jimmyb625

Yep, I'm firmly in the "love gigging" camp. In fact, any sort of live performance, whether it involves playing, being on stage acting, running sound for bands/plays/musicals, stage managing or driving the lighting desk. All of them hit the spot for me. I think it's something to do with the immediacy of it, you get one chance to make it work.

We have an xr18 at the theatre. We tend to use the mixing station app in preference to the X-Air one, as we've found it to be better. I can't remember off the top of my head, but was there something where you could mute the input in one of the auxes, which didn't affect the other ones?

We're making a trip down to Londinium on May 12th, sharing an evening of country/Americana and folk with Tim Prottey-Jones if that's your sort of thing.

It's never going to be all things to all people, as we all want specific features. For me, it works really well. I use it as an "always on" pedal, in place of an amplifier, with any monitoring usually coming from either an in-ear mix, or a stage monitor. If I was going to use an amp, I wouldn't be overly bothered about what it sounded like, as once it gets into the main mix, it's going to be eq'd anyway. Anyway, that's just me. Like I said, we all want different things and we're fortunate enough nowadays to have a huge range to choose from.

The cab sim is selectable on the DI out to be only active when the effect is engaged, or you can set it to be on all the time. You can't set it to be off if the effect is engaged, as the effect is to simulate thr actual amplifier. There's an amp eq, which only affects the 1/4" output, but that's not a true cab simulation.

Yeah, that's pocket change... https://reverb.com/uk/item/38629236-fender-custom-shop-evh-frankenstein-replica-masterbuilt-chip-ellis-hand-signed

I don't have it with me, but I think it's a Seaward model. There's also an app you can download (PAT mobile) which helps you keep a track of everything you've tested and when the re-test dates are.

Sadly, that's not rare. I do our gear, as I also look after the PA stuff. It made sense for me to get a tester (didn't bother with the 1/2 day course) as I do the testing for some theatre stuff as well. We sometimes have acts coming into us and in that case, we don't ask them for anything, but is something looks a bit off, we'll have a look at it for them. As others have said, the legal requirement is for it to be safe, not for it to be tested, no matter how many stickers are on it.

It was the Oddfellows. We've played there before. It was a bit strange, because it was also the Nantwich Jazz and Blues festival that weekend, but this place, for whatever reason, wasn't involved with that and did their own thing instead.

It's gone now and not to me.

If it's just a DI box, the ones from Orchid electronics take a lot of beating for the price. I've just got hold of an Origin effects bass rig, as an amp replacement. It has a built-in DI and cab simulator, so you'd run it at the end of your signal chain. It's not cheap, but it's very good.

Gave this its first outing yesterday. An unexpected trial by fire, as I'd forgotten my bass amp (too busy playing car jenga with the rest of the P.A. and guitarists stuff). I hadn't even tested it out at home, as my amp usually lives elsewhere, due to a ridiculous lack of space. It was an absolute breeze to use and it was almost impossible to get a bad sound from it. I used the 70's stadium (I think) as the starting point and just made a slight tweak, then left it set that way for the duration. I'm very impressed with it.

I Gig and record in an original band, with 2 covers sometimes thrown in just to wake the audience up. 23 (possibly 25-tbc) gigs/festivals this year, with 12 of those being the support slot on tour.

An afternoon gig for us, in the beer garden of a pub in Nantwich. The landlord's off to pastures new and had put on a weekend of different acts as a last hurrah. We played as a 6 piece, as the drummist was otherwise engaged. I always feel a bit nervous when we do this, as there's not much to lock on to and I need to change my usual lines to suit. Overall, it went really well, it was a nice day, we played well and the audience seemed to appreciate it. As a tenuous link, Thea Gilmore was in the audience and didn't walk out when we played, so I'm taking that as a win! 🤣

Oh no! I'm after the same, for the same reason. I may have to widen my search of models, so we don't get into a bidding war! 🤣

Oops!

I'm exactly the same.

In my opinion, £850 for a British made bass (or guitar) is good value. Good luck with it, I hope it works out.

I have a Strymon Zuma on one board and a Cioks DC7 on a small board. There were a number of considerations for me: • Voltage requirements for 9, 12 and 18V • Isolated outputs • Spare 13A to IEC cables are easy to find in an emergency • Plug in transformers (specifically the cable) can be damaged by repeated plugging and unplugging, plus storage etc

I thought I'd try a small tour and festival board, mainly to make setup as quick and painless as possible if I wanted to go amp-less. It's built on a pedaltrain nano, with a Cioks DC7 supplying power, enabling me to run the Cali76 at 18V.

I went down the route of buying a bike chain and a punch for my guitar pedal board. I can't remember the exact price, but it worked out cheaper than buying those pre-split packs.

I was thinking there could be a good opportunity for that, but realised I don't actually know that many covers! 🤣

I'm out! I honestly thought I could make it, as I haven't seen anything for a long time that caught my eye. Then Origin Effects brought out the BassRig and it was only a matter of time...

I think the thing here, is that Pete travels up and down the country playing well attended gigs to appreciative audiences. He mentions he's in a Led Zep tribute band, so it makes sense that not all of the gigs will be in the same geographical area. I know a few bands from the Manchester area who play original music (I'll count my band as one of them) who play around the UK, simply for the reason that you can't keep doing the same stuff to the same crowd continuously. I think the days of the "dance band" playing in the same location week in, week out, are long gone. The audiences want some variety in what they hear nowadays and even if you have an alternative setlist, it's only going to be sustainable for a finite number of gigs.

I have the HSp, you can get a huge range of sounds out of it and, as others have said, the preamp is immensely powerful.