mrtcat

In that case just eq some nice low mids in, use some gentle compression, a bit of light overdrive to get some nice harmonics from the breakup and make sure that there is a good hpf on guitars so that they are not treading all over your fundamentals. I like to mix the bass with the kick drum first so they sit well together and then layer other instruments on top making sure to give bass plenty of sonic space of it's own.

I would keep it simple and just use a clean non eq'd di into the desk. A good engineer will then have a good clean take and will be able to run it through an amp plugin and whatever processing that he or she knows will do the business and make it sit well in the mix. Bass sound is very subjective and I find that a lot of guitarists tend to bury it under everything else when mixing. A decent engineer will make a world of difference.

Should be fine as long as you are all on different frequencies. We have 5 transmitters and a router in our rack and none of them interfere with each other. The g75 is great as you have the scan function that can be a lifesaver.

I think it's this one https://www.swanflight.com/guitarist-flightcases/pedal-board-flightcases/multi-pedal-boards/single-level-guitar-pedal-board-case-size-3.html

Thanks so much Steve. basscki I'll drop you a pm now. Cheers

Put your IEM transmitter in the rack with the mixer and your bass wireless receiver next to your HX stomp. Many bass wireless receivers are designed to go on the floor or on a pedal board. I use a full fat Helix, which is mounted on a board in a flight case and my wireless receiver lives on the same board so I don't have to faff about wiring it up at every gig.

I went through 3 stages of interview for a civilian role within the RAF as a fitness instructor when I was in my 20s. I had all the relevant qualifications and experience. The third stage was a 2 day assessment at one of their bases specifically for fitness instructors. A week or so later I got a letter confirming that I had passed everything and that they were now pleased to offer me a job as a winch operator on a rescue helicopter. I contacted to highlight their mistake and was told they no longer have civilian fitness trainers but that they thought I'd be great as a winch operator. That was the end of that.

Yep completely agree. I once dropped by John's house, completely unannounced without an appointment, on the off chance he would sell me a mm pre. Not only was he more than happy to oblige he also invited me in for a look around the workshop and he offered to install the preamp for me. True gent.

I rate pretty much anything that rcf and yamaha make. Some cheaper 18s aren't as good with a band as 15s in my experience because they are almost too deep. Around 60hz is where the kick hits you in the chest. I've heard lots of brands and don't think you can go too far wrong with RCF, QSC or Yamaha in the mid priced market. The barefaced lf1400 I am selling is really clean with a fast transient response so, unlike many bandpass type subs, it seems much more detailed and has less of a woolly sound to it.

It's just one or two extra boxes. Everyone knows what plugs in where and with a digital desk you just recall a saved scene and tweak. Our sound check lasts approximately 3 minutes, unless the venue is really bad (at which point it would take longer regardless of which rig), and that includes checking a song with backing track, a song where both guitars are electric and a song where singer switches to acoustic. The only time we would save by not using subs is one trip to the van. On another plus side, the subs have a smaller footprint than a tripod speaker stand so it leaves more floor space at small gigs.

Yeah, one of the bands I was in last year was using a pair of 745s and a pair of rcf 8003 subs. Don't get me wrong, you could put a kick through the 745s but as soon as you added a sub it was a completely different thing. If you added both it was a step up again. The sound just had way more weight to it with subs added. It didn't have to be louder (obviously it could be if needed) it just felt much more solid. This year I'm with just one band and they have a big old ld systems rig (2x subs, 2x mids and 2x mid high) which is actually ok. Its loud and punchy but isn't going to win any awards from any audiophiles. The plan is to upgrade in 2020 but having just bought a photo booth (makes moving subs look like a dream) and a new van this year we need to consolidate a bit first. I would let them use my barefaced rig if it wasn't for the fact that the guitarist (who engineers foh) likes to push everything to the max and I prefer to look after my gear.

Always. Never sounds as good without decent subs regardless of venue. I'd rather take a decent PA and no backline any day of the week. We are a pop/rock wedding band with 2 guitars, bass & drums and all four of us singing. Venues range from huge marquees to ballrooms to halls, to stately homes to small pubs and we use subs at all of them. Whenever I hear bands using tops only, it just never sounds as full and even the best moderately priced tops (RCF 745s say) can't deliver what decent subs do.

Only when we have to learn a first dance request - which is rare now that we charge £150 per song to learn. Couldn't be doing with weekly rehearsal.

Only while there's still plenty of work in the diary....

I'm much like Blue in regards to the fact that earnings from bass playing make up a significant portion of my income. With this in mind I see bandmates like colleagues rather than mates. Thankfully, with the current band, I get on well with the other members. I would however put up with personality clashes etc within reason as long as the band was working well, was sustainable and was constantly looking at where future work was coming from. The things that would make me quit a band would be: 1. Empty diary with no concrete plan to fill it. 2. No attention to customer satisfaction to an extent that would affect the volume of future work. 3. Lazy approach to learning or a "as long as it's passable it's good enough" approach. 4. No business plan. 5. A "can't do" philosophy. 6. Band rehearses more often than it gigs. 7. Racism, homophobia, sexism or any other prejudice from any member. Beyond that I can cope with a lot. Drummers who can't keep time stress me more than anything else but I can stomach that as long as all the above are avoided.

I don't mind YouTube drum channels where the drummer overplays massively because that's the reason for the channel and it definitely appeals to lots of people. I just don't particularly like Cooperdrummer because although he's clearly a great player it always seems a bit sloppy to me and more about volume and showmanship than quality. I really like Cobus' channel tho and think he does some brilliant covers.

Or you could just use a decent PA and something like a helix and get the same results but with far more control over how it fits with the rest of the band.

In my previous band we used a couple of heavy duty wind up stands and two lengths of aluminium scaffold poles. Super sturdy, packed down nicely and was strong enough to hold lighting too.

Looks killer Dan. Fender P into valve head into Ampeg cab - doesn't get much better than that.

This. I've done it before as a temporary patch up and then forgotten about it for years. If you name the cab then someone should be able to point you in the direction of a replacement driver but as Stevie says it's not a difficult job to patch up a torn cone.