Monckyman

My advice, take your time and talk it through properly before getting emotional. Bands are bloody hard work most of the time and the fact you stuck with this one for four years means something. Just tell them how you feel and see what they say. If the reunion is to be long term then you'll need an alternative, if it's just a few gigs, it aint worth getting bothered about.

JT has it. It IS her problem, she does need to listen, and the cost of the mic is irrelevant. Explain to her that you playing bass with only your right hand little finger to pluck the strings won't sound any better on a bass twice as expensive, and that what goes in is always more important than what comes out. Try to get her to stick to a max 3 inches distance from the mic unless screaming.

Thanks for the reply Noir. I adjusted the latency on Audiobus so it's actually pretty good now but I still have to route the mic to Jamup pro through it, so will try and re install a couple of times. Am sure it's a case of the app not asking if it can access the mic at initial install. I bought the bass pack 1 and like it a lot, will prob go for bias as everyone is saying the amp models are better. Really liking it though as a great practice tool, will see if it's practical for live use. Depends on charging and a decent foot pedal I spose. Edit, I just found you can select what apps get mic access(and this means usb audio also) by going to Settings>Privacy>microphone access,and select which app you want to have access. Curiously my Jamup pro wasn't selected, so I changed that and it all works perfectly now. Also, anyone looking for a lightning to usb adaptor that works with audio interfaces but doesn't want to give apple £25 for one, try here http://uk.cellphoneshop.net They are in Hong Kong, but it's free delivery and mine was here in a week, for a £5 it's bang on, I just bought two more. ; )

Need a bit of help. My setup: Fender P>M-Audio mobile pre usb audio interface>powered usb hub>lightning to usb connector(non apple)>ipad3>jamup pro. My problem is, I'm not seeing a signal into jamup pro from the audio interface. However, Jamup the free version, and all my other audio apps like Meteor daw all work fine with the Mobile pre. I can only get Jamup pro to see an audiobus routed signal ie: Audiobus- mic input> effects Jamup pro>speaker and that works ok, but it feels a bit laggy, (could just be me). What am I doing wrong with Jamup pro that it's not seeing my direct input? I have deleted and re loaded it but no change and I didn't see any "allow jamup to access microphone) type message either. Jamup also doesn't see the mic input when all the hardware is removed. Any ideas?

Tribe called Quest used to get my attention for intelligent minimalism. My daughter seems to end up with some sod or other rapping in the middle of whatever song she records and it seems to me just like lip service. Surely, post will smith and the rapping gap mum ad hip hop is a mouldering in it's grave?

If anyone in or around manchester knows of a relatively sane and truthful singer looking for a covers function band to commit to, could you give me a shout`? Been auditioning for a while and its really tedious and sh*tty when people say one thing and then a week later do something completely different But that's singers I spose. ta

Sounds to me that this was a "f*** me, the amps gone down where's the thing with the doobry wotsit plug it in quickly ah sh*t it doesnt work bollox"kind of situation that could have been avoided if you had tested and set the unit up prior to actually needing it. : ) The BDDI is usually reliable though the psu input tends to burn out leaving you needing a battery. Hope you get it sorted.

Bit flotsam and jetsam. And don't call him Sherly.

Good luck with your new band,hope you enjoy.

What hasn't been noted here is that low frequencies aren't directional,which means there's almost as much low end to the sides and rear of your bass as the front, so its difficult to isolate and contain feedback. On the IEM angle, better buds/molds/seals allow a much lower level of sound to your ear and so reduce the actual decibel count of any "blast of feedback". You can if you have the inclination, put a compressor/ limiter over either the mix at the mixer output, or the input to your personal mixer, and set it up to act as a brickwall limiter so whatever happens, it will never get louder than you allow. if you were using a dual mono ( mix in one and bass in the other, you only need limiting on the mix side.) I would also suggest that any blast of feedback would more than likely be the singer bending down over his monitors,mic in hand to reach his booze/fags/lyrics/sweets so getting him on IEMs should be the bands priority and then the feedback problem is 75% reduced. This stuff is only fiddly to set up and get used to, but once past that, it'll be quick and easy.

Gandalfs very own gig bass.

