BigRedX
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Everything posted by BigRedX
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And that 25% should be applied to the combined price of the bass and the cost of the shipping.
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I think my iOS devices are too old. I have the magnifier but I can't actually take a photo with it enabled.
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I'll have a go later, but I doubt I have anything that will show the required close up detail without being out of focus.
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One of the ways that my dyslexia manifests itself is that I can often find spatial orientation difficult, so there is no obvious left and right for me. Also I have weird shaped ears (so far I've not come across any ear buds that fit comfortably) so I won't know if they aren't fitting properly because I've got them the wrong way around or simply because they don't fit my ears. Just for my piece of mind it would be helpful to know which is the correct earpiece for each ear. I've just had a good look all over both earpieces and there are no obvious left and right margins on them, or markings that only appear on one of them. And this is despite the fact that the manual clearly states that they are marked left and right. The connectors on the cable clearly have a preferred orientation because there is an indent on one side of the plug but no indication whether this faces inwards or outwards. I've just a quick try without fully plugging anything in and it appears to be possible the plug either earpiece into either plug on the cable and also each way round in respect to the plug. More confused than ever...
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But can we be absolutely sure how much that rig is contributing to the sound that most of the audience are hearing? There's a mic on one driver on one cab and as I said previously 1 close mic on one driver is not the same sound as the whole (or two) 8x10 cabs from a couple of feet away. If you're only going mic one driver, you might as well use a 1x10 cab, because those other 15 drivers are just for show. Even then, there's probably going to be a DI either taken from the line out on of one of the amps or maybe direct from the bass before the signal has even reached the amp. Certainly every time I've played on a larger stage where my rig has been mic'd up there has also been a DI feed as well. And unless we are the mix engineer then we don't know how much of each feed is actually being used for the FoH sound or what additional processing is being applied at the desk or from the PA outboard. And from personal experience on larger stages, even if your not wearing IEMs, unless you have your rig turned up stupidly loud you'll be able to hear more bass guitar signal from the monitors than you can from the cabs behind you. In the end all we can really say is that as stage props that Ampeg rig looks pretty good, but to suggest that it is definitely contributing to the sound the majority of the audience are hearing is naive at best.
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I've found that I have a greater tolerance for songs I'm not keen on listening to, if I'm actually playing them. On the other hand having to learn and play some songs has completely killed any chance of listening enjoyment that I might have previously had for them. -
I ordered a pair of ZS10 Pros as they were cheaper on Prime Day. However how do you tell which is left and right? The instructions seem to apply that it is marked on the earpieces but I can't see anything. Where should I be looking? Also how do you know which confectioning on the cable goes into which earpiece? Again there are no obvious markings. I'm probably being really stupid, but I've just spent 10 minutes looking closely at all the parts and I really can't see anything.
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Surprise bass player! Is there someone you never knew played bass?
BigRedX replied to kwmlondon's topic in General Discussion
Got to say that most of those "bassists" look very uncomfortable with a bass guitar. -
Most Schecter headstocks have the "point" at the bottom, and those few that have it at the top all appear to be through neck. Of course it could be something older than the current range.
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Fair enough. However I noticed that they have mic'd the most convenient driver for use with that clamp, rather than what might be the "best" sounding one. Also the sound of one 10" driver close mic'd isn't the same as the sound of two 8x10 cabs from a couple feet away...
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I ask because there are no visible mics on that Ampeg rig, so at best only the pre-amp section of the top (and maybe not even that depending on where the DI feed is being taken from) would be contributing to what you hear.
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Is that a photo of the actual gig?
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Off topic... I've never understood why so many Mac users seem to be content having having the dock at it's enormous default size and positioned permanently at the bottom of the screen. On all my Macs it is shrunk down to a size just big enough to make out the what the individual icons are and the applications I don't need on a daily basis or are easily accessible another way (like System Preferences) have been removed. Then on my desk top it is positioned vertically on the far right of the second display where it's not in the way of my actual work - especially as on wide screens where there is plenty of width, but vertical space is at a premium. On my laptop it is hidden and only appears when the pointer is moved to the bottom of this display - if I could find a way to hide it permanently I would.
