BigRedX

But species alone doesn't completely define wood density, it's also dependent on the climactic conditions where the tree was growing and to a certain degree what has happened to the wood after the tree was cut down. On top of that very few solid electric instruments are made out of a single piece of wood for the body or neck so therefore construction methods are also massively important. In the same way that the sound of a speaker cab is dependant on not only the technical specifications of the driver(s) housed in it but also, the size, rigidity and porting. In both cases trying to assign a sonic characteristic to a single attribute is foolish and pointless.

Not everything I have released over the past 45 years has made it onto Spotify, but here are the bands that have: SugarBox: Dick Venom & The Terrortones: In Isolation: Hurtsfall:

Most of the time the second cab only takes up additional vertical space. It also has the advantage of raising the upper cab closer to your ears where it is doing some good for being heard rather than your knees.

Every band I've been in for the last 15+ years we send the singer off to do promotional and fan duties while the rest of the band clears the stage and packs up including any equipment the singer might have. I see both audience engagement and good stage manners as being equally important, so I'm happy to clear and pack a bit of extra equipment if I know that at the same time someone from the band is keeping the punters happy and maybe even getting us more gigs as a result.

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.

I have the downloaded PDF manual open on another screen on my computer so I can refer to it whilst also using the Editor. I've spent the last 2 hours looking through the manual and couldn't find this. Because of course I didn't realise that I wasn't looking in the right section, as it's not possible to do from the Editor - hence my question. I was really hoping that I wouldn't have to go back to the bad old days of convoluted button pressing and parameter access from the 80s... As it's a "Global" setting does that mean I can't switch between modes by selecting a different program? Whilst I expect to be using the Future Impact in Synth mode most of the time, it would be much more versatile if the mode was stored with the program so I can change it by calling up the relevant program. If it is going to be possible to access this parameter in a future version of the Editor does that mean that it can currently be changed via MIDI, or will that also require a firmware update? If it can be changed by MIDI at the moment what are the relevant commands? I haven't been able to find a MIDI implementation chart in the manual. Are there other parameters that can only be accessed and changed on the pedal itself and not from the editor? It would be useful to know. I can't see a list of them in the manual. Finally (for now), the Future Impact appears to do MIDI program mapping on MIDI send, but can it also do it on receive or is incoming MIDI program 01 always preset 01 on the FI?

Two things I can't work out in the Editor: 1. How do I change modes? I think want to be in what the manual calls Synth mode but I can't see a setting for changing this in the Editor. The manual does say that EWI mode does most of the same things, so I have started with an EWI preset from the manager page, but that leads me to the second problem: 2. How do I turn off the envelope follower? Even with it set to 0 playing a note on the bass triggers the envelopes and therefore opens the filter. What I want is for the VCF and VCA to process just the incoming bass guitar signal but for them to be controlled by their respective envelopes being triggered by MIDI note commands only. I can't see how to achieve this. If someone could share a screen shot of the basic setting I need to achieve this, it would be much appreciated.

And now having quit everything and reloaded the application and rebooted the FI, it appears to be working. Not changed anything in the hardware configuration since my last attempt, Very strange. I had checked the MIDI connections were the right way around before I started because I'm marginally dyslexic and the rather confusing (to me) correct way for this cable is connect In to Out and vice-versa. I can understand connecting In to Out for external equipment but when the other end of the cable is a USB plug I would have normally expected In to In and Out to Out. And I did try it the other way around just in case, but earlier neither way worked. Also now that the Editor program is recognising that the Future Impact pedal is connected, the programs loaded from the pedal in a matter of seconds, and I have no problem swapping between the Manager and Editor screens. Next thing is to check I can use the Editor application whilst also running Logic which sending MIDI to the FI, but I won't have time to do that until this evening. Wish me luck!

I have my security settings to allow me to run applications from both the App Sore and Known Developers which has been sufficient for everything I have needed to install on my Mac since I get it just over a year ago. Since the primary function of this computer is for my work, you may understand why I was reluctant to alter them in order to run an application that falls into neither of those categories.

My Future Impact has arrived. As this is my Christmas present I have opened it to make sure it is working so that if there is a problem I can return it within the 14 day returns window. However I cannot get the Editor software to work. 1. Simply getting it to load required me to alter my security settings (Mac OS 15.7.1). For a supposedly professional piece of software this is IMO unacceptable. 2. AFAICS I cannot get the Mac to communicate with the Future Impact. Either there is a major fault or I am doing something wrong, so I could do with a bit of help and guidance. I am using a basic USB to MIDI DIN plug interface which I was told would be suitable and I have had this interface work with other MIDI devices and the Mac Audio MIDI setup application has correctly identified the interface: I have made what I would assume are the correct settings within the FIEditor application for MIDI input and output: However in the File Manager all the program slots are blank and the "Download from FI" button doesn't appear to do anything. Also once I've accessed the File Manager window I can't get back to the Editor Window without quitting and reloading the application. This looks like a serious bug. Is it a problem or am I doing something wrong? It will be a deal-breaker if I can't get the Editor program to work as AFAICS most of the functions I want to use are only accessible via this application, and without them the device is useless to me and will have to be returned. Any help or advice greatly appreciated.

This.