Monckyman

In reply to JT, when I say nobody cares, I mean nobody cares unless your sound is sh*t. If you have a good tone that works in the band, getting anyone other than yourself to notice any difference when you use valves or a pre amp is pretty hard. The engineer we regularly use for FOH cares a lot about the sound, and would immediately voice his concerns if anything was causing a problem, but as I said, he was very happy to hear the bass direct, and compress and EQ it to suit the overall mix requirements. As regarding the tone to fit the band,I bought a certain type of bass and fitted it with flat strings and it's that which provides my sound for this gig. The amp is almost irrelevant in my setup so long as it doesn't detract from that. I may go back to using Jamup/ipad just to guarantee a tone in my IEMs when there is a monitor engineer I don't know,but otherwise I'm completely happy with a bass and a tuner. If I were to use a pedal it would be a Sansamp. I understand peoples joy when using the SVT/810 rigs, they are very nice, (I have an ampeg PF500 with a 1x15 and a 4x10 ampeg cabs myself)but almost completely impractical for most working bands, which is why there are so many very good lightweight alternatives. It is of course up to your wallet and your back what you use, but the original question was about alternatives and so to counter the purists, I gave one ; 0 ps, anyone with a sansamp for sale?

Been doing a lot of festivals lately with an ipad setup, using jamup pro.Sounds great. On a couple however, I simply went through a tuner into a D.I and our FOH engineer was completely happy with the sound, complimenting it afterwards. Point made. I might like the jamup pro's subtle tone and drive but nobody else including a discerning engineer expressed a preference. I do use in ears so i don't need an amp, and the stage sound for everyone else is a lot cleaner without one. I did recently take the opportunity to link through to an SVT/810 stack last weekend for shits and giggles and yes, even with in ears in, you could indeed feel that air moving, which was nice. Again, nobody commented or cared either way on the addition of a gert lurking 810 thudding away on stage. So, to suggest that you need this type of rig for pub gigs/that tone,man is I feel ridiculous. Nobody except you knows or cares, and you can easily use something lighter, cheaper and easily replaceable for 95% of applications. I realise this is a geek forum where people like to persuade themselves they can hear individual tubes warming up their tone and are prepared to spend Yachting amounts of money on it, but I simply don't believe that it's needed in reality. Stick with your trusted amp, and get a VT or sansamp, it'll sound great and you can carry it on your own.. IMO, of course : 0 >flees

>also have the Soundmagic E10s as good spares and my Gitarist has the 50s for IEMs

No prob,I don't think Soundcraft would risk their growing digital reputation with a sub standard product. To be honest the interface looks a little bit like "my first digital desk",but again, so long as it sounds good and works fine, am ok with that.

Mike, you're the second person to say that! Nonetheless, it does exactly what I need in a small remotely controlled mixer, has total multi platform wifi control and is very competitively priced! I also have had it recommended by an engineer who's ears and opinion I very much trust. Pedigree Soundcraft it may not be, but with Soundcrafts guarantee and backup, I reckon it'll do me for my "carry in one hand" lightweight mixer that I can use for small pub to medium function sized shows without having to take my Soundcraft SI out. I'll post up an opinion and user review as soon as I get it.

The Behringer x-air range is about to be solidly thumped by the Soundcraft Ui range,sonically and financially. Got mine waiting to be picked up. Will report later!

There may be some crossover products but it hasn't done Midas any harm and the behringer X32 is a great example of behringers new quality control.

Always seem to stick Suburbs by Arcade Fire on.

Swan do ok as well. But you seem to have got it sorted with Amptown

Funny ad, but shows why that type of music should be quietly put away with the stack boots for ever.

Because.. A/ They have to rely on locals who don't care about the band or know their material. B/ Their is often very little time left for supports to soundcheck as most headliners seeing a 4 hour slot from get in to doors, will take 3.59 hours to soundcheck. C/ Support bands often don't put the same effort as headliners into getting a realistic stage balance between guitars bass and drums, BEFORE amplifying via monitors and FOH, perhaps because headliners have experienced crew to help achieve that, and space in pre production rehearsals to nail it? But I'd mainly go with A&B

