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jimmyb625

⭐Supporting Member⭐
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Everything posted by jimmyb625

  1. Ditto! My band respect the fact that it's my PA, so they don't touch it, or any of the cables, or microphones, or microphone stands, or mains cables etc.... It's really good, as they do all of this without me ever needing to ask them.
  2. Yes, if you're on Channel 70, you'll always be limited on the number of units you'll be able to operate in that frequency range (4 is usually the limit) so at any broadcast exhibition, I wouldn't expect it to be much use at all. Even channel 38 is going to be very limited, without some agreement in place between the various exhibitors. As you've mentioned, 4g mobile data is now operating in the old channel 69 frequency range, which will take it close to the lower limits of channel 70. The reccomendation is to re-tune the euipment towards the upper limit of the channel if there are problems. You've not mentioned what you think falls into the cost-effective category, but I know the LD IEM units for channel 70 can also be tuned in the 823-832MHz band (which is included in the standard licence). Personally, I just bit the bullet and purchased a licence, as I wanted at least 4 channels of IEM's with the flexibility to add more if required and I wanted to move away from channel 70. I think we'll start to see more of the bigger players moving to digital only systems and dropping their UHF offerings (Sennheiser have discontinued the G4 series and are running down stocks) which may improve things.
  3. I was going to say the same, but with a two10.
  4. Just a word on the KZ's with the microphone on the cable, be careful with using them anyway, as I've found they can be problematic with some of the TRS sockets in IEM packs (I had problems with both the LD and Sennheiser packs)
  5. That's a neat little rig. Have you thought about going stereo? (Although I know a lot of places haven't got the facility to give you a stereo mix) I can't help with how the panning might impact of your deaf side, but maybe have more on your "good" side and reduce the volume a bit?
  6. Very sad. My condolences to all affected.
  7. A local one for us, playing at a tea room (yeah, we're that rock and roll). Still, the audience enjoyed it and hopefully the link below works... https://www.instagram.com/stories/knutsfordtearoom/3396275720256766434?utm_source=ig_story_item_share&igsh=MWhoa2I4a2ZsNnFyaA==
  8. That's true, if you've already got the QSC's then it's probably not worth it. I keep telling myself I don't need them, as I've already got a pair of 12's and access to some RCF 15's, but on the other hand I'm massively irresponsible.
  9. I'm just throwing in the reminder that Thomann still have the RCF ART 310's on offer, for what is a pretty good price: https://www.thomann.de/gb/rcf_art_310_a_mk_iv.htm
  10. Have you tried after-market foam tips on them Phil? I tried some Comply isolation plus tx-500 (seems an overly long name) and found they were pretty good with my zs10's. That said, I'd be interested to hear how you get along with custom moulds. I was half-considering going down that route, however given the current state of the band, I'm not sure it's a worthwhile investment.
  11. Great to meet you as well, it sounded ace.
  12. I took a trip over to Liverpool, to see @Mertonplaying with Katy Hurt at the "Black Deer Live" Liverpool show. Really enjoyable afternoon and they sounded great. The support band "Motel Sundown" were really good as well.
  13. I'm off to see @Merton of this parish tomorrow, playing at Strawberry Fields in Liverpool, as a part of Black Deer Live.
  14. His manager and quite a few of the new band are from around that area. Should be good fun, we supported him in '22 and for one of the gigs in '23.
  15. It's difficult to say for certain. One thing that might be worth checking, is the frequency range it's operating in. From what I could see on the website, it doesn't look like it operates in the UK available frequencies (apologies if you're not in the UK) so you may have problems.
  16. Yep, it's really poor, especially when you look at the ticket prices for some of those shows.
  17. I think (from my limited experience) he's pretty much right. Obviously, a lot is going to depend on the employing artist or band, the status of the player and the tour they're on. So someone like Lee Sklar, Pino, or Guy Pratt will be getting a pretty good rate, but if you're in the background for someone like Mel C, you're not going to be buying a Rolls Royce anytime soon. I mention Mel C, as our band played on the same bill as her for a festival and the backing band (except for the keys player/MD) had never met her before the gig. A friend of mine works LX2 for a pretty well known touring musical and she's pretty much on minimum wage, with £350 per week food and accommodation allowances. They usually try for something like an Air BnB and split the cost between a few of them. It's never great money, unless you're absolutely at the top of the tree.
  18. So you've got a "year of conception bass"? Hmm, wonder if that's a reason to buy another bass?
  19. Are you playing at Black Deer Live in Liverpool? I'm half tempted to pop along, although I really struggle with that socialising thing.
  20. I think you're missing the most important point. It's got flashing lights!
  21. I think we may have played on the same list as Katy, although I'm not positive. We definitely did something with Gasoline and Matches, although it was only the "front three" of guitar, vocals and violin.
  22. We're sort of Americana (we have a violin player and have had a pedal steel player on a few tracks in the past). Some of the bigger festivals (Black Deer, Long Road etc) seem a bit of a "closed shop", especially if you're not based in the South, which appears to be where there's a bigger scene. Having said that, we might just be rubbish.
  23. True, but they're shipping 1 bass 100 times.
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