BigRedX

In order to be able to do a complete IEM mix for the band the drums are going to need to be in it. At the very least you'll want an "ambient" mic for the whole drum kit, but if your drummer is on IEMs too that might want something better, so you may end up having to use your own drum mics (and stands) for the kit and include those channels in the splitter for the FoH.

If you are going to include Little Mix as a band then Wham! qualify too.

No drums?

All the things that have made it easier to be a musician/songwriter/band member have made it harder at the same time. Decent quality musical instruments have never been cheaper or more plentiful but that means there are lots more people playing music. Access to recording and video making technology is there for anyone with a computer and/or a phone (which is pretty much everyone in 1st world countries) and you can make your music available on all the streaming services for about $10 which means that there are somewhere in the region of 40,000 new tracks appearing on Spotify EVERY DAY. So while anyone anywhere could listen to your music, finding your audience and maybe more importantly your audience finding you is much, much harder. What could be described as current fashions and trends are far less important than they were in the 20th Century, you can be whoever you want to be, but that means audience sizes for all those different genres are much smaller. So these days it is perfectly possible for almost any gigging band to be self-sustaining, it is also far harder than ever before (and it was never particularly easy in the first place) to actually make a living out of being in a band, even if you are also the main songwriter.

Are you sure you've posted this in the correct thread?

You'll probably have to completely damp the space between the two walls. Does the new cab need to match the dimensions of the old Vox cab exactly or could you get away with it looking the same externally?

@Greg Edwards69 1. Have you forgotten about Opportunity Knocks and similar shows? They've always been there and there have always been people who think that they are going the "make it". TBH once you stop thinking that then then you go from a vanishingly small chance to no chance at all. 2. Most of time there is nothing special about album in themselves. Most are simply 8-10 songs whose uniting feature is that they happened to be written and recorded around the same time. They only exist as a whole because the artist and record label say so. Besides IME there are very few albums where every single track is worth playing every single time you listen to the others. And in the days of vinyl there was no law that said when you reached the end of side one you had to flip the album over and play side two. The musical landscape has changed and it would be naive to think that the rules that applied previously should still apply now. My current band when we first started recording our songs made the conscious decision that we would release each one individually as a single because of this change. It has produced some interesting results in that one of our most popular songs is one that under the "old system" of releasing albums would have been tucked away on side two and been passed over by a lot of listeners. However for the last 18 months we've been continually asked when we'll have an album out, so we are in the process of recording one, although it won't stop us from also releasing singles at the same time. The OP was all about the lack of bands in the current charts. And as I implied in my previous post if it wasn't for negative weighting being applied to "back catalogue" the charts would be full of bands. It just that they would all be from the second half of the 20th Century.

Piezo element on Lightwave pickups has its own volume control. I left mine off most of the time as it also picked up too much handling noise on my Lightwave bass, but I didn't notice any lack of highs as a result.

I'll also leave this link here...

Very few bands exist where every member is equally important. Most are vehicles for the singer and/or the main songwriter and the rest of the members are all replaceable without making any difference to the feel/sound/look of the band. That makes them little different to the solo performer and their hired hands in the studio and on stage.

So what's wrong with the PSU that comes with the Quad Cortex? Aside from the fact that IMO any multi-effects that doesn't have a built-in PSU is not a gig-proof piece of equipment, it worries me that the supposed weakness of the supplied PSU is actually a known issue.

Try this: 1. Delete whatever Line6 Updater software you already have on your Mac, restart and download again. 2. On the HX Stomp there should be a foot switch combination to press on power up which puts it into update mode, read the manual to find out what it is. 3. Now run the updater. Make sure that your computer isn't set to go to sleep at all. I do all my Helix firmware updates from a my desktop machine that has sleep permanently turned off. If this doesn't work get in touch with Line6. You may need to send the Stomp back to them for a reset. I hope you made a backup of all your patches.

Just had a look at what is going to be available and I have to say that I was surprised to find that there are a few that I might be interested in provided that they came on CD or with a download code for an uncompressed digital file. However I would want to hear them first or at the very least get a track listing. Unfortunately for the two releases I am most interested in, one brings up an error page and other simply won't load. Not impressed. Edit: the page that was being slow has finally loaded to reveal... no actual track listing.

Is the jack input expecting a balanced line using a TSR jack plug?