Nooo not the LS9!, every time I use one i keep trying to put my finger through the touch screen it hasn't got. There are terrible chancers out there, despite everyone thinking they are being churned out by grant seeking colleges.I recently supported a well known band in a venue in Stoke...We were all miced and plugged in and got a rapid line test kick yeh snare yeah hats yeah tom yeah etc til main vox then it was OK lets hear a song.. I looked incredulously at FOH, then turned sideways and glared at the "monitor engineer", texting someone while sat on a stool near the desk. Given that two of us were on in ears, it would have been impossible to even attempt a song.After a bit of prompting, this young lad, leaned over and started turning on the master channels, and waited for instruction, which I forcibly gave him. At no time during this process did he apply any EQ to anything, neither inputs or outputs. Time was, of course short as the "well known band" had squeezed the marrow from the time table. So we played a song, got "Youth" to adjust, played another song, which is when I noticed FOH had gone for a cig. I must admit to a (long) moment of boiling rage. Getting the gig, getting here, rehearsing, costing it, getting the musos all in the same place sober, had all taken its toll, and now these pair of f*** knuckles were treating us like the sh*t on their shoes. I stopped myself from comment and we left the stage, knowing that no improvement was possible given the workforces attitude. The gig was OK, we probably sounded appalling in FOH, certainly did onstage. left feeling raped. We take out own FOH now, though we really can't afford him, it's far better in the long term than spending on getting to a gig only to be subverted by a local twat. So I feel the pain, but they are the exception, really. Apart from that bloke in Bristol... : 0

Why,yes Monckyman there are several extensions available on Amazon ranging from 60cm to 200cm. Bought a 60cm one which is enough to get the Sonic port on a pedal board with my tuner and D.I whilst keeping the pad at a decent height on my mic stand. It was just too short before. On another tip, One of the bands I play for has the luxury of a FOH engineer and I have been conferring with him over the last few gigs to get my FOH tone just right. He initially thought the jamup pro presets I had were a little sharp on the high end, so after a little tweaking he has now pronounced himself satisfied. Sounds fine to me in my ears also,and I use no backline at all. So, going of Tayste's tip I have copied that amp across to 4 presets labelled 1-4 and will set up 4 Fx paths that I use In the show. This way when I change preset I will keep the amp and gain and output, and just swap out chorus and reverbs and filters etc to suit the song. I'll check with FOH that nothing I use changes the output level too much but he'll compress at the desk anyway. I'm ok for now switching patches by hand between songs, but will add a pedal controller soon for toggling stuff like Octavers and drives in and out. Def beats carrying an amp about!

Eyoop. How did your bike get on top of your rig?

all getting a bit snarky. My advice is, if any of you are interested enough in live sound to have a negative opinion about everybody else's efforts, perhaps some dedicated study of the real problems facing sound engineers, often mixing bands who's stage sound is awful, through an unbalanced rig, in 10 minutes, so they can do the other 4 bands who insist on "our check, man". It really is invigorating. Then you can move on to moaning about the onstage sound, the lack of mics on the bass amps, the predominance of guitar amps in FOH and singers who barely breathe into their mic and deal with that. Happily, I don't do much of that anymore, but you're welcome to, seeing as it's so easy : )

I really like my Rickenfaker, it sounds great with flats, (not sure if I need the nut doing to accommodate) but it's the lump under my right fore arm I'm struggling with, I either play too far back to the bridge or end up sticking my arm between the camels humps. Which means a softer tone than i want sometimes.. Dropping it a bit helps., but then I look all lemmyfied..

Anyone know if you can extend the lightning cable on a Sonic Port using a Lightning extension cable?

Interested in the above as I don't like doing gigs on something with no spare cable! Here's an interesting development for those who use Jamup to record into DAWS like Logic and Cubase etc. [url="http://www.musicappblog.com/audiomux-review/"]http://www.musicappb...udiomux-review/[/url] This will allow you to send Stereo Audio between your mac and your Ipad, via the Lightning to usb cable. Great for amping bass tracks by using Jamup or Bias and routing straight into a track on Logic etc via audiobus. It can't do FX loop send and return yet,for re amping and integrating reberbs etc in real time but that looks like the next upgrade along with multiple audio outs... There is a sister app for Midi so you can send midi from Logic to a synth app on your ipad, and send the audio back to Logic for recording. The two apps bundled are £7.99. Bargain. Pretty exciting stuff.

Where oh where is Fumps?