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For my basses - a very uncomfortable Mono M80 gig bag for the Gus and an Eastwood branded heavily padded gig bag that was supplied with the Hooky Bass. For the Helix Floor the Line6 Helix Back Pack. All the leads specifically for the Helix plus the footswitch that controls the backing go in the front pocket. For everything else a Line6 Pod/Floorboard bag. XLR and mains leads go in the main centre compartment, DI boxes and headphone amp in the Pod section, and tools and Gaffa tape in the small pocket.
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And adjacent to this, when sub-BCR teeny bop band Slik split, Midge Ure formed Rich Kids with Glen Matlock and then took over from both Robin Simon and John Foxx in Ultravox. Meanwhile the rest Slik went on to form firstly the highly under-rated Zones and subsequently Set The Tone.
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He also made an electronic instrumental album with Martin Gore in 2011.
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Thanks. In Isolation have a gig booked at The Fidler's Elbow in December. Come along and say "hello". I'll be using my CAR Gus.
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Sneaker Pimps. Although they didn't match the commercial success of Becoming X after Kelli Dayton left the band, IMO their subsequent albums are musically much stronger, and Chris Corner's post Sneaker Pimps band IAMX are even better yet.
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If it was a genre of music I was familiar with and if I was a fan of the artist in question, then I would most definitely know (and hopefully be able to play) their style of music, I would like to think I would acquit myself reasonably well as a supporting musician.
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Unfortunately they don't always even get that right. See my post previously in this thread about receiving someone else's very expensive pre-amp which they initially expected me to return at my own expense.
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From the OP it sounds as though they are wanting to drop a low B down to Bb and A. However as someone when is very sensitive to changes in tension on my strings and find standard low B strings far too floppy even when tuned to low B, I'd check that I was happy with the tensions by tuning manually before committing to some quite expensive hardware.
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Three reasons.: 1. If I'm using my RCF745 FRFR as an on-stage monitor I connect that via the XLR output. 2. Using a passive DI box protects the Helix from any inadvertent attempt to feed it phantom power. Modern devices that don't need phantom power should be built to ignore it, but I'd rather be safe than sorry. 3. I have the volume control configured so that it only affects the XLR outputs and the jack sockets always send at full volume. This means that if I'm using the FRFR I can control my on-stage level without affecting when is being sent to the PA. Using a separate DI vis the jack means that I don't have to mess about changing settings so that the XLR is also sending at full volume (and I won't get a nasty surprise at the next rehearsal because I forgot to change it back).
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Hurtsfall were in Derby at the Victoria Inn on Friday supporting Chaos Bleak and local band Courtesan. Somewhat frustrating as the PA were very slow to set up and they appeared to have run out of working channels on the mixer or multicore by the time we were ready for our sound check requiring them to use channels from the other bands, so playing first was a definite advantage as there was less likelihood the sound changing between the sound check and the actual gig. Also it meant that were almost 30 minutes late starting. In the end it all worked in our favour because by then there were lots or people there - as soon as we started playing they flooded in from the "beer garden" and were very enthusiastic, especially when we played our forthcoming single "Tilting" and even the new song which we were only playing for the second time was well received. Only issue was one of the synths was very quiet on the last two songs, but we carried on regardless and I doubt if anyone other than us even noticed. We'd gone in expecting the gig to be fairly quiet and were intending to treat it as a practice for next weekend's Goth City performance, but were pleasantly surprised and even sold a couple of T-shirts and Lucid CDs.
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Thanks for the heads up. Hopefully by the time we play there at the end of September they will have got their act together regarding the PA and monitors. Because we don't have any backline or drums on stage, provided we can hear what is coming out of the FoH, the foldback is less critical for anything except vocals.
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As I said earlier in the Thread: Line 6 Helix straight into the PA either with whatever DI box the PA has or my EMO Passive DI (my preferred route).
