BigRedX

Also depends on the position of the listener or measuring point, hence my original post.

It's got little to do with the porting and everything to do with the position of the cab and you within the room. You don't need to move the cab, you'll get a different sound simply by standing in a different location in the hall.

My experience of festivals is that there is either a supplied (good) backline that you are required to use as a condition of playing, or that everything is on movable platforms that can be wheeled off to a backstage area for setting up and packing down. I think the sorts of gigs people are talking about here are those in sub 500 capacity venues where there is often no backstage area and the green room is already full of all the other bands and their kit. My attitude at these gigs is, the moment we have finished playing, to get our gear off stage as quickly as possible, find a quiet corner and then pack it down. However, some musicians still don't appear to have got the message and can take up the whole 15 minutes on stage packing their guitars and pedals away whilst chatting with their fans.

Why do we still think that the size of the driver cone is the most important factor in describing a cab? Every cab will sound different, I've owned cabs with the same driver configuration but completely different sounds. Not surprising when you consider that just about everything else to do with the cab - size, construction, driver specifications other than the cone diameters - was completely different. If I was still using backline the diameter of the driver would be the least important factor in choosing a cab.

Some of the synth modules in the Helix will do this.

That looks brilliant! Good luck!

Whatever method you use, you'll need to clear coat over the top to prevent the "binding" from wearing off.

If the band is tuning that low the guitarists will already have most of the bass frequencies covered. Got some bass pedals for some additional bottom end and then unleash your inner Peter Hook on the bass guitar!

Here you go: I Believe In Father Christmas by In Isolation: We also got Matt Pop to do a banging dance mix: Both are available on Spotify: My current band have also released an original Christmas song called December Snow: Which is also on Spotify:

As everyone probably knows by now I use a Bass VI into a Line6 Helix playing alternating "guitar" and "bass" parts; My current standard patch always includes the following: Deluxe Comp (Compressor) Obsidian 7000 (EQ and Distortion) 70s Chorus (Chorus) Elephant Man (Delay) I also use these regularly but not on every song: Courtesan Flange (Flanger) Jazz Rivet 120 (Roland Jazz Chorus Combo model used as an alternative EQ for guitar parts) Teemah! (used as an alternative Distortion for guitar parts) Simple Pitch (Pitch shifter mostly 1 octave down to thicken up the higher bass parts or produce a bass line behind a guitar part) Searchlights (Reverb) Tremelo (Tremelo) I have a different Preset for each song with all the settings adjusted to fit my sound into the mix of other instruments and then up to 5 Snapshots in each song to change the song as required.

According to our singer who created the video, it uses the following: Kling (including lip synch), Vidu, Hailuo and Genmo; Voice for the vocal stripping, AI Face Swap for character consistency. The main character uses the face of one of our fans IIRC. The video was made a year ago so the abilities of the various AI video applications will have moved on since then, and these may not be the best options any more. The resulting clips were edited together in the full version DaVinci Resolve. It took a long time to create, much of it was spent learning how to get the best out of the text prompts, and from what I recall very little of the footage generated at the beginning of the process made it through to the final edit. Also had the time been available he could have spent another month or so fine tuning the edits and getting rid of glitches like the additional fingers, but it had to be finished to coincide with the release of the EP which includes this song.

Your best approach really depends on what sorts of video you want. The OP's description of "photos that then converts it onto a video" is in terms of video output rather vague. I they simply want something that will pan and zoom the static photos then it can probably be done in Powerpoint (Windows) or Keynote (MacOS) which almost everyone with a computer will have. They could even add text for the lyrics. However if you've never done any animation in these programs before there will be a bit of a learning curve, and having never done it myself there may be issues with synchronising the images to the audio. If they want something more as has already been said using a service like Fiverr is by far the most effective way to go in terms of speed and price. My band has used this method for several of our lyric videos which IIRC cost around £20-£30 each. This one uses simple animation: And this one was done completely using stock footage, no AI at all: If the OP definitely wants something that can only be done with AI then be prepared for a steep learning curve. Using AI may seem like simply uploading some images, typing some prompts and sitting back and enjoying the results, but the reality is that it will take time and effort to get something really worthwhile. You'll need to pick your prompts carefully, which is a skill in itself, and as other have already said most AI video is limited to short clips which will then need to be edited together to form a coherent whole. Also if you don't want to spend money you'll need multiple email addresses to benefit from the free trial of each address. And when you come to edit it all together you'll need to grade the clips to make sure that they are have the correct feel to make the complete video look like a whole. If you think you have the time and skills then this is what can be done with AI: This video was completely AI generated, but it took a couple of months worth of work creating all the relevant prompts to achieve the required results, and there are still a few instances where the main character has more fingers than a typical human being. On top of that it uses additional programs to do things like keep the faces of the main characters consistent through the video and the whole thing was put together in a professional video editing application, by someone who has experience with editing music videos. Good luck!

If a screw terminal UK mains plug has been properly constructed and competently wired, then there shouldn't be a problem even if the screws do work loose. 1. The conductor wires can't come apart from the terminals on the plug contacts because there is nowhere for them to go with the cable clamp in place. 2. Even if the screws come completely out of the holes there is nowhere for them to go as they are captured by the construction of the plug casing. I haven't tried this but I suspect that there probably isn't enough room in the plug casing for them to become completely unscrewed anyway. 3. The cables inside the plug can't be moved by external forces because the cable clamp at the entry point prevents this.

That's brilliant news. If these parameters could also be made per-program that would be even better. I've just been playing through all the presets and I find I'm having to adjust the Note On and Not Off settings to get the best out of each program.

So it is. Confusingly it's 3/4 of the way through the manual rather than being at the end where I would normally expect to find it. It is also rather sparse and AFAICS I will need to use the 4 flexi controllers if I want to do anything interesting with MIDI control of a program's parameters. I assume that since they are in the Editor their assignments can be changed per program rather than being global? The MIDI implementation chart does answer my question regarding program mapping - it's only available on send and not on receive. Which you have just confirmed. It's a little disappointing that not all the parameters are accessible from the Editor application. It would be a massive improvement of the usability if everything was accessible via the Editor, or at least those parameters that can only be changed from the pedal interface itself were made A LOT MORE OBVIOUS in the manual Thank you for all your help, I realise that as a new user with unconventional requirements I'm probably asking lots of weirds and difficult questions that never occur to most potential users of this device. I appreciate the time you've taken to help me. I'll email the maker now requesting that the Instrument mode either be changed on a per-program basis or separately by MIDI command in a future update.