mrtcat

[quote name='deksawyer' timestamp='1468357980' post='3090457'] If I had the cash, I'd be looking at the 900 or whatever it is in the classifieds....... D. [/quote] Its worth every penny I tell you ;-)

[quote name='JTUK' timestamp='1468057466' post='3088315'] Subject to hearing, I think you need to hear a crap sub... and then you'll not waste your money. [/quote] This. Crap subs are generally pretty naff and the Behringer ones are heavy and the power rating is a load of old cobblers. The SPL on the B1200D is only 122dB which is pretty low. I heard a band with two of the Yamaha powered 12 inch subs and they were actually pretty good considering they're not particularly expensive

I had a Gator GRB 3U and my only complaint was that the handle has a reasonably fat tube in to make it more comfy to hold which means it sits on top of cabs at a bit of a tilt.

So a slight change happened when an amp I only ever really dreamed of owning popped up at a great price at an opportune time. Rig now looks like this: [attachment=223284:IMG_7544.JPG] And now I'm very happy

[quote name='Dropzone' timestamp='1468228544' post='3089321'] Yep, if you search youtube for "Bass player falls off stage" I am the one with green strings. To be honest it is very funny. [/quote] Haha beautifully done. No injuries I hope?

[quote name='EBS_freak' timestamp='1467909950' post='3087268'] A couple of decent full range PA cabs sounds like where you want to be. RCF 745 is my current fave rave. [/quote] +1. I have a pair of RCF 745s and they are astoundingly good and would be more versatile than powered bass cabs (except the barefaced ones which work well as PA cabs I believe).

[quote name='wateroftyne' timestamp='1467820674' post='3086537'] FWIW, none of the bands I play with, either regularly or in dep form, have charts. Hopeless drummer? Different thing entirely. Run away! [/quote] +1 I do plenty of deps and have only once been given charts in 20yrs. The drummer issue is a whole different world of pain though and I'd get pretty blunt pretty quickly if I were doing it as a favour. Probably worth checking with your mate that he's definitely coming back at the end of summer and hasn't just done the craftiest exit from a band that he too finds depressing to play with.

[quote name='leftybassman392' timestamp='1467699165' post='3085379'] Just a thought: It's your system and your money, but the whole point of subs is to take the extreme bottom end away from the tops. If you just plumb your sub into the Aux out then you're not doing that (and hence are losing the whole reason for having it at all); and unless you set the system up very carefully you could get phase cancellation as well (which will have the net result of actually losing deep bass output instead of enhancing it). Do you want the sub to do the job it's there to do, or do you just want to be able to tell people you have a sub in your system? [/quote] I would say that taking the bottom end out of the tops is one of the advantages but not the main reason for having a sub. A sub can reproduce low end far better than a full range speaker so that is its main benefit. If there's an eq on main output just roll of anything below 80 hz in the main mix and that shouldn't affect the aux send to the sub. Any decent sub will have a phase switch.

I practice most days (30 mins ish of scales, fingering, chords etc then anything from 5mins to an hour or so on band stuff) but rarely play anything other than a little noodle on the day after a gig. If I didn't I'd suck come gig time.

[quote name='dannybuoy' timestamp='1467325804' post='3082939'] Looking forward to seeing them play London in September! [/quote] +100. Really looking forward to it!!!

Oh man that's not good. Really hope it gets sorted soon. UK customs are a disgrace and so are royal mail. It's like nobody cares that the package might actually really be important to the recipient.

[quote name='NancyJohnson' timestamp='1467289349' post='3082540'] I could see this happening a mile off with the Limelight stuff to be honest, not because I don't like what they're doing (because I think they look decent enough). It's difficult to quantify and I don't want to upset anyone; I'd love to believe that their basses are lovingly crafted with due care and attention (like the Bravewood stuff), but I just get the feeling that this isn't the case. If it's the latter, it's potentially a tremendous mark up for bolting together some instruments in a Dr Frankenstein manner. [/quote] My experience has been the polar opposite of this. Now I'm not expecting them to be hand carved from exotic woods from the moons of Endor but the few I've played have all felt and sounded great. When you order with Mark he listens to what you want, asks a whole heap of questions and offers some other ideas and then assembles what you asked for. I would certainly imagine the parts mark up on a real Fender to be considerably higher and with a Limelight you get to choose what you want it to look like. At under £800 I think that's pretty decent service and seeing as they don't appear to depreciate anywhere near as much as real fenders I can think of far worse musical investments to make.

Hartke Kilo amp. Bought new for around £800. Died at its 4th gig. Spent next four months taking it back and forth to the distributor for repair where they not only failed to repair it, they also damaged the front panel. Dealt with the Hartke UK top man (via this very forum) until it died a forth time and Hartke completely stopped communicating. Ended up having to throw it out less than 6 months after buying it. Most appalling service ever. In hindsight should have sought legal advice but didn't. Every time I see a Hartke amp now my blood pressure rises.

