jimmyb625

It had been mentioned at the time you posted, there was just a delay in the message reaching the post...

I've just picked up one of these. Fits the cab, small TC head, mains and speaker cables and still has some space available.

I have the Super Vintage as well and I love it. Just like almost everyone else, I run it at the end of the signal chain, as you'd do with an "original" amplifier. My setup is: Wireless/tuner, Compressor, BassRig I don't have much "drive" in the sound, just a very slight amount to colour it a little. I took the initial settings from the ones Origin suggest in the manual and tweaked them a little to suit.

I think I read somewhere that Behringer were working with the developer of Mixing Station on their new app, although I may just have dreamt that. You can also use an x-touch with the x-air, which may be worth considering, although it does put the price up and means you need a physical connection.

Gig bags are so 2000's. This is the future:

Perhaps the sarcasm wasn't evident enough. You're doing him a big disfavour by saying he only wants to rip-off musicians. It looks like Mick works hard to ensure he rips-off as many demographics as he can

That's a bit unfair. He also appears to rip-off venues, crew, pensioners and families wanting to rent his caravan.

Who's that then?

🤣 Indeed, and you'll also see/hear the guy on the moped saying "who?" quite a lot, which doesn't help to calm down Mr. Pickering much.

Who???

His gigs go to a different school, you wouldn't know them...

Separation is the best method. Personally, I like to keep at least 50 miles from me and wherever Gene Simmons might be playing... That said, over-ear ones are much, much better. There are plenty available in loads of different styles. I used to favour Peltor, but other makes are available (avoid the really cheap ones). If you do go for plugs, avoid the foam ones and get something with a loop, cable, or other way of extracting just in case they get pushed too far in. Having said all that, it's a Kiss concert, they'll probably confiscate whatever you take and make you buy their official "Kiss your ears better" versions! 🤣

He's certainly winning the "hearts and minds" battle...

Excellent! We've been trying to get on that for a while, without much luck.

I enjoy humping my cab. It's a Barefaced one10, so isn't heavy, I just really like it...

I fail to see what kind of point you're trying to make here. I'm a big fan of IEM's, silent stages and getting "my sound" via the pedalboard, but I also recognise that approach isn't for everyone. Are you just trying to start an argument?

Yes, that's the one! Also, despite him not using them here (which I'd guess is because he's only on for a couple of songs) Rod Stewart was an early adopter of IEM's for his band.

Well, you seem to have missed this singer for starters... 🤣

We're called "Fine Lines" after the John Martyn song, as opposed to a reference to the aging of the band members 🤣

Our second night supporting The Long Ryders, this time at the Cavern Club (it's a small venue in Liverpool, you've probably not heard of it...) Really happy with the way we've played over the last 2 shows, everything just seemed to click into place and we did a good job. I had a slight pedalboard panic, where a high pitched noise appeared which at first I put down to the new wireless unit. Checking though the signal chain, it turned out the problem lay with the compressor where the output volume had been knocked and was maxed out. I think I'll be marking the settings from now on!

We've (Fine Lines) just played at this iconic venue, supporting The Long Ryders. We played an absolute blinder! The on stage monitoring and in-ear mixes weren't massively great, but we could hear enough through FOH to get by. Even though the audience weren't there to see us, they were very appreciative and I think we sold a bit of merch and picked up a few followers. It was one of those nights that makes me appreciate being in a band.

I usually look like a 🛎🔚 whatever I try to do, so I've decided to embrace it!

That's fair enough, like I said there's never going to be one solution that will serve everyone.

An interesting, if at times fractious, thread. Here's some of my own thoughts/observations, not that anyone has asked for them, but then that's the nature of the internet. First and in my mind, foremost, we're entertainers. People pay money to come and see us perform music, whether it's original songs or cover versions. As a result of that, I feel we have a duty to provide them with the best sounding version of ourselves that we're able to. If that means making a compromise, then it should be us that does it, as opposed to the audience. With regard to the size of venue, as a couple of other people have said, it's in the smaller places that it's even more beneficial to use in-ears. Reducing the amount of on-stage "noise" makes it easier to get a good sounding mix out to where the money is. On a large stage in a venue, there's naturally a greater distance between any backline and the audience, so audio spill and the interference with front of house is reduced. I still carry and use an amp from time to time, although "my sound" is all derived from my pedalboard (via the Origin Effects bassrig) and the amp only serves as a small monitor with which to annoy the drummer. Doing it this way ensure that I'm feeding FOH with the same sound every time I play. I've played before now without the amp (I forgot to load it into the car!) and it didn't cause me any issues, as I could monitor it through the PA. I've also played gigs at some pretty big places where I just used the drummers wedge to listen to what I needed. Like a few others on the thread, I also sometimes double up as the sound engineer, which has seen me strongly advocate for the use of IEM's, particularly for the three at the front who have mic's. At first, there was some resistance from the lead singist, but after a couple of gigs he realised he wasn't straining his voice and became an enthusiastic advocate. The main female singist definitely needed them, as she used to have her monitor so loud, it overwhelmed anything else on the stage. The drummer is still resistant to making the change, but he does use over-ears with his electronic duo, so I've not completely given up on the idea of getting him to change. Certainly the use of ambient mic's on the stage is of great benefit, as we can patch them through to the individual mixes and continue to hurl abuse at each other. Ironically, even though I'm hugely in favour of using them, I can't get to the stage where I'm completely happy with them for myself. I think it's because I'm still using a wired set, even though I own the 3 wireless units we use already. Having 2 cables attached was quite an annoyance and a bit of a faff when it came to starting the set off, having to plug in and untangle the things. I'm just in the process of going wireless for the bass, which fixes 50% of the problem, so I may look at going wireless for the IEM's as well. One thing that is really important, is to make sure you've rehearsed with them and to know what it is you want in the mix. With digital desks nowadays, it's a lot easier, as you can store your settings, so sound check time should be massively reduced (if you're using your own desk). When we play at other gigs where we're not bringing the desk, I try to make a record of the standard mixes that everyone has, so I can pass them on to the monitor engineer. It's not perfect, but it's a good starting point. Ultimately though, there's never going to be one solution that will serve everyone. There isn't a right or wrong, just a myriad of better or worse depending on your own situation. Over time though, I tend to think IEM's will become the norm, in much the same way as line arrays have done for PA systems, or indeed lightweight bass cabinets and class D amplifiers.

I loved his work on Vigil. "State of mind" is one of my all time favourites.