I know this question wasn't aimed at me but I thought I'd give you my experience in case it helps. TBH I've never "felt" the air being moved by my bass rig when I was using one not even the massive 1kW rig I had with The Terrortones. I suspect if I had I'd be even deafer than I am now! One of the main reasons for ditching my conventional rig was that on the bigger stages once I stepped away from being directly in front of the cabs I was totally reliant upon the PA foldback anyway, and on the smaller stages I would often find that I was being asked to turn down so much so as not to ruin the FoH from the PA that I could hear more of myself in the guitarist's wedge on the other side the stage than I could from my own rig immediately behind me. For the band that has completely ditched our backline, even though we are yet to go IEMs the overall mix from using the PA foldback is much clearer and better balanced than it was when everyone had their own amp and speakers. For the other band when I was using the FRFR on stage I had it in wedge configuration means that I could put it in all sorts of places where a conventional bass amp and cab(s) wouldn't even begin the fit. Much of the time I had it pointing across the stage for the benefit of the rest of the band rather than out at the audience who should be getting the band sound from the PA.

I go direct into the PA from my Helix. I have an RCF745 powered speaker (FRFR) that had been using with my other band for rehearsals and the occasional gig on smaller stages. IMO the problem with using a power amp (or power amp section of a bass amp) and bass cab(s) is that the cabs are anything but flat and therefore you'll need to compensate on the multi-effects which isn't what the PA feed will want.

It will be an earthing problem due to the PSUs for your pedals not having the same earth reference as the rest of the signal chain. I suspect that the metal earth pin on the Mooer PSU isn't actually connected to anything and is there simply because it's more robust (the plastic pin on the One Spot is notorious for breaking off). How are you connecting to the mixer?

First gig of 2025 for Hurtsfall will be on Friday 21st February at The Grove (on Avenue C in Sneinton Market) in Nottingham. We'll be supporting The DSM IV with Modern Coven opening. Tickets are £10 or £12 on the door.

Do your pedal mains adaptors have a plastic earth pin on the plug? Have you tried running them off batteries?

I won't know if I'm going to like a bass enough to use it on a regular basis until I've had it for a few weeks and done a couple of rehearsals and at least one gig with it. The last bass that I kept and used for any serious length of time having tried it in the shop first was back in the early 90s. The two I've been able to try first since then were both moved on fairly quickly, as although they seemed OK in the 30 minutes I played them for in the shop spending longer with them at home and actually playing them with my band revealed all sorts of problems that I couldn't live with. Everything else has bought on the strength of a few photographs and a description on-line or has been custom made for me. Of the three basses I currently use regularly, one was custom made and other two were bought on-line.

I thought the idea of RSD was to entice people into record shops and hopefully they will come back when it isn't a RSD as well. Otherwise they are going to need something like RSD at least once a month and not just once a year. If RSD continues to be the unappealing experience that it seems to be then it becomes self-defeating IMO.

There is also a danger that the RSD experience (as described in previous posts) could put a lot of punters off going into those shops at other times. I have to admit RSD is not for me. AFAIK none of the bands I really like have ever participated in it and if they did I don't think I'd be prepared to queue for the privilege. Even then I'd probably happy to wait until the record or CD surfaced on eBay or Discogs a few years later when all the fuss has died down and it was priced at a more appropriate level. Also I'd rather buy recordings directly from the band at one of their gigs

The reason that bands have become seemingly invisible to whoever wrote the text that was used in the OP (it certainly wasn't composed by @Bass4real) is that the charts are all about recorded music and for most bands the money is in live performance and not the selling of recordings. Certainly here in the UK, the charts have had less impact on the typical member of the public since Top Of The Pops was taken off the air. Also the current charts are even more artificial than ever before. Partly because of the demise of the "single" and mostly because it has become necessary for the chart compilers to apply negative weighting to streams and downloads of anything that isn't a current release otherwise those acts currently topping the charts wouldn't get a look in, as the top 50 would be almost totally dominated by recordings made over 30 years ago. There are plenty of new and interesting bands out there gigging for anyone who can be bothered to go and look for them, and while it has always been cool for bands to say that they aren't interested in the charts, these days they might actually really mean it. When the charts are all about selling recordings, but for a well-organised and entertaining band at grassroots level it's all about live performance, because that when coupled with T-shirt sales is where they can make money. Record companies won't take chances on new bands and because of this by the time most bands have got to the level where record companies start to take notice of them there is very little that a record company can offer them. When you can make a great recording on your home computer, a video on your phone and get them on all the digital platforms for about $50, the lure of the record company advance becomes less compelling. And the more successful a band becomes on its own the less important record companies become. No wonder they stick to young "solo" artists who are easier to manipulate and exploit. The problem for Rick Beato and his "sad old men club" is that the industry is no longer what it was 25 years ago and they still don't appear to recognise this.

It's rarely enough to just be a musician. The real money is in songwriting.

Why has the OP been typed as some kind of incomprehensible prose poem?