I wasn't an early adopter of the Smiths, and it is true the typical fan type of red bomber jacket doc Martin wearing bespectacled tragedian did tend to get up ones nose. However, when they all moved on to the Housemartins and Bronski beat the way was clear for better scrutiny and they came out well. Morrissey is indeed an emotion inducing personage, but that's exactly what I thought frontmen in bands ought to be and still do. Sadly, they've all disappeared and been replaced by melodine adjusted clothes horses which as Morrissey once said, "No,it's lock jawed pop stars thicker than pigshit,nothing to convey.. They're so scared to show intelligence, It might smear their lovely career" Def a twat though.

Reaper is very good, but not free. You can however use it fully for 60 day till you decide whether to buy or not. http://www.reaper.fm/download.php

hybrid for me though I would prefer all passive. if you blow either an amp or cone during a show, you're stuck with half an active system,with passive you can always carry another amp and spare top. I have active mackie 15" tops at 500w per side and passive PD 15" loaded/turbosound copy subs at 600 powered by a QSC amp. it all goes through a DBX Driverack P.A speaker management/crossover box and is all limited and balanced in there. I have 4 passive Beyma 12" speakers currently in use as stage monitors that id like to stick in top boxes as they sound great as tops. Ill run them from a 500watt pulse amp or swap for the QSC, whatever works. Point being all passive will let me run the 4 boxes via 2 NL4 speakons with link outs to the tops so less cables, tidier, two sockets on the back of the amp rack and done. the Beymas will be considerably lighter also but Ill have another rack amp. in an emergency, I can run a passive system in mono,2x tops(8ohms) into 4ohms on one side of one amp, or run the subs in mono also,so one good stereo amp will power the tops and subs if I lose an amp. Passive is just a little more flexible. Active is just a little bit more convenient but less versatile.

On Song, for lyrics chords set lists etc. Very easy to get all your stuff together in one place.

Dave Lunt for valves.

80% of young bands who fully believe they are the next big thing, are in fact, quite crap in actuality. Promotors know this, their mates know this, and you know this too. Perhaps they will improve, and become what they already believe they are, which is a good professional minded sharp band with a bit of vision and a good work ethic,some do. But most of the young bands I've had the misfortune to mix in venues over the years can't seem to tell the time, or how to tune their instruments, or say thank you when you manage to remove that ear destroying earth hum from their Peavey Bandit. Or bring a drummer to the soundcheck they insist on getting because it's like, "what real pros do" man. Most bands don't seem to actually realise that venues sell BEER not music, and they are just a soft pull to get punters within 3 metres of a beer pump. If they can't do that then the venues aren't interested and will stick on the old "DJ Hali toe sis" in da house innit. And fleece the students instead. Bands that are together, and know their sh*t, use these venues to get where they are going, not the other way round. On the other side of the coin, a clean toilet and some safe power would be a vast improvement on most venues. It used to be sh*te P.As but they've sussed a crap sounds means no punters. Promoters are mostly just unpaid chancers doing the venues legwork for them in the hope they make a few quid. No, it's not too late to go to plumbing school.

There is the thermal cutout, which should obviously have cooled down, and there is an internal fuse. You have to take the rear amp panel off (8screws) to get at it and it's located near the mains socket. Careful you don't pull any wires off, go slowly. Have a google but the equivalent rating is T 2.5AL250V Hth

Completely true.

As a matter of fact I am looking for something to track with on an Athlon based netbook. For live shows. Reaper sounds apt. Ta

Borked.....(face palm)

For me, it's Cubase as that's what I grew up with. I would use Logic but I don't own a working Mac. I would use pro tools but the hardware unrestricted version is expensive. Reaper I looked at a couple of years ago but have to say didn't really give it the time it deserved. Does anyone know if it's lighter on CPU than cubase? Sorry for the hijack!

To the OP, could you explain why you're going exclusively with Reaper rather than Cubase?

Lots of drummers use headphones as opposed to IEMs. Looks a bit dr Who but hey, they're drummers.. Sennheiser 25/II or 280 pros sound great with lots of warmth,the Beyer range is fine but the high impedance often means they are quieter on some systems. You can easily do it for £100 if not less but if you are spending that, my advice is go for IEMs.