BigRedX

The problem is that most YouTube video are way too long and often the actual "information" occupies less of the time line then the intro, outro and requests to click the subscribe and notification buttons etc. I've just finished watching one that was over 8 minutes long explaining an obscure aspect of synth tuning and detuning, that could just as easily have been achieved in under 500 written words, and would not have involved having to watch some ineloquent ugly bloke with poor dress sense waffling pointlessly away most of the time along with poorly disguised product placement... If that written article had existed, I would have gladly read it instead, but it appeared that after 4 pages of Google search results, this video was going be the only source of getting the information I wanted.

I don't do click-bate videos, but I'm sure that they all sounded like bass guitars and all of them would be suitable for the majority of music that uses bass guitars.

How close are the specs of the new driver to that which would have been fitted originally?

On the Gibson version the "tone" switch appears to change the number of windings used on each coil of the Humbucking pickups thus changing the basic pickup sound, and one of the small switches is to set the output impedance (Les Paul was very keen on low impedance pickups/instruments even though no-one else appeared to be). However like all guitars and basses there will be a single sound that you like best and the controls will remain fixed in those positions until the instrument gets passed on to someone else.

Working Link Does anyone know how accurate the electronics in this are compared with the Gibson? @Bassassin? IME with copy instruments anything more complicated than standard volume and tone controls are either ignored or replaced with greatly simplified versions.

Even if I had a car I'd still get a taxi for myself and my gear for local gigs. The cost there and back is only slightly more than city centre parking for the evening. Plus taxi drivers don't have any qualms about blocking the street directly outside the venue while you unload your gear and you don't have the inconvenience of then having to find somewhere to park which will either be close but expensive or too far away to easily carry the gear. And it means I can have a couple more drinks after we have played. All benefits, no downsides.

Hurtsfall will be playing on Friday June 7th at the Victoria Inn, Derby with Chaos Bleak and Courtesan. We're on first so if you want to see us turn up early.

For the band where I play Bass VI, we'll do one of the songs that has both "bass" and "guitar" parts in it, so the PA engineer has a decent idea of how wide-ranging the sounds I use are going to be.

That's interesting I wasn't aware that there were different versions for guitar and bass. I've been using Hercules stands for about 20 years and the AGS ones (where the guitar or bass hands from the headstock) are all adjustable for height.

Usually the newest song, just so we can hear what it sounds like in the foldback as it will probably be different to how we are used to hearing it in the rehearsal room. Then we'll do a verse of the opening song which we are very familiar with so we know at least the first 3 minutes of the gig will sound decent.

Or anything that isn't perfectly symmetrical at the bottom. Hercules AGS stands for me.

If I was on a proper holiday, I would like to think that it was interesting enough for me to not bother with the internet for a week or two.

For me the important thing is that the audience enjoy it. I do plenty of gigs, so if as a band we do't play brilliantly at one, then if it's an actual problem and just not an "off night" we can fix it at rehearsal and then next gig is likely to be great. However most of the time for the audience the first impression is the one the counts - our next gig will probably be in a completely different part of the country - so if they didn't enjoy we'll probably not get given another chance. IME most audience members don't pickup on all the problems that musicians seem to obsess over when they play, so unless someone makes a mistake so bad that it causes the song to grind to a halt less than 60 seconds after it has begun, don't worry about it, carry on as if nothing happened and look like you are having fun (unless like me you play in a goth band, in which case carry on staring moodily at the audience). If the audience has had a good time, they are more likely to buy something of the merch table (which is where originals bands make most of their money) and when you do play another gig in that town they are likely to come back to see you and maybe bring some more friends. That's what counts.

I'm 62. I don't actually walk because I'm also responsible for bringing all the additional gear that is our "drummer" and "second synth player", but if I didn't have to bring that I'd just be taking my bass, Helix and a few leads which is an easy carry for the 20 minute walk into the city centre for rehearsals and local gigs.

Please correct me if I'm wrong, but IIRC you said the bass sound was fine when you drove your IEMs direct bypassing the desk, so therefore AFAICS the problem looks like it is driver error by whoever is working the mixer. Download yourself a copy of the manual so that you can understand what you are being told when you ask to see the signal path from the bass guitar input on the desk to the output for your IEMs. I suspect that there is either a problem with the gain structure or you have additional processing being applied that is required for the FoH sound but is not needed for your monitor mix.

These days these is no reason to play in London with all the additional associated hassle unless you already have a decent following there who are guaranteed to turn out, or you are offered to chance to support someone well-known whose fans are also going to like your band.

Regarding the plastic/rubber on Hercules stands going sticky (and eventually breaking), this is a manufacturing defect and Hercules should replace any stands that exhibit these symptoms with new versions that don't have this problem. They replaced 4 for me some years back. IIRC their UK distributor is Strings & Things so get in touch with them.

Any Line6 Helix or HX device. IMO you don't need amp/cab sims. For most of my bass sounds I just have a compression, EQ and drive (plus delay and/or chorus if required) and then straight into the PA.

Unless you want a single switch option of having the sound of the V&T controls on full (from whatever position they are currently in) you can achieve this simply by having normal volume and tone controls and a switch that takes them completely out of the circuit and connects the "hot" lead from the pickup directly to the output jack. For this I'd use a DP switch and disconnect the V&T controls at both ends.

IIRC you can buy spare parts for everything that K&M make.

What are you trying to do? 1. Emulate the sound of having no volume or tone controls when the V&T pots are on full? or, 2. Emulate the sound of having the volume and tone controls on full but with no actual controls?

I still think you need to post some examples of what you consider to be clean. Lots of what I always thought were clean bass sounds turned out to have at least a degree of drive to them once all the other instruments had been stripped away. Thos isolated bass tracks on YouTube are certainly an ear opener.

It's always been this way. Do the best mix you can live, record to multi-track and the same time and remix for future broadcast. About 10 years ago a friend of mine decided to go 100% analogue in his studio and purchased a 24-track reel-to-reel machine along with a load of second-hand 2" tape. The tapes were all ex-BBC and contained multi-track recordings of various live bands from a wide variety of BBC programmes.

Interesting that we are still obsessing over gear that makes zero contribution to what can be heard either FoH or in your living room. Even if there is a mic on that cab it will be one (or maybe two) driver(s) close-mic'd which is nothing like the sound of the whole cab from a couple of feet away. It's just a glorified stage prop.

I'd be wary of cutting into the surround at the front of the case as this provides much of the structural integrity. It would probably be OK for a static set up but not as good if you intend to move this around. If you do, I would suggest drilling the smallest holes required to get a cable through when fitted with a protective grommet (you will absolutely need these protective grommets), and space them out evenly across to front to avoid having a single large weak spot. That will mean you will need to add one set of plugs after you've threaded the cables through the holes. However since this will be fairly permanent you can get away with much thinner installation cables rather than the standard chunky microphone or instrument cables. And remember to fit the lids before attempting to move this rack as this will help prevent the case becoming distorted. For the rest of this I can't really help other than to say read the manuals carefully to check the operating levels of the various inputs and outputs. I would check that you definitely need more than two separate headphone mixes, as this would allow you to get rid of the Behringer headphone amp and the problem of drilling holes in the case and replace it with a headphone splitter attached direct to one of the interface headphone outputs.