JapanAxe

Sad but true!

I wouldn't set too much store by what audiences say, I've lost count of the number of times that punters come up at the end of a gig and say 'Best band we've ever had in here!'

I once compared the DI output of my MarkBass Nano 300 with the bass signal that I was feeding into it, by recording both to my DAW and listening back to them. With the EQ set to ‘flat’ I couldn’t discern any difference. I don’t think the Class D power amp would impart any coloration, which would leave the speaker cab(s) as the main source of tonal colour.

Sometimes I go direct and use wireless IEMs, sometimes I plug into an amp. If the latter, I use a light weight cab and good quality earplugs. In either case, freedom for me comes from a wireless link from my bass rather than a cable.

No, that’s just what they want you to think!

This is basically what I do. One of my bands is a 7-piece and I have the Behringer XR18 with 6 Aux sends. Each of the other band members gets their mono IEM or wedge monitor feed from one of the Aux sends, and I use the main mix for my own IEMs (cable running from MAIN R output into the back of my transmitter) - I haven't tried it in stereo yet but it's got to be done! Nothing you do to the main mix will affect the Aux mixes but any changes to channel input gains will affect everyone. The 1U rack unit at the bottom is a Midas DN4816-O. An ethernet cable runs from the XR18's Ultranet socket to the back of the Midas, which I have set up to (mostly) output the corresponding channel immediately after the gain control - effectively an 'analog split', but done digitally. The sound guy/gal can just wire up the outputs of the Midas and do a completely independent FOH mix. (OT: You'll see that there are holes in the XR18's rack mount ears. I made these with a step drill and fitted rubber grommets, and they are big enough to pass an XLR plug through. It took a fair bit of effort but has been well worth it for the convenience.)

While I'm waiting for the bits to arrive I've cut and fitted a steel mesh front panel. I'll eventually do another one for the rear so that the valves are well protected but with good ventilation - better than on a Fender!

I rounded up the parts I already have, and placed an order for the rest with Modulus Amplification.

I’ve definitely never loosened the DI cable of a fellow band member so that their already-too-loud amp didn’t also get fed into the PA, and I most certainly never pushed the plug back in again at the end of the last set so that they didn’t know anything had happened. But seriously, if matey gets wind that his settings have been messed with, there will be tears before bedtime.

I agree but the trouble is, matey will hear the guitar-and-kick-drum-heavy mix and say ‘Yeah, nothing wrong with that!’

Nobels ODR-1 (yes another guitar pedal) is famous for its prominent low end and is available in mini format. The full-size version has top-mounted jacks so would probably save you as much ‘board space.

Who will the guy listen to? Not the rest of the band apparently, not the punters (what would they know about mixing?), so can you get an expert in to ‘work on your live sound’? If it’s a matter of making the gigs bearable for you, then being able to set your own IEM mix could be a win.

Feel bad for hijacking @Merton’s thread!

Well that's mildly discouraging! But I've had good results with an Ampeg PF-50T 50W 2x6L6 head in a live band setting, plus people on here have had great experience gigging the Handbox WB-100, so I live in hope...