dmccombe7

[quote name='Wiggybass' timestamp='1483653237' post='3209102'] I've been watching the pro audio forums since this fiasco first broke. As in most situations there is probably a grain of truth in everyone's story but I can say this for certain: * The sound company was Maryland Sound, one of the most respected providers in the US and the company who have done the Times Square NYE event for 20 years, in addition to dozens of other national-profile events including the Presidential Inauguration. * Their team would have been on site many hours before La Carey and part of their routine would have been to conduct an RF scan to secure frequencies suitable for use that evening. They would undoubtedly have had backup systems in place for [i]everything[/i] and there was definitely a row of wedges on stage which were on and working. Frankly I'd bet my house that every single piece of audio gear on that stage was not only working perfectly (as stated by Maryland's MD Bob Goldstein in an email to the New York Times) but was also being operated by hugely experienced professionals at the top of their game. * In pro-audio it is not what happens to you - it's how you react to it. Real audio professionals get to be that by dealing with the unexpected every day and I assure you, this situation was nothing that they hadn't handled before, many times. Those guys would have done absolutely everything humanly possible to bring that show in, that's what they do. * There are numerous references to the backing tracks being different to what Ms Carey was expecting, not different songs but different mixes (i.e. with varying amounts of her vocal on - allegedly she prefers to avoid the high notes now). Personally I think it's probable that the sound company played the tracks they'd been given in good faith but they were, for some reason, not what she was expecting. * It's also apparent that she didn't show up for the pre-show run-through, getting a stand-in to do that for her. How effective that might be I'll leave to the reader's own judgement. And yes, I do work in professional audio and no, I am not impressed by 'talent' who can't even sing their own bloody songs, even if they have got a great arse. Rant over. [/quote] Good rant altho i think it puts across a very valid point that i would probably agree with. Well put across and good explanation and description of how things would have operated. I'll go with this Dave

So what is the thread about again ? Dave

[quote name='PaulWarning' timestamp='1483618439' post='3208687'] try this link [url="http://www.21frets.com/catalogs/Smx.pdf"]http://www.21frets.c...atalogs/Smx.pdf[/url] Trace Elliot hi fi sound? wouldn't have said that, I might about class D amps [/quote] Excellent. Managed to open and save it and explains it quite clearly. Hi-fi sound is probably a little too extreme. I would say its more of a clean sound in comparison to Ampeg SVT style amps. For me it just doesn't have a "warm" feel to it. Maybe i'm just not explaining it very well. Thanks for the manual. That should be a help. Dave

[quote name='VTypeV4' timestamp='1483584467' post='3208498'] They're usually in a PDF format so it should open in your browser or in Acrobat reader? As suggested previously, the balance knob sort of tilts the character of your sound between neutral (irrespective of EQ / pre-shape settings) at the 12 o'clock position and a brighter thinner sound as it's turned clockwise or conversely, a fatter darker sound if it's turned anti-clockwise.. Personally I found leaving it centered and using the graphic to sculpt the sound worked best. Watch the 50Hz slider as it can add lots of sub into your sound which can really muddy things up if boosted too much - personally I always cut it by between -3 and -6dB depending on the gig with my old 300SM, 715 or Twin-Valve combo. If you need warmth add it at 100Hz and your speakers will love you for it.. The bikes are kind of current - I need to update it a little.. The '87 FJ is part way through a restoration and some mods although I've not done much on it for a while. The '92 FJ is sadly history as I got knocked off it last May which killed it at 99 thousand miles. I've since replaced it with a low mileage '89 FJ which is superb despite it's vintage years. I like FJs just in case you'd not noticed! My '80 CX is current and running well althhough it's currently on SORN whilst the roads are covered in salt. I love my '89 NC30 as it's a head banger - a tiny terror thats more than capable of upsetting much more powerful and newer bikes. In Germany last year at the Nurbugring it lived with a two R1s, a Street Triple R and a Zed Thou.. And lastly the Kawasaki - that now lives three doors up the road with my next door but one neighbour who plans to restore it with his brother in law. Have a look on the 'Who rides motorbikes' thread in off topic and you'll find some pix of all of them.. [/quote] Thanks for that. It does verify my own thoughts on the 50Hz slider. As soon as i used it the sound became very bottom ended and muddy. Tend to have that neutral and use the 100Hz boosted a touch altho i did notice the EQ balance was set at approx 2 o clock and just couldn't really find that sweet spot i was looking for but bringing it back to flat and starting afresh should help next rehearsal. Will check the pics on Off Topic section. cheers Dave

