BigRedX

[quote name='stingrayPete1977' timestamp='1498046247' post='3322185'] Every room has totally different characteristics, you can't always set up where you want, different band members use different kit to suit the venue size, hollow stage and an empty room or a packed marquee, if it was as easy as you say we wouldn't need a sound crew, just a master volume knob! [/quote] And if you could fix room acoustics (a mostly time domain problem) with EQ (a frequency domain solution), recording studios would need to spend thousands of pounds on fancy acoustic treatment. They could simply slap a 31 band stereo graphic equaliser across the master outputs of the desk.

[quote name='dyerseve' timestamp='1498044014' post='3322161'] If you read the other threads on here about the same seller and same bass it will make sense. [/quote] I had a quick look through the most recent 2 pages of posts and found one other thread relating to a previous eBay listing for this bass, with much the same wording in the description. I still don't get what the problem is. It's not a serious sale listing. And if someone is prepared to pay just under £200k for it then good luck to him.

[quote name='stingrayPete1977' timestamp='1497983620' post='3321812'] Fwiw I'd say keys have it just as bad as us, one song they sound great and cut through just nice, the next one they are just a weird phazey mush. [/quote] I've never got this idea that instruments need to "cut through" the mix. IMO the only things that need to cut through are the lead vocals, and possibly any instrument carrying the main melody of the song when there are no vocals. Everything else should fit together to form a coherent and balanced sound.

[quote name='stingrayPete1977' timestamp='1497983490' post='3321810'] I'd say they are still operating in the frequency area that is easier to get out front to the audience even if it's a horrible sound, I know that's not what you want to hear, you want to point out about mics for guitarists rather than crap Di boxes but that's life, chances are if there's two minutes to spare to run the fx pedals through the foh the guitarist will get them, you might get time for a clean and a dirty each if your lucky, 150 presets that all sound great in the practice room, nah forget it [/quote] If the band has spent the time in the rehearsal room fine-tuning the individual sounds of the instruments, so that they form a coherent mix then all the sound engineer needs to do is make everything louder (if required depending on the overall gig volume). That way any EQ on the desk should be just to compensate for the characteristics of the PA speakers.

[quote name='SH73' timestamp='1498025588' post='3321986'] No it was not. I still have it. It is stored at my parents house.It hasn't been properly used for 25 years. Some idiot who had access to a rehearsal room decided to use it for a disco night without my permission and since it has sounded distorted. I checked the speaker and it seems fine. Might require a little fix but probably will cost more to fix than sell. [/quote] I think EBS_freak post should have had a :-) after it. It was more a comment your (or your device's) inability to spell "Peavey"

[quote name='CameronJ' timestamp='1497946505' post='3321448'] I have. He's got a bidder too. [/quote] So what's the problem? It's obvious from the description, it's not a serious sale. There is a possibility that the seller has had pressure put on them from their partner to get rid of some of their musical "junk" in order to raise some money to buy a house, and this is the seller's humorous response. People can ask what they like from an item on eBay and buyers can pay what they see fit. If something is over-priced it simply won't sell. I don't get the mentality of the Basschat "eBay Police". Have you nothing better to do?

[quote name='dyerseve' timestamp='1498036398' post='3322073'] as I said in my post, ebay charge the fees to your ebay account invoice the moment the auction ends - i know because it happened to me on an item the buyer did not pay on. It wasnt until I opened an unpaid item dispute and that dispute was upheld (14 days IIRC) that I got my final value fee back! [/quote] But IME eBay only bill you at the end of each month for transactions during that period and then it's still another 10 days before they actually take any money off you. So unless you were very unlucky in that the sale took place right at the end of the billing period, any cancelled transition should have been resolved long before eBay take the money out of your account. If I was to sell something between 1st and 30th June, I won't receive an invoice for the final sales fees until the first week in July and the money won't be debited until the middle of July.

To get the best out of your bass you need to experiment with the strings you fit to it. If you like the strings your bass has been supplied with then that's a good starting point. The other thing to remember is that what works on one bass won't necessarily work on another. Every bass (and it's play) is different.

