jrixn1

How does anyone hear the vocals if there's no PA?

Thanks guys for having a listen. No gigs in June, but July has filled up; I'll see how I get on with it over the next few months.

Due to this thread, I went and bought my first compressor - a Spectracomp. Here are three takes bumbling through Sir Duke. One is bypassed, one is the default toneprint at 12 o'clock, and one is the 'Captain East' toneprint at 12 o'clock. Is it clear which is which? I think the uncompressed one does sound a bit uneven in parts. The other two, is 12 o'clock about right - or do I need to dial it up, or down? A.mp3 B.mp3 C.mp3

Hmmm I love my Mojomojo, but I'm not sure what Andertons are up to, as this pedal has been £40 everywhere for many years now.

Someone should make a ball-end/silk colours photo database! I believe those ball-end colours indicate D'Addario, and the only flatwound they make are Chromes - so that's my guess.

You can kind of simulate a short-scale bass by down-tuning your long-scale bass by a tone and putting a capo at the second fret.

You say "obviously" - but from what you've said, no, it's not obvious what the issues are. What are they? Transporting and controlling the sound are perhaps not the easiest tasks - but not showstoppers either.

If you mean can you use it without any sort of computer at all: I have the similar UMC204HD, and yes it runs standalone off a USB mains plug.

No longer have a B1 Four so cannot check, but I think with a TRS it's stereo output, and with TS it switches to mono (actual mono, not just left channel of stereo).

Some MP3 codecs pad the start of the track by a number of milliseconds. This means if you play along to MP3s, you won't realize at your end that there is an issue; but to the producer, your bass tracks will be slightly out of sync. WAV won't have this problem.

Also, the G&L JB-2 waist is offset, but a P bass's isn't.

For cabs, a roqsolid will protect from bumps and rain, and have flaps for the handles: https://www.roqsolid.co.uk/wp/amp-and-cab-covers-roqsolid-protection/ For heads, something like a mixer bag: https://www.gear4music.com/PA-DJ-and-Lighting/Gator-G-MIXERBAG-1212-Padded-Mixer-And-Equipment-Bag/2AAK or a hard case with foam: https://www.gear4music.com/Recording-and-Computers/Heavy-Duty-Case-with-Pick-Foam-by-Gear4music-388-x-268-x-156mm/1ZC0 (find the correct size for your particular head, of course).

I own two bass guitars, both Precisions, both with flats. So if I were you, I'd go for another flavour of P bass!

Is this not the guidance: https://www.gov.uk/guidance/working-safely-during-coronavirus-covid-19/restaurants-offering-takeaway-or-delivery#takeaways-4-5

This is an interesting thread to read with some good contributions. I've never knowingly used compression; am not anti-compression but more that I'm already generally satisfied with my sound so not actively on the lookout to change anything. For years with my P bass with flats I was pedal-less (bass straight to amp); then at some point I added low-gain overdrive, initially just for the Motown tunes but then realized everything sounded and felt better when I left it on. As I understand it, overdrive adds compression; if so, am I inadvertently a fan of compression, albeit not having the control over it that I would have if I was using a dedicated compressor pedal?

Some limited experience here but I've played Bass Station II while having a bass guitar strapped onto me and it's fine. For me, it worked better with my left arm under the bass's neck, but either way will work. The LS2 is a good call - it can level-balance the two instruments, and it will mute whichever instrument isn't currently being played. A keyboard I've played which was light and had a lot of useable sounds is Yamaha MX49; about £250 used. Try and get a sturdy stand. The cheaper X-style stands can be a bit wobbly. The stand I have is https://www.staymusicstands.com/products/supports-for-keyboards/

Normally when people use IEMs (and are receiving a full band mix through them), they want the IEMs to be sealed/isolating. However in your case, you don't - as otherwise you won't be able to hear the rest of the band. I am one of those who does like my ZS10, but (as per what they are designed to do) not much ambient gets through, and what does is muffled. If the band are at a low-ish volume, and you just need "more you", then use normal non-sealed earbuds. But if the band are loud, and you still need "more you", you risk damaging your ears by not using sealed IEMs, since to overcome the ambient volume of the band you'll have to turn the volume of your earbuds up dangerously high.

Behringer NX4-6000 is SIX THOUSAND* watts! https://www.gear4music.com/PA-DJ-and-Lighting/Behringer-NX4-6000-Power-Amplifier/2G8K *not real watts

Sounds like an excellent reason not to have one then.

I've not had an SR300, but can you remove the bridge spring to eke out the absolute max adjustment?

What I did was sell the Genzler (well, in my case it was a Genz Benz) and buy an RCF HD 10-A. Plug your IEM pedalboard straight into it.

I think it's the routing which is the tricky bit, as BigRedX has gone into. For my current setup (MicroBass 3), I send the bass to PA via the DI out. I receive a monitor mix from the PA, which contains no bass. The Microbass 3 mixes these two signals and sends that to my in-ears. The great thing is that it has a physical volume knob which controls the level of bass in my ears, which doesn't affecting my monitor mix level or the signal going to FOH. Can a Helix do this? If so, I would consider moving to Helix.

https://musiciansunion.org.uk/working-performing/coronavirus-guidance/overview-of-covid-19-restrictions-for-musicians So to me (no expert) it seems the 'seated' restriction applies only for more than 4,000 audience members.

An adjustable high-pass filter set somewhere between 40Hz to 80Hz might help remove mud and boom, without sacrificing good low end. Worth a try, as it's easier and cheaper than swapping cabs.