jimmyb625

Have you tried right-angled plugs?

Check out this thread as well, there's a lot of useful suggestions:

Yep, I have the predecessor to that one. Like you say, there's no point using something unreliable, given it's a pretty critical component.

I'm not sure if we're in the category, although we've got a violin player and I wear a hat... Anyway, here's one of ours:

But it's really handy for the Kangaroo Gardens!

I don't consider myself to be a particularly "good" bass player. My music theory is pretty poor and if you give me a bass clef score, I'll stare vacantly at it for a while and then ask my 11 year old daughter to tell me what the notes are. The thought of going to a bass bash and playing in front of other bass players makes my blood run cold. That said, I like to think I have a fairly musical ear and the ability to not ruin a track. I also practice the songs we play, a lot. The band leader/songwriter likes the parts I play and even the drummer sometimes says they're not cr4p. As an aside and a full-on "humble brag" the drummer invited one of his work colleagues (who also plays bass) to our recent support gig in Manchester. I've mentioned him before, not often by name, but our drummer is Mark Radcliffe and his colleague was the producer on one of his radio shows. Anyway, after we'd played, he said that his producer said (and I quote) "That bass player's pretty handy". Of course, when I asked him to repeat it for the benefit of the tape he said the comment was "The band was really good, but let down by the terrible bass playing". Having that sort of compliment (and the associated disparaging remark) gives you both a confidence boost and keeps you grounded. I suppose the TLDR takeaway is: I'm ok at what I do, but there's always room to do better.

Last one of the year for us, at our second home and sometime recording venue. We're 60% sold already, which is nice and we'll be showcasing some of the new stuff as well.

That would work. You wouldn't have the tuner functionality but it should be ok (could possibly be volume differences).

Fine Lines, Tuesday night at Rebellion, Manchester, supporting "The Long Ryders". There was some initial trepidation, concerning the number of people willing to make the trip in to town to see both acts, but as it turned out, a relatively healthy showing managed to make the evening an enjoyable one. We were faced with the usual arms-folded audience members, somewhat determined not to enjoy us for the crime of not being the headline act, but we managed to overcome most of them by the time our set was complete. We went on 10 minutes later than scheduled, due to the late arrival of tue audience, but we still managed to clear the stage in under 5 minutes, proving once again that we may be rubbish, but we're easy to accomodate. Gratuitous shots:

But, it's likely the sound engineer is touring with the band, so they probably like what it is they're doing.

We're supporting The Long Ryders on Tuesday 17th in Manchester, if that's your sort of thing.

Everyone needs a mic stand! 🤣

Yep, that was the one.

I'm fairly sure you can download it instantly, certainly they'll email a copy within a day or so, but as long as you have the licence number, you're set.

It does appear on the licence when they send it you. The website isn't the easiest place to find information though.

No help from me I'm afraid, as I use the K&M one. I don't find it much of a problem to take an extra mic stand for it, but I know everyone has a different setup.

Not quite. As Dane says, switching between monitor and FOH mode changes the outputs that the aux's are presented on. There's a couple of reasons for this. First of all, it puts all of the send levels onto faders, which makes it slightly easier for a monitor engineer, as opposed to moving the rotary pots. It also gives you the option to use inserts on the aux sends, which isn't available on the trs outputs. You also get +4dBu on the aux outputs (xlr) in monitor mode, as opposed to -2dBu from the trs outputs you get when you use it in FOH mode. If you are using it FOH mode (which I think is the one most of us would use) you still have all 6 aux's available, but on the trs outputs which are controlled by the pots. Your normal mix to FOH would be via the main L&R (xlr) outputs. You could also "cheat" a bit and use groups 1-4 to get another 4 outputs, but you don't get as much flexibility, as you're limited to post fade sends from the channel and you can only assign individual channels to paired groups (i.e. channel 1 sends to group 1&2 3&4 etc.). As I said, it's a really good desk. I used one for around 10 years at the theatre, before we made the move to an xr18.

