WalMan

[quote name='JonnyM' post='1023675' date='Nov 14 2010, 06:11 PM']I'm in an experimental/Gothic duo: guitar (miked amp), bass, 2 x vox and backing track (run from an iPod on stage) and we really need to go to in-ear monitoring due to generally bad monitors in most of the venues we play! We don't jump around (!) so wired IEMs will work fine. We could just split the iPod output and send the track to the DI/FOH and a 2 channel headphone amp of some kind (on stage and in between us). Obviously we'd only have the backing track in the IEMs, so we'd still need to rely on house monitors for vox etc... Not ideal. My question is: how can we get everything in our IEMs using a - fairly - simple setup? (Would the bass feed and guitar mic signal have to go into a mixer before going to the FOH? Is there a mixer out there that can send the bass feed, guitar mic signal and backing track to the FOH and give us separate IEM mixes? Am I dreaming? )[/quote] Bit expensive, but you could look at [url="http://www.aviom.com/AviomApplications/Monitor-Mixing.cfm"]Aviom[/url]. We use it so vereything goes into the stage box which feeds individual mixers - so we can each set our own mix of whatever is going into the stage box. Once it's in the stage box everything basically goes digital and runs on CAT5 cables either to our submixers (which convert back to feed the IEM's) or the FOH mixer, where it goes through a DAC into the desk (I think, not involved in that end)

Not a bad night. Back at a gig that has messed us about for the whole of last year, cancelling, blah di blah. Turn up thinking "We'll do this one out of five for the whole year then screw it & screw them". Last time I spoke to matey he said "I'm sorting out gigs for next year at the weekend" & I thought "I could give a flying #### cos I don't care if we don't go back", So what's the first thinghe does? Comes up at the start of the evening with next years diaries & a few dates already pencilled in. So anyway, the gig. Been working on some new songs. Did one at last weeks gig and thought we'd chuck in one of the two Hendrix numbers as they're relatively easy & loose to play. Ran through another we had worked out in one key - but then changed at the last r/h when #2 guitarist couldn't make it so had dumped a retuned version in the band dropbox - for a quick soundcheck, and left it as perhaps we'll risk it as an encore. Got to the end and went "ah bollox let's just go for it" and here it is in all it's [i]glory[/i]? [url="http://www.the-alibi.org.uk/Sounds/Alibi_Live_-_Maniac.mp3"][color="#FF0000"][b]Alibi Live[/b][/color][/url]. Recorded ith the Roland R05 at the desk and quickly chopped up before I head for my pit. D'you know I quite enjoyed it having been a tad uncertain about it. Still got to the end of the night. Good gig. Chatting to loads of people after all of whom were most complimentary and generally seemed to reckon it was the busiest night in the pub for a while.

I have a Roland R05 and it works really well for rehearsals & gig recordings. The results to date have been well worth it Combined with a band Dropbox folder we can record new songs / arrangements, dump them to the folder then everyone has a copy on the right key to play/sing along to. So last night #2 guitarist had a gyppy stomach and couldn't make it down to rehearsal. We ran through some new covers that we had worked on with him and the vocalist said "could we change the key" to one of them. Dropped the song a tone, recorded it, dumped it in Dropbox when I got home, SORTED! An early attempt with it [url="http://basschat.co.uk/index.php?showtopic=104645"]HERE[/url] And another from last night's gig [url="http://www.the-alibi.org.uk/Sounds/Alibi_Live_-_Maniac.mp3"]HERE[/url]

Are we still considering a SEBB Bus this year Nik?

[quote name='JTUK' post='1024565' date='Nov 15 2010, 01:08 PM']Reastically, what do you get out of it for a 4 hr drive...good deed aside..?? Our drummer flatly refuses to do 'charity' gigs IF the other people are getting paid/earning...like the bar staff, vendors etc etc, which is a POV..!![/quote] Rick Wakeman had a similar rant in his Classic Rock Prog mag column a couple of months along the lines of getting a call and the organiser being surprised when he asked about fee to cover roadies etc thinking he'd do it for the love and being miffed when Rick asked if the venue, venue staff, PA, lights, etc, etc were all doing it for free. The year of Live Aid my band of the time did at least 4, none of which, with one possible exception, led to anything more than sitting around for hours waiting to go on. And frankly the exception was Worthing, and only so because [list] [*]it was really well run, [*]only 6 bands, [*]everyone stuck to their alloted time so it didn't over run, [*]we drew the penultimate slot [*]it was a big hall with probably the biggest crowd we ever played to who were all well up for it, so I remember it as one of the best gigs ever alongside the BoB final in the big top at the Brighton Festival [/list] and yet still we played Worthing a week later to two men & a dog, so as a means of getting on it was a complete waste of time. That and the video bus had gremlins so the vid of our set is not the greatest So I'd be inclined to stick to your guns and say no unless the guitard can come up with a [i][b]REEEEEEEALLY[/b][/i] good reason as to why it could be worth your while