I like subtle relic effect if done well and if it's in realistic places. Mark at limelight sent me a picture of my newly built 76 p bass a couple of days ago. Can't wait to get my paws on it.

The biggest problem with drummers is that if they're any good they're usually very busy and you have to keep them fed with regular decent work or you'll quickly drop down their list of priorities. Only drummer I ever had a problem with was the one who had all the chops but couldn't keep time. He refused to accept there was an issue and even when he did accept something was amiss with his playing he simply said "Dave Grohl says it's perfectly natural to gain a bit". Pretty sure Dave Grohl was referring to a couple BPM not 30. I left that band pretty quick.

[quote name='luckydog' timestamp='1467066537' post='3081019'] Hi mrtcat, I think you already answered it, there's a definite art and it mostly lies in engineers who have it. Perhaps 1/3 equipment and 2/3 engineer. [/quote] I absolutely get this and that's why I had ideally wanted an engineer. Unfortunately adding in the cost of the engineer made it too expensive for the people paying so we explained that the sound quality would likely suffer as a result. They were perfectly happy on the night. With that said, we played over 100 gigs last year and only included an engineer on about 15 of them. I have a good understanding of how to mix live but it was just this gig where I felt like my foh bass sound wasn't up to scratch. Conversely the drums sounded absolutely great and the monitor mix was really good all round.

[quote name='drTStingray' timestamp='1466985474' post='3080286'] Re the OPs question, yes I've come across this also - I think it may be a pa EQ issue - I don't do the sound but notice the master graphic is often set as a smiley face with the mids slightly cut and the bass and treble boosted giving quite a scooped sound. Not sure how much the individual channels can override it but my sound relies on mids. [/quote] The main mix eq is completely flat. The mixer we have allows you to eq each channel in much more detail than an analogue mixer like this: [attachment=222355:maxresdefault.jpg] I have never worked with a mixer that allows EQ on the main mix so it's not something I'd ever use.

[quote name='Chrismanbass' timestamp='1466960205' post='3080030'] not this again FWIW post EQ sometimes makes sense if you're mixing your own band as it means you get a roughly similar sound to whats coming out of your rig most of the time (the EQ for your rig may not be appropriate for the FOH mix as sometimes you're cutting what you want to boost in the PA and so on and so forth) it also depends on how much isolation there is between the PA and the backline if you're doing a small pub gig with little PA support needed then Post EQ is okay because the majority of the bass sound you're hearing is the bass amp however if you're doing larger gigs then you have a lot more factors to consider than just your bass sound i've done too many gigs (as an engineer) where i've been given a post EQ DI signal which is completely unusable and not appropriate for where it sits in the mix of the band and you end up with a bass sound that is unnecessarily subby to the point of not being able to tell what note the player is on or even worse a very middy tone which leaves the mix sounding completely empty in the bottom end this is why I'll always if given the option ask for a Pre EQ DI line (possibly paired with a nice bass cab mic where appropriate) just a little disclaimer I am one of those very rare creatures.... a nice sound guy. I do actually care about how the band sounds and each players tone i'll try and get things right at the source rather than fix them at the mixer end of the multicore however if my hands are tied by a player insisting that i use a Post EQ DI signal then experience tells me that i can't make the band sound as good as possible because you're limiting my options on how I fit people into the overall mix In terms of the OP's question I doubt its a systemic thing with your sound or your playing so you may want to look at the use of EQ and compression (compression in essence will make your bass more present in the mix but be careful not to over compress it otherwise you'll end up with lots of subby overtones made artificially louder making the bass less present in the mix i would look at how you're EQ'ing the bass the vast majority of basses have nice fat bottom at around 80 - 170 hz, presence at about 400hz and string clank and cut about about 2.3khz these will vary from bass to bass so experiment with the numbers a little bit and see what sounds good but that should arm you with a good starting point to build the tone that you want fwiw i also use a HPF to about 100 when i have the choice as this helps to define between the bass drum (which i like to fill out the bottom of the mix) and then have a present bass rather than the other way round where you end up with indistinct mush again none of this stuff is a hard and fast rule because simply there aren't any its all about personal taste and judgement ps. heres all the punctuation I probably should have used ..,,.,...,...,...,..,,,...,,.,...,..,., I'm sure you can do the rest Chris [/quote] This is all really helpful - thank you.

Awesome thanks everyone. I was going pre eq so that I can use the eq on the mixer. Stage sound is rarely the same as foh so it's easier to start fresh out front. I think I'll go more middy on stage in future and put more low mid on bass channel eq. Yep kick was gated and compressed so I think the sheer size of area we were trying to fill was a step too far for our rig (there were 500 people in for the evening do). Usually my bass rig would be enough as it's plenty loud enough. Next engineered marquee gig we get, I'll spend some time with the engineer to see what he's doing.