The MixWizard is a great desk. Although it's not cheap by any stretch of the imagination and certainly when compared to an xr18, or CQ, you'd wonder why anyone would bother buying a new one. Here you go, all the aux outs you'll need for less than £600!! https://www.ebay.co.uk/itm/175929527200?mkcid=16&mkevt=1&mkrid=711-127632-2357-0&ssspo=WBXQdsVTRGO&sssrc=4429486&ssuid=ZHVO_SrYQeO&var=&widget_ver=artemis&media=COPY

It's 6 aux. The 4 refers to 4 groups.

That's certainly an odd one.

If you're using IEM's, you can still take all of the instruments into the PA, but you'd only put them into the aux mixes, not the mains feeding l&r. Think of it as the same way of using a click, where you'd only want it going into the monitor feed.

Looking through various posts and topics, I thought it might be interesting to get some feedback on what people look for in their monitor mixes. Do you want a CD quality version, complete with 20hz to 20khz audio reproduction, or are you happy enough just to have a vaguely intelligible noise? Do you need a full mix of every instrument, including the singer's badly judged mongolian nose flute, or are you just after one or two key instruments? Should your monitor volume be capable of siesmic damage to the building and "moving some air" (pro-tip, a fan is far more efficient at moving air), or would your stage volume need turning up in a library? Maybe the collective hive mind of basschat could come to a general consensus, which might be of use to others? Obviously, I've been around long enough to know how improbable that's likely to be, but still...

Ouch! A little late now, but I carry two tablets when I do the tech stuff for the electronic duo I work with. It used to be an ipad air and a galaxy tab, but I've recently upgraded to a Galaxy Tab S8 ultra for a larger work surface, so I now take 2 Andriods. They both run mixing station, so the interface is about the same, although I've set a custom layer one the S8. It might be cheaper than buying an X-touch (although I do like those).

I agree with all of this, especially with regard to her using in-ears. I used to struggle with our female vocalist, as she had excessive levels in the monitor, so much so, that no one else on stage ever needed any of her vocals in their monitors. As soon as I managed to move her over to in-ears, the rest of the monitoring became far more manageable. @Pirellithecat Have you looked at any eq'ing for the monitors to identify if there are frequencies that are particularly susceptible to feedback? Obviously, it's going to be tricky to do if you're pushed for time on a get-in and it can be a bit anti-social if you're "ringing" out the monitors to eq them. I've just seen that you're on an analogue desk, which is going to make it a little trickier when compared to a new fangled digital one with eq's just about everywhere, however you could put something in-line and used analogue output gear is very affordable nowadays. There are also "feedback destroyers" which are either heaven sent, or the work of the devil, depending on your experiences with them.

We (Fine Lines) played at the Leek Blues and Americana festival on Wednesday. At first we were a little worried, as we hadn't heard anything about ticket sales and there didn't seem to be much advertising. There was also the looming threat of storm Edna, or whatever the current one is known as, so much of the pre-show conversation was taken up with speculation as to how many would show up. As it turned out, our fears were misguided and we found a well full audience awaiting us. They were all seated at the front, with more standing at the back of the room (which wasn't a problem, as we don't usually get people dancing, unless they're really drunk). I thought we played really well, although I'll admit to being somewhat biased and there was only one fleeting wrong note, which I managed to style out by looking bemused at the drummer. The only downside was that there was a group of cared for adults on the front row, who wanted to engage in some vocal audience participation and commentary during the breaks between songs. We didn't realise this at the time, which led to an "interesting" bit of stage "banter", which went approximately as follows: Person 1: "That's a really great sounding guitar" Person 2: "What about the bass guitar?" Person 1: "It's not bad" Bass Player: "Fcuk off! This is an amazing bass! It sounds brilliant, maybe not when I play it, but still..." Guitar player: "one, two, three, four.." In my defence, I tried to be as jovial as possible and I didn't know the particular circumstances of the person I was "talking" to. Still, I do feel a bit of a git. No photo's yet of us playing, but there is one of us at the chippy, which serves as a reminder to get a hair cut.