Lots of MM suggestions. I would just add G&L to the list. My first 5'er was a SUB 5 and I went from that to the first of two US G&L L2500's, all bought on here, all less than half your projected budget and another great rock bass IMO

I thought they had always advertised them as being able to go down to B? I'm sure I recall something on those lines when I got mine for the Wal about 20 years ago.

Sorry can't help with your questions - mines on the Wal and I only drop to D (or I suppose C# as we detune a semitone) and I've not had problems with standard gauges. But they are a great bit of kit IMO

[quote name='mandomicky' post='996282' date='Oct 21 2010, 07:36 PM']-------------------------------------------------------------------------------- these have one up for sale now for £1899 and fretless www.bassdirect.co.uk[/quote] I expected this to be a full on custom at that price but it doesn't appear to be. Beautiful looking bass, but the price seems over the top

[quote name='philw' post='995958' date='Oct 21 2010, 02:12 PM']Oh that's a bugger. I hope you get over it and get the chance to play that lovely collection of instruments you have. You'll hate this but my Wal new in 1983 was £595. Not such a bad buy as it turned out. Phil[/quote] You don't want to know what I paid for mine (second hand) around the same time then!!! As explained to me by Pete in 96 the passive Pro 1's were a sort of "starter" bass the idea being that if/when you wanted to you could go back to Wal/Pete and he would retrofit the Custom actives and pups. That's what I did in 96, though I had originally only taken mine up for an overhaul and it was only pure chance that Pete was retrofitting another, he said "have a try while your here", we got chatting and he explained the process & quoted me a price, and I left having booked mine in for the same Picked it up a few weeks later and it was a whole different bass. Not sure whether you would want the retrofit, but it might be worth a word with Paul at Wal if you were interested I have recordings of it pre & post conversion, and it was a great sounding bass even before the conversion but the after, was even better!! Value....difficult to say. They are what they were built for, and a great bass even in the stripped down version IMO. That and you can't get them now so... possibly what you're willing to pay, particularly if it's in good nick and with a Wal case, but I should have said not crazy money EDIT: Just found the listing....it does look a lot and a bit more dinked than mine, but you can't get them now, it has a Wal case - which is worth £200 on its own - looks really nice, and if it plays and sounds as good as mine did and you're happy with it is still worth it. Oh and it is 3 younger than mine as mine is PB1680 - and I believe Silverfoxnik had PB1682 at one time. Small world /Edit

Not actually my gig, as I had to watch another guy filling my boots with the proggy band I am in. Looked like it was going to be a strange one as it was a basically a folk/acoustic music club so the "support" was various earnest acoustic acts to be followed by the full electric prog but actually it went really well for them (dammit ) Probably helped by a load of friends into prog being there and so whooping it up. Before they went on it looked like it was going to be one of "those" gigs that you're talking about years later for all the wrong reasons, but thankfully not. Bring your own booze, so MrsW tucked into a bottle of wine & kept exiting at the start as she was unable to behave herself , and we forgot to switch phones to silent so in the middle of a gentle acoustic number her Nokia kicked off with its banging house ring tone leading to scrabbling in the handbag to find it and kill it, which seemed to take an age. Still wish I could have had a go, but there's always next time.

Interesting & local, but I suspect I'm not exactly in the age range. 100% commitment would be a problem with other stuff

I had one briefly to try to get mild valve crunch, but to my ears it sucked the bass from the sound, presumably because it is designed for guitar not bass. I moved it on very quickly

[quote name='thisnameistaken' post='984435' date='Oct 11 2010, 02:01 PM']Haha, you can only do 100mph? Weak.[/quote] I wish!! I can't even do 1 mph Then again I have no need or inclination to do so.

