterns. A picture is worth a thousand words I guess
  2. I can't see it making a difference so long as the gain isn't set so high that you've introduced some clipping. some of the cheaper mixers back in the day struggled for gain and everything was set to 11. Modern digital mixers have oodles of dynamic range and really quiet mic pre's so you don't need to set the initial gain high and gain staging becomes less critical. As Buddster says you wouldn't normally touch the channel gains once you'd done an initial check. There's a lot of folk lore from the old days still kicking around. I just recall the settings from memory for all our gigs now, except for the drummer who is always fiddling with her send on the elecric kit. She insists she doesn't but the meter says she does
  3. I think it was John, it makes a lovely cable just the right balance of flexibility and toughness, it feels great in your hands and is a joy to coil and uncoil. Sounds trivial to rave about a piece of wire but I absolutely love it. Yeah it is just a an LPF I never used it at a gig but I compared it with a 10m cable when I first bought the Line6 and it did what it said on the can, made it sound like the cable. The wireless connection was just a little brighter. I'd compare the difference to comparing new Rotosounds to ones a few days old. For me that was a gain which could be eq'd out elsewhere if I needed to
  4. This was a big garden with picnic tables scattered around. It was rural Dorset with lots of space and not so many people. I imagine it's also about angles, I'm only a 32"waist but at 3" away from the transmitter I block maybe 170deg of radiation
  5. The Line6 has a 'cable' setting. Whisper it quietly it's the cable you gave me Which is great by the way.
  6. Oh come on C is 262, Bis 247Hz maybe the pub only employ guitarists who tune to Eb
  7. Thanks Al, I hadn't noticed a lot of noise though my Line6 was actually much quieter than a cable. My first gig with the Lekato was in a pub garden. It still connects at 100m though not it you get your body between it and the receiver.
  8. I don't think people are reading your post properly. It's unusual to get a sub with power amps for passive tops but not unknown. It is after all what the subs in a lot of the current ' stick' PA systems like the Bose and Evox J8 do. Without knowing which model your cab is I can't be certain but it sounds like it is designed to be a stereo PA system with a single sub. You should be able to use it with bass with the two passive satellites or even with one. It should have a way of adjusting the realtive volume of the tops and the subs but certainly that is something to check before you buy/go ahead. As a system it seems a bit over the top, though it would double as PA for your band. I wouldn't want anything bigger than a couple of 12's for my bass rig. there is another problem that in many live situations you don't need the lower frequencies coming out of your bass rig, I often filter the bass at 50Hz to allow the drums some space and to clean up the bass in a resonant room. However I've tried playing bass through pretty much every speaker I've owned and I've no idea what sort of music you will play so if you don't mind carrying three boxes where one will do and this isn't too expensive it might be fun to try
  9. It's imbecilic. They don't need your word they can check this themselves in seconds by just speaking into the mic from the front, sides and back.
  10. Hi John, the secong part is that no I don't think that's a good idea generally. Note the generally. Most of your feedback issues if you are talking about high frequencyhowlround comes from what is going on close to the mics. Sound falls away with distance so the shortest route is the one you need to suspect first. Toeing in the speakers will probably make things worse. The horns (all speakers in fact) don't have a cut off point at which nothing spills to the side. The sound radiated sideways falls off slowly and starts to lobe off axis. the further off axis generally the less high frequency content but remember those off axis lobes. Turn your speakers in and you decrease the angle to the mic increasing high frequencies and you may even reach the mic with one of the lobes so statictically you'll increase the chance of howlround. It might be better to toe out but moving the speaker forwards is going to be your best first move. The other cause of feedback are room resonances. Moving the speakers away from reflective surfaces may help here but it's really difficult to read a room in a few minutes whilst setting up in a new venue. that's much more appropriate for permanent installations or a touring band with sound engineers and time to set up properly. Speaker placement does make a difference but a set toe-in is a bit like setting your graphic to a smily eq. I'd also be looking at the microphones first. What is their pickup pattern, cardioid or super cardioid? The former may be picking something up from the sides but not from down the barrel. the latter is more likely to be getting it from along the axis of the mic and not from the sides. Watch your vocalist too, they tend to wave the mic around and point it into corners at random. You can often spot the direction that creates the feedback issue. they will blame you for the feedback though Place your speakers to give the audience the best coverage, not to anticipate feedback you might not get. Good coverage and you might be able to turn down a notch. We've played places with L shaped rooms before now or even two separate rooms. You just have to deal with what you have when you get there.