[quote name='Harryburke14' timestamp='1483563511' post='3208362'] The Aguilar is very nice but unfortunately very far away for me. I will keep Markbass gear in mind though. Trying to remember which particular Gallien Krueger head and cab was in our practise room way back when. Man Id love that rig. Havent seen it in months so cant really remember. [/quote] pretty sure the seller was up to you arranging a courier. I have a GK1001RBi and its pretty powerful but quite a clean sound if that's what you're looking for. I've also got one of the MB200 lightweight amps which is pretty cool but not big enough to gig with. The larger MB500 might be worth a look tho. I've had the Ashdown 1x15" MAG combo but found it a very bland sound. No real character for me. Bit like a Ford Mondeo it just does what it says it will but nothing stands out with it. Just my own opinion whereas others on here love them. This could be a can of worms for you as people get quite passionate about their own gear Dave

[quote name='markstuk' timestamp='1483556746' post='3208251'] pretty much any cab.. theres a nice cheap aquilar 2x12 in cheltenham on here for £350 which would do the job luvverly.. [/quote] Yep that cab is a steal. I was looking at that too. Just a bit too far for me. I would look at the lightweight amps. Maybe a 2nd hand Markbass. So much choice out there. Depending on the bass you have you should pick up a half decent case for not a lot of money. Dave

[quote name='VTypeV4' timestamp='1483558472' post='3208275'] You'll not find a specific manual for a 150SM although a quick google search for the SM series should see you find it rather quickly. Trace used the SM pre-amp on the smaller BLX range right through to the giant AH1200SM so they didn't do a manual for each just one for the entire 7-band range.. [/quote] That's a fair collection of bikes you have there. All current or is it a history collection. ? Dave

Came across a few SM manuals but they wouldn't open when downloadd so not sure if i'm downloading them right. The rest of the amp was pretty easy to follow but this control had me puzzled a bit. Dave

Cheers guys that should explain a bit as it had been set at 2pm ish on dial which i think was boosting certain frequencies and i just can't seem to get around them with the graphic on its own. I'll run it "flat" at next rehearsal and tweak it from there see how it changes the sound. Lot more to Trace amps than i first thought. Cheers Dave

9 basses Ampeg SVT4 Pro (currently not working ?) GK1001RBii GK MB200 TE 150SM Markbass 121 combo Markbass 12" ext cab Bergantino HT322 cab TE 2x10" cab My gigging rig is currently the Markbass for convenience and sound. The GK1001RBii and Berg cab are quite something for bigger venues. The Ampeg was great when it worked but even bridged it never really seemed to have as much power as claimed and the 500W Markbass seems far louder. The Ampeg does have a great tonal range tho. TE rig is kept at rehearsal studio only. Not an amp i'm overly keen on but its ok for a rehearsal. Dave

I recently picked up one of these amp heads for not a lot of money to use and leave at our rehearsal room. I'm not a huge fan of the clean hi-fi sound it has and can't find any manual on it. Looks like its an older amp head but in good condition. My query is the E.Q. balance control. ? Does anyone know what its for. ? Its positioned in the same section as the balanced output and the effects send / return. If anyone has a manual for it that they could attach that might help. Dave

[quote name='owen' timestamp='1463042260' post='3047966'] I am feeling a bit light headed at the moment because I went onto youtube to hear these things. They sound really good. I will try some. However the video I watched was of a guy playing left handed with upsidedown strings. I can handle left handed but the upsidedown strings made everything wobbly in my head. He played lovely stuff though. [media]http://www.youtube.com/watch?v=HI2CgGaKKqI[/media] [/quote] Loved the tone and that bass player was an absolute treat. Weird to watch but boy he could play. Dave

