jimmyb625

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.

Maybe they just decided we weren't worth the trouble?

I run an amateur theatre. We pay PRS for the licence annually and submit track lists for music we use in our performances. We also host bands (including mine) and we've been asked to submit set lists for those. Our response for band setlists is always that we do not book the bands to play, rather they hire the performance space from us, therefore responsibility for compliance doesn't lie with us. They can get a little shirty though. That said, the band do get royalty cheques from them on a yearly basis (not that I see any of it, as I don't write)

I'd be more than a little sceptical about that.

I heard once, that Pink Floyd commented they could leave the venue at the same time as the fans who had seen the show and not be recognised. By that measure, I have made it.

Just to add, my Warwick is active and it plays very nicely with it. Usually, as far as I'm aware, unless it's the first in line it doesn't make a huge amount of difference.

I only use it for the eq and it sits in front of the Origin Bassrig. Most of the time (if I get the choice) all of my bass sound is derived from my pedalboard, with any amps only serving as on stage monitoring until I go IEM as well. I really like it, but I don't usually use it as an effect, just as an enhanced eq for the bass rig.

I think about 98% of my facebook posts are related to band stuff, whether that's sharing their "official" posts (usually accompanied by some sort of comment, often self-depreciating or sarcastic). Instagram is all music stuff (when I remember) as is threads. Twitter is mainly music, with the occasional mocking of flat-earthers/conspiracy theorists and semi-regular calls for Esther McVey to either resign or start doing the job that she's being paid for (MP, although you'd be forgiven for not knowing that if you looked at her twitter feed). I also make really terrible YouTube videos, covering the gigs we do. These mainly consist of lots of detail about cables and di boxes, with the odd snippet of music (usually soundcheck) thrown in.

Pretty sure that's illegal.

Two coming up for us. 27th September in Leek and 17th October in Manchester (supporting The Long Ryders)

E935 for guitarist/singist. E935 for violin player's backing vox. Sontronics Solo for female singist. AKG D7 for drummer (plus when he sings in his electronic band) E835 for support acts, or visiting acts to the theatre. SM58 for those who don't know other microphones exist. I also have a pair of sontronics Halo's, which I'm thinking of trying for a duo project the guitarist and drummist are going to be doing soon.

Ah, you were with Headsticks. That's cool, we heard a lot of good things about you and people were definitely looking forward to your set. It is a great festival, it was our second time there and we ended up playing earlier, as there was a clash with something the violin player had booked in for later in the day. Or at least it was a clash last year, when we were originally scheduled to do it (before it was cancelled).

There is on the 12 & 18 but the 20B is app only.

Ah, you're right, I was looking at the gross weight. 🤦‍♂️ I wonder what the floor monitor setting does? I'd guess it puts on a high pass.

An afternoon slot at the Wigan Diggers' Festival for Fine Lines. https://wigandiggersfestival.org/ It was rather warm, much like the rest of the UK, which isn't my favourite thing to play in. We played without a drummer, as the regular one was on holiday and the dep we had arranged needed to drop out. As we're an originals band, it's a bit harder to make last minute substitutions. However we've played with this line up before, so it's not something we went into blind. Stage monitoring was a bit challenging to start off with For the first song, the only things audible were the piano/organ and one of the singers. I had to watch the guitarist's strumming pattern (not an euphemism) in order to follow the beat. Still, it improved eventually and we managed to survive until the end. Under normal circumstances, I would have been wearing a more "on-brand" stage shirt, however the setup time was limited, so we pretty much ran straight through setup, line check and performance.

The Titan AX12 is 15.5kg, the Studiomaster sense 12a is 15kg. The others vary between 17kg and 19kg (based around 12" drivers). However, they're all wooden cabinets, as opposed to polycarbs. I have a pair of Titans (passive 12") and they're fine. I'll even be using them as stage monitors for an upcoming gig at the theatre, alongside some Alto's. However, they're a compromise compared to a speaker that's been designed as a monitor. I'm a big fan of RCF, but even the ART 312 (16.8kg) isn't quite as good when it's used as a stage monitor. For me personally, I think the studiomaster is where I'll be spending my money.

I think the TFX range are pitched towards the more affordable levels of gear, as opposed to the TFM (or equivalent) series, which are the ones you're more likely to see on bigger stages or tours. I've been looking around for some to use on occassion for our theatre. Candidates at the moment (in a similar price range) also include: Studiomaster sense https://www.studiomaster.com/speakercabinets/sense/ The Box https://www.thomann.de/gb/the_box_pro_mon_a15.htm LD systems (the G3 has just been announced, so the G2 versions are pretty good value now) https://www.thomann.de/gb/ld_systems_active_pa_monitors.html db technology also have their "Flexsys" range, which looks to have been recently discontinued, so there coukd be some price reductions on the way https://www.andertons.co.uk/pa-monitors/db-technologies-flexsys-fm10-coaxial-active-10-1-stage-monitor-400w-125db-max-spl-fmx10 I've been on small festival stages which have used the Box and Studiomaster monitors and both seemed ok.

I can't work out how to enable it on the app, but that may just be because I'm running demo mode and not connected to an actual unit. There is a big warning that pops up if you switch the feedback assist off.