[quote name='stingrayPete1977' timestamp='1497972582' post='3321733'] The way I see it is that a good old fashioned vanilla sound that everyone out front can enjoy is better than a salted caramel with hand twirled toffee sauce that can only be enjoyed by the player and maybe the front row, there's nothing worse than seeing a band with a generic but great bass sound then on the third song he applies "his sound" with the pedal board or whatever never to be heard again Flea is the worst person for it and I presume he and his crew know a thing or two, how a sound guy at a festival is going to keep up with all your patches that he's never heard before with a fifteen minute band change over I'll never know but hey it's "your sound" [/quote] Sound engineers seem to cope perfectly well with the multitude of sounds that guitarists and keyboard players throw at them. What makes the bass so different?

Have you read the description?

[quote name='Al Krow' timestamp='1497908625' post='3321308'] Just seen BRX's response. That makes sense. So how do IEM's work and is that what I need here? [/quote] Id suggest that you start by having a read through the [url=http://basschat.co.uk/topic/205633-in-ear-monitors-help-needed/]IEM thread[/url]. AFAICS, the pro IME systems are still high quality analogue, although digital units with suitably low latency are starting to appear. However if you do go for a digital system you still need to be aware of cumulative latency. While the latency of each of your individual devices in your signal chain may be low, once they are all combined, you could well be left with unsuitably high latency. The problem is that every digital device will add it's own latency converting the signal from analogue to digital and back again. This wouldn't be a problem if the signal remained in the digital domain from your wireless transmitter on your bass to the receiver for your IEMs. But it doesn't.

The latency of any Bluetooth headphones will always be too high as the protocol simply hasn't been designed for this kind of real-time, timing critical application.

First gig playing bass with [url=https://inisolation.bandcamp.com]In Isolation[/url] on Saturday at The Chameleon in the sweltering heat. Learnt the full set of 12 songs in 3 weeks and 4 rehearsals. Full of deceptively complex bass lines which made me work much harder as a player than I have in recent years. Didn't make any mistakes that the audience noticed, which is always a good thing, and during some of the less taxing songs I was even able to throw some suitable on-stage "shapes". [IMG]http://i114.photobucket.com/albums/n249/BigRedX/In%20Isolation/19149460_10154798185577865_2591553348727449078_n_zpswk5utm6b.jpg[/IMG]

[quote name='ivansc' timestamp='1497685028' post='3319988'] An awful lot of us who were around in the big band era would have been very disappointed if Ted Heath band had showed up without that impressive array of mongrammed music stands across the front of the stage. [/quote] IMO this is the way to go if your horn section has to have music stands. Make them an important visual part of the stage set.

During the 80s and 90s myself and a band mate entered pretty much every competition in the high tech musical instrument magazines and local music shops. Between the pair of us we won: 1. A miniature electronic drum kit that you played with you fingers 2. Boss PC-2 Percussion Synthesiser 3. Yamaha KX5 keytar 4. Boss RPS-10 half rack pitch shifter delay 5. Akai EX65D half rack digital delay 6. Akai AX73 Polyphonic Synth 7. Akai S2000 Sampler

[quote name='five-string.co.uk' timestamp='1497035441' post='3315523'] Hi - it depends how low you play the bass. If you need over a meter between the back of your shoulder and the horn of the bass, then it seems (to me) like you have your bass quite low? A picture of you playing may determine this. [/quote] It turns out that I am wearing the strap in reverse from the way it is intended to be used. However because of the design of the Warwick StarBass I need to have the narrow part of the strap going to the strap button on the heal, because attaching a full width strap at that point is just too chunky and obtrusive. I've had a good conversation with Righton Straps and they have suggested try their "Slim" strap. I'd rather try and find something that will work the way I'd like first though. Harvest haven't even bothered to reply to my email enquiry.

[quote name='Kiwi' timestamp='1496903176' post='3314541'] Have you considered Industrial Radio? Steve Chick has developed the systems originally in the Wal MB4 and Peavey Cyberbass and marketed them under his own brand. [/quote] You still need a synth the generate the sounds though.

[quote name='NancyJohnson' timestamp='1496829281' post='3314083'] Reckon that if you want to go the backing track route the key words here are [i]discipline [/i]and [i]rehearsal[/i]. There is no recovery when things go awry. [/quote] Very much this. Practice and carry on practicing until you know all your cues and no one ever makes a mistake and then have contingencies for when it does do wrong.