"Play for the music" - definitely. That should surely be high on the list if not number one Technique, be it scales, modes, etc., or particular styles are just the building blocks to assist you in achieving the end of playing music. Slapping at 100mph through every song because you can, be it country, ballad, rock, whatever, is not IMO "playing music". Listening to what everyone else is doing, locking in with the drummer to provide a solid base and using the "big guns" judiciously is waaaay more important. If you have been playing for a few years, and use your ears to listen to what's going on around you, then quite possibly you do actually have a fair bit of technique and play the modes etc, but just do not realise it because you have not had it explained to you. Taking lessons and gaining technical skills merely widens your palate and will not grind inate feel out of you so long as you use what you learn sensibly and continue to listen and play for the band/music, not yourself.

[quote name='Sean' post='982320' date='Oct 9 2010, 09:44 AM']If anyone who is going has a Boogie 400+ I'd really appreciate it if they brought it along and let me put it through my Berg cabs. I've had gas for one for years and I need to be convinced either way, finally, once and for ever whether I want one. And if anyone's got a VBA400 it would be cool if that could be there too. Maybe a monster valve amp off on the day?[/quote] Howsabout an ancient Superbass 100?

Now: Elixirs Prev: Ropewound or Elites Why: 'cos they sound great and last forever eeeer, that's it really Changed after I bagged a free set at the London Show 5+ years back. Loved them so much I went back next year and bought a box to keep me going

The serial is not in the Wal d/b but falls around 1987. The control plate is similar to my Pro1 as it started, but expanded for the second pup - mine had volume & tone with a single coil tap switch. I wonder whether this is passive Pro model as well, though I suppose the serial might start with PB not W. As explained to me by Pete the passive Pro models were designed as a cheaper version that you could retrofit actives to at a later date, as I did. Just a thought

Marvellous. And you can hear the bass to. I spent some while trying to pick bits out of Roundabout a while back where the bass seemed lost a lot of the time. Talking to the drummer in my proggy project yesterday and he asked if I had ever wanted a Rick. Said in my youth it had always been a dream because of Chris Squire and he mentioned that CS had used Fenders on a lot of studio stuff.

First couple of gigs in a long time last weekend and a chance to use the newish toy on my lot at last. The recorder was set to [list] [*]record WAV & MP3 at the same time, [*]levels set rather than automatic [*]Mic gain Low [*]Limiter & low cut off [/list]and left to run on the internal mics. Subsequently I dropped it into Tracktion to chop up the songs and run it through a general CD Mastering plugin in Acuma Final Mix. The link that follows is a 192k MP3 exported from the WAV. [url="http://www.the-alibi.org.uk/Sounds/Fountain_25Sep2010_-_Wayward_Son.mp3"]Wayward Son[/url] The siting of the recorder was not optimal. It was by the desk. but it's a small gig and whilst it was generally facing the stage pretty much straight on it was close to the top cabs and my MB combo was low down, behind the bass bins and at close to right angles to the mic pattern, so OK for the room but not really for the recorder. For me the bass gets lost on some tracks, but I would say that wouldn't I Otherwise I'm quite pleased with what I'm getting. It could be better but it's a live & lairy gig so what can one expect. Anyone else use one of these, or similar & have tips for optimising the results, other than sack the bassplayer ?

Cheers Kevin. The Unichorus arrived safely (though it looked like postie had had a crack at the box), but all safe & well and it will be getting its first outing tomorrow. Hassle free transaction. No sooner paid than posted and received, and a great little unit in superb nick. Cheers again

[quote name='gary mac' post='966625' date='Sep 24 2010, 01:02 PM']Thanks for the link, I want them both. My recent SB1 purchase has cured me of Gas for any other make of instrument. Even been thinking of selling my old yamaha and wal, but maybe I shouldn't be too hasty.[/quote] Steady now. I love my L2500's but the Wal's going nowhere The SB2 says definitely no International and the response to a question re shipping the SB1 looks like he'd really prefer not to. Shame

Got to agree with that. They go on forever & tend to stay good on my basses for 6 months to a year. My problem then becomes the fact that they are still sounding good after a long while and it's only when I think enoughs enough & put a new set on that I realise that some of the zing had actually gone.