This is a good post for me as i had all the gigging experience many years ago and stopped playing in bands for about 15yrs. To get back into playing i had to attend auditions. What i found was that people appreciated several things like being confident on bass, good time keeping, enthusiasm, easy going personality, knowledge of the material each band was playing ie anything from heavy rock to Glam covers, originals Prog, and now loosely termed as Funk / Blues. None of the bands i auditioned for asked about my history or experience altho i did make a point of telling them before they offered me the position. They mainly wanted to know i could actually play well and that i was able to blend with the existing members of the band. Out of all that i only failed one audition for a Gaelic folk band and i think that was down to not being fully committed to the style and other bass players were and got the job. (they did call me back a year later when the guy left - LOL) I don't think there's any one thing that qualifies you for a job and it needs to be a combination of factors. Dave

Bass wise i fancy a Fender Elite PJ type bass. Amp wise i have a strong notion for either Orange AD200b or OB-1 500 with Orange 4x10 cab. Still not sure how the amps will compare. Played the AD200b amp thru a Hartke 8x10 cab few months ago and it was absolutely on the spot for me sound wise. Depth and clarity and so easy to use. Will ponder on it for a while yet. Dave

WOW they are excellent. Really liking this band. Dave

[quote name='steve-bbb' timestamp='1483344292' post='3206284'] no no no its from knowing where the stops and pauses are ... all the notes in between are just filler [/quote] I've perfected my technique to the point the stops and pauses are the main feature and have removed all filler notes. Sorry Steve. Couldn't resist that. My coat is on and i'm on my way out. Dave

[quote name='bubinga5' timestamp='1483332511' post='3206254'] Deb just said the perfect record from a great. [media]http://www.youtube.com/watch?v=gp4fLSj9-kE[/media] [/quote] Excellent. Not heard him in a while. Need to look into this album. Cheers. Dave

Some already mentioned but here's my thoughts :- Jack Bruce Tony Franklin Stan Sheldon (Peter Frampton) Sting (with Police) John Deacon (occasionally with Queen) Mo Foster (maybe not so much Rock tho) J.P. Jones (Zep) Boz Burrell John Taylor (occasional Duran tracks) Maybe not quite the genre you're looking for but some are worth a listen. Think Tony Franklin is probably most famous true rock fretless IMO. I have 3 fretless basses but i do find they lack the attack in rock music however it makes for a pleasant change when playing same songs every week LOL Good luck but please give it some serious thought before going down this route. Could you maybe borrow a mates fretless to trial for a few weeks. If not buy a very cheap fretless first and try it out before making a permanent change. Dave

Good move. Think you've done the right thing for everyone. If the other 2 can't help with the band they need to face up to that responsibilty with a new band altho i find most band members generally don't behave like that and genuinely want to help. Sometimes its easier if one guy is leading a band but when he needs some help the others need to be there to help. Your new band sounds like a better fit all round so all the very best for you Dave

All the best to everyone and hope 2017 is a good year for all. Dave

[quote name='SpondonBassed' timestamp='1483226695' post='3205589'] That's just to make sure that none of the participants snuff it before their turn. [/quote]

For me it would be a deciding factor to leave the band or replace the guitarist for simply being stupid. I bought ACS earplugs because drummer in a new band i joined was a bit loud and didn't want to risk hearing damage however the original band members had already discussed with him and for few other reasons added into it he was replaced and we now rehearse at a very reasonable volume. I was considering leaving within few rehearsals before he was replaced as it was uncomfortable but what really annoyed me was the fact he thought it was funny. Dave

Got ACS pro17's for Xmas. I did try them when they arrived and couldn't believe how good they were in comparison to cheap earplugs. They literally just cut the volume down a bit and keep the clarity. I was really surprised just how clear. Expensive item but as stated ears are priceless and hearing irreplaceable. Get the ACS ones and have a great Xmas Dave

All from same bank account so doesn't really matter but i usually tell my wife what i would like and more than likely i'll just order it myself, she wraps it and hey ho Xmas is jolly and everyone's happy. Dave