Every band I've been in, that used back tracks the only person who could hear the click was the drummer. That way any push and pull in the song was generated by the drumming and the rest of the band played to that. Unless you either pre-programmed some "feel" into the click or were happy with everyone playing metronomically, I couldn't imagine how you could get a synchronised groove when everyone can hear the click. I certainly wouldn't want to play that way.

From the early 80s until about 10 years ago every single band I was in used some kind of pre-recorded or pre-programmed backing as part of our live sound. I've nearly always created my own backings, using Logic on the Mac since the early 90s, which gave me the most flexibility when it comes to play back solutions: I could use a laptop to replay the track direct from Logic; I could save the MIDI data as a standard MIDI file and play that back using a MIDI file player (my preferred solution was the one built in to the Akai samplers) controlling synths and samplers; I could mix the track down into stereo (or mono with a click track on the other channel) and run it from a CD player, Minidisk player or iPod. I have worked with bought backing tracks in the past, and unless you are planning on playing the song exactly as the recording, it is always best to go for MIDI tracks rather than recordings as it will allow you to load the track up into your DAW of choice and modify the arrangement to suit the way that you play the song. However I personally wouldn't bother with backing at all. For me the whole point of an acoustic duo is that it is re-interpretations of the songs that showcase the qualities two acoustic guitars and two voices. That's what I would be wanting to see and hear.

[quote name='bartelby' timestamp='1496754377' post='3313637'] It's a controller, why would it need midi in? [/quote] Anything that offers tempo synchronised effects needs to be able to act as a slave tempo device. Then you can choose the one with the most versatile and stable tempo control (like a DAW) to act as the master clock.

Tracks off [url="https://inisolation.bandcamp.com"]A Certain Fractal light by In Isolation[/url] which I need to have learnt for my first gig with them in less than 2 weeks time. Then I might have time to listen to all the albums I bought recently including the Sad Lovers And Giants boxed set...

[quote name='Al Krow' timestamp='1496678387' post='3313161'] What caught my attention is the ability to load: [color=#000000][font=proxima-nova, sans-serif]"six simultaneous pedal effects"[/font][/color] With my Zoom B3n I can have just one "patch" (which can be a combination of several different effects) on at any given time. I can't switch effects on and off within a patch but only swap to a completely different patch. So, for example, if I wanted delay and then later to add in low octave, I would need to have two patches one for "delay" by itself and then a separate patch for "delay+octave". So the Zoom is, in effect, a series of single pedals only one of which can be played at any one time. Does anyone know if the Boss is the same as the Zoom in this regard, or is it providing the ability to have six different pedals coming in and out of the mix? Akin to having six dedicated single pedals any one of which can be switched on or off, as required? If so that would be a very significant enhancement in my books. [/quote] The effectiveness (sic) of being able to turn individual effects on and off in a patch (as opposed to setting up individual patches with the relevant effects on or off) very much depends on how this is achieved. IME with the Line6 BassFex and Shortboard foot controller, the individual on/off switches are on the second tier of the foot controller, which means that it is too unreliable for use live where I am just as likely the hit the patch memory foot switch immediately below the effect on/off switch that I was aiming for. I find it fine for rehearsal where I am trying out effect combinations, but almost totally useless for live performances.

There are some parameters that can benefit from a tweak mid-preformance. The obvious being cut-off frequency on a filter. Others you'll discover as you use the effects, although for many either a single on/off footswitch or a pedal will suffice. Regarding using the Zoom in conjunction with you looper, it would be a lot better if they could be connected together via MIDI, then you could get locked synchronisation between the loop speed and any time-based effects on the zoom. You'd also be able to control one device from the other which could make using the two in conjunction a lot more straight forward. I still the presence of proper MIDI sockets and implementation on multi-effects to put them in the good category.

Your Zoom B3n will do tap-tempo according to specification on the web site. You will need at external footswitch to enable it. You also appear to have tweak-able knobs for 4 parameters of 3 effects at any one time. The only thing missing is the effects loop(s).