clauster

I had my first proper stab at backing vocals last night. For a few weeks now I've been singing quietly to my self at rehearsals and last night I finally got up the courage to plug into the vocal monitor - got some compliments and hopefully over the next few weeks I'll be up to the point where I won;t disgrace myself at our first gig.

Ta Faithless, now I understand :blush:

That's a strange list of the three best comps IMHO Mine top 5 would include the Demeter Compulator, EBS Multicomp, Trace Elliot's dual-band comp, Monte Allum's modded CS3 + one other. Although I'm now loking for a rackmount one.

Zoom B1?

Aren't you both saying the same thing? It's informed musicality that's important rather than techical pyrotechnics for the sake of being flash? Silddx, I'd say that a three note player still needs good technique. It's more rhythmic than harmonic, but its still a technical skill.

+1 to what BOD2 says Get some decent cable, quality plugs, some solder and iron and it's quite a nice way to spend an evening.

I think he's secretly female and a compulsive masturbator

I used to do a lot of live sound engineering - mostly on the monitor desk, but I was still involved in running the set-up. Vocals and drums need mics obviously. Guitars are next priority for mics because a large part of the tone comes from the speaker. If the bass was running through a rig that obviously coloured the tone (vintage fender, marshall, vox ac-50, etc) then we'd stick a mic on one of the cones and take a DI from a box before the amp - mainly run the DI through the PA, but with some mic to add the "flavour" back in. Mostly we saw Peavey and Trace Elliot stuff so we'd DI from the amp head because we knew they were acceptable DIs. Any probs during the soundcheck and we could stick one of our DI's in instead. I only remember one arrogant bassist who came on for the gig, unplugged from the DI box and went straight into the amp so we only had the mic signal. Because of the venue acoustics I couldn't let much of his signal go through the monitors without feedback (the FOH guy had the same problem too). He spent the whole gig moaning at me that he couldn't hear himself in the monitors, I think he'd have been even more upset that there wasn't much of him in the FOH mix either. If you wanna get listened to buy sound-guys (or gals) learn to speak their language and learn a bit about acoustics. Secondly, as soon as you've got the gig, find out who's doing the sound and send them a cd/tape/mp3 - that gives them a bit of time to think about how to represent the sound of the band. The other option is do what we've done and get a sound guy to join your band - he gets a cut of any income, but in return has to come to rehearsals so he knows our set as well as the onstage members and can also discuss problems that he foresees as they arise. Works well for us. Final tip is don't forget its not your sound once its in his PA its HIS!

Well this was fifth in the list - [url="http://basschat.co.uk/index.php?showtopic=6172&hl=DHA+400"]http://basschat.co.uk/index.php?showtopic=...&hl=DHA+400[/url]

Thanks for that link David, I'd been wondering where to source crossove components.

At least a couple of members have them and there's a review of a prototype somewhere round here. Why not try the search function? That's what it's there for.

I'm hoping to come and (so long as they're finished) will bring an Omni15 (probable) and Omni10 (possible)

Bridge looks more substantial on the new one at a glance

That's a nice brace of Warwicks!

We're in the process of speaking to three venues that we don't mind not going back to for the first gig with our latest line-up - if it all goes horribly wrong, nothing lost.

I've been outbid!

Have a look on ebay for the Boss BR 8 track - they usually go for about £170 ish. I borrowed one last year and its got a lot of the features of the BR1600. Great for the price.

I was aware wrongly and stand corrected (in my defense it's now 21 years since I completed my electronics A level). Apologies for the confusion John.

John, I take it you're talking about valve (power) amp? They have the different outs because the output must be impedance matched to the cab. The same rules for power still apply as far as I am aware. Tranny's will quite hapily work with anything down to their minimum load.

I'm in! - It'll be good practise as I've been thinking of finding a working covers band

I played in a band last year where two of the guys were doing the same course as you're looking at - hard work, but they both really enjoyed it.

I see he's doing tribal planet gigbags at knockdown prices too

I've got that Warwick love Dunno why people complain about fat necks - they've got a deepish profile but the fretboard's not too wide. Comfortabel for me and my hands are quite small. I'm gassing for an Ash $$ NT at the mo (even better if I could afford a custom shop one).

Beyond a preamp I need nothing - Always DI through the PA. Although I'm building a BFM O15TB so I'm not completely reliant on the PA If you've not got a PA, I'd go with double the total power of guitar amps. For rehearsals an Ashdown EB180-12 does me.