  11. First of all one of my favourite videos for the basics of speaker placement
  12. Hiya, that's interesting, I'm using the Lekato at the moment, no real problems so far. I used a Line6 before and no problems there either, but I prefer the form of the Lekato, just a bit less fiddly. How is the Nux better?
  13. Welcome to BassChat, it might be worth private messaging the OP via BassChat and asking them. Just hover over their ID and the messaging will pop up
  14. Horses for courses, I wouldn't want to attempt to do what you do without physical controls In the dim and distant past I used to mix live shows and pre Covid I ran a few jam sessions with a Yamaha MG16. I'd love to sit down with the sort of mixers you are using. The M18 is smaller than the snake never mind the mixer and you are quite right about space being limited. I did think about looking out for an O2R at the time and I hesitated to buy something without physical controls for a while. I reckon in 15years+ of gigging we've had our own sound engineer maybe half a dozen times. Most gigs we are lucky to get 5 mins for a soundcheck so an iPad I can carry out front and place on a table beats running back to a mixer every time. Just being able to recall our best ever mix at every gig has transformed what we can do. Eq for the room and adjust the master volume and we are away. I've tried to engineer our PA for the gigs we do. I play in two four piece covers bands and a duo. I've never played in anything bigger than a five piece band and drums are currently all electronic. 8 mic channels and 8 line inputs have been more than enough for me so far with at least a couple of channels going spare and usually a lot more. If need be I can mic up drums with a three mic technique but if a drummer brings along a full set of mics they are going to have to do their own mix and give me a stereo feed. So far that hasn't been an issue. I've sets of cables for each band, boxed and ready to go and we all use in-ears except the duo where the volume is lower. I've a 10" based PA for smaller venues, 15's for bigger gigs and subs if needed. I've used those about once a year. The 10's double as monitors for any deps who won't use in-ears. Interesting what you say about HPF on the vocal channels. I've got 24db/8ve @80Hz on all the vocal channels and gently roll them off at 120Hz on top of that. Let me know if you think I can do better than that. So far getting the singers to co-operate with an extended session sorting their eq has been like pulling teeth so thats probably my next task. The presets are problemmatic as they all come with compression. Most of our venues have such limited space, we are inevitably on top of each other and the PA so gain before feedback is low and any compression at all will end up with acoustic feedback being an issue.
  15. This is an incredibly high quality, lightweight FRFR speaker and is as far as I know the first used LFSys speaker to come up for sale. I'm only selling my Silverstone because it is geting no use; none of my current bands use back line and I also own an LFSys Monaco. It's only been used at a couple of gigs and rehearsals and so is in nearly new condition. For those who don't know LFSys use a high quality, long throw bass driver with a magnet which would have to be massively heavy if it weren't made of Neodymium alloy. The horn driver is of PA quality and much better than anything used in the vast majority of bass cabs. The horn itself is larger than most and is cast aluminium. it is also rotated 90deg and crossed over at a lower frequency so that the mid and high frequencies of a bass are directed towards the player standing close to the cab as much as to the audience. You can get the full story at the LFSys website . The sound is the sound of your bass, neutral but rich and warm. It sounds like your bass but through a good quality PA system. Because of the attention paid to the crossover and horn the midrange is much better than you will hear from just about any other bass speaker and because ot the long throw driver and highly braced cab it will handle bass better than all but the most expensive of PA speakers. Better still is that you will get to hear all that goodness on stge because of the control of dispersal from that lovely horn flare. Bullet points are: Power: 300W AES Sensitivity: 97db/W @1m Impedance: 8ohms Frequency Range: 40-18kHz Size: 57x39x32cm Weight: 13.5kg This cab has a top hat fitted for PA use and was once part of a pair specially modified by LFSys as emergency PA speakers. I'm happy to remove the top hat and fill the hole if you prefer. I've put up a picture from LFSys as a place holder and I'll put up more pics of the actual cab later this week. I'd prefer you to come and try the cab and take it away but I'm happy to pack and post if you can't get down here.
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