Greg Edwards69

Hmmm. I wonder why they added this to the 1x10 and not one of the bigger 12XN cabs, especially if it's aimed at amp modelling users? My understanding is that the 10CR series was more coloured and "vintage" sounding, whereas the 12XN options are transparent - indeed, the BB3 and Big Twin are marketed as FRFR. Personally, an Active Super Mini T or Super Compact T would be a fantastic solution.

I keep doing the same thing with my Xivive U4 receiver - I think it catches on my shirt. I've tried wearing it in a couple of places: belt above my rear pocket as well as attached to my jeans front pocket. The latter behaves better but has scratched the back of my bass a little. I just wish they made the volume knob a little stiffer... I wonder if there's anything I can do to rectify it? I remember seeing some rubber washers to fix this issue for stompboxes, but I don't think there's enough space for one on the U4.

We acquired ours from our old CO when my brother and I were in the Air Cadets. He mentioned he had a couple of PA speakers that he wanted to get rid of, and if we could collect them we could have them for nothing. Thank goodness our dad had a Volvo estate!

Correction, yes, they must have been 4x12 stacks - my memory is hazy, it was over 30 years ago! And it was Wem, not Wemm.

I had a pair of Wemm 4x10 columns many years ago in my first band. I can t remember what happened to them. I sometimes wonder how well they would perform with a modern system.

Ours left his drum stool on his driveway last year and didn’t have time to go and get it. After calling a neighbour to retrieve it he ended up using a a couple of stacked chairs to get through the gig.

I also use Fender's guide to get relief and action in the right ballpark and go from there by feel. Their specs work well for me. As far as nut slot height goes, that's totally by feel. I hold the string down at the third fret and then lightly push the sting down directly onto the first fret with my other hand. There should be a barely perceptible movement accompanied by a little 'chink' as the string touches the fret wire. If it moves a lot, it's too high, if it doesn't move, it's too low.

I remember installing an AWE32 Soundblaster card (what a great soundcard that was) in an EISA-based 486 running Windows 3.1. That was painful. I had to boot to an EISA configurator floppy disk to tell the BIOS that I had installed a card into a slot. Only then could I install the supplied Plug and Play Manager from another boot disk so that Dos and Windows could recognise the card. Then there were other boot disks to content with for playing certain games with custom config.sys and autoexec.bat files

Hence why I stated "some" and "marketed as FRFR" to avoid the inference that most or all of them are frfr. https://barefacedaudio.com/collections/frfr-guitar-bass-cabs I'm quite aware that true frfr is a rare thing indeed outside of audiophile circles, not to mention a highly abused term, but even so, the SuperTwin that the poster uses is relatively uncoloured and accurate compared to many other bass cabs on the market. As such, this particular cab isn’t as essential to their tone, as say an Ampeg, or Trace Elliot cab might be, for example, so he might well be able to send a signal from his GK head and get a fairly representative tone in his IEMs. Not exact, but good enough!

Absolutely. I just didn't want to confuse matters, as getting the speaker cab tone to the mixer adds a whole extra level of confusion! @Si600 didn't mention which BF cab they have. Some are more neutral than others (or indeed marketed as FRFR) and don't colour the amp's tone so much. This is one of the reasons I don't use an amp and cab anymore and just go direct from my Helix with amp/cab modelling.

It depends on how much your GK head is part of your tone. If all of your tone is coming from the B3n, then go straight to the mixer from that. If the GK head is an essential part of your tone, then send the signal from that instead.

Well, two really. One of the lead singers dabbles with basic rhythm guitar using a boss acoustic sim pedal. Sometimes, we wish he wouldn't!

Saturday, Redonizm were back at The Cow & Telescope in Southend, one of our favourite venues in the area. Being that awkward Saturday between Christmas and New Year, we were unsure what the turn out would be. The pub was almost empty when we arrived and when my wife, bother, sister-in-law and a coulple of friends arrived around 8.30 the audience size doubled! But we needn't have worries, people started trickling in, including a lot of regulars, around 9pm and got quite busy by the time we started at 9.30. We get to got a little heavier in this place, which is nice, but still kept a few of the party anthems that always work, anywhere we play. In fact, it's getting harder to choose which songs not to play these days! That said, I was hesitant to play Dakota and Sex on Fire that one of the singers had included in the setlist, at this particular venue, as they're done to death (the new mustang sally). But they went down more that okay. In fact the regulars have their own call and response thing for Dakata that made it even better. Like having our own choir. All in all a really good night and a perfect end to the year. This was out 4th weekend out in a row, so set up seemed much simpler, and I wasn't aching as much as I normally would at the end of the night either. I could have kept going for another half hour, no problem. Just goes to show that your body gets used to things after repetition! Got a break from gigging for couple of months now. Time to work on new material, technical stuff and working on marketing stuff, not to mention booking some more dates in the diary!

Agreed I had the Nux mighty plug (non-pro) and the Mooer P1 and the Katana:Go is leagues ahead. I still need to spend some quality time time with it though and dial in some presets that match my Helix presets as close as possible.

Not a pedal, but I bought a Boss Katana:Go back in March. Very useful little tool.

Last one of the year for us in one of the best cover band venues in the City.

Yep. See my post above. At least we had some warning, but bad planning still spoiled what should have been a perfect "last weekend before xmas" party.

Saturday's pre-Christmas gig was at the Sarah Moore pub in Leigh-on-Sea. Little bit of a strange one TBH. It's been in the diary for months, but the boss contacted us some time ago when the big boxing match was announced and asked us to start a bit earlier than usual. We didn't really have much choice in the matter so we went with it. I think most of us here get a little annoyed when we have to compete with televised sport. So, we turned up after 5pm for a leisurely setup, aiming for a 7.30pm start, only to be told by the person in charge that we couldn't set up in the usual band area. Someone had reserved a couple of tables in that area for 20 people as they wanted to watch the boxing and those were their favourite seats. We argued to no avail that technically, we'd had that space reserved since spring. So we were told to set up in a different corner which although raised and has more space (the usual area is tiny), there's a partition wall cutting off visibility to half the pub. Be begrudgingly accepted defeat - the only other option was to not play at all. Still feeling annoyed whilst setting up and humping tables around, this was the last weekend before Christmas and had been advertised as a Christmas party + boxing. Anyway, the pub was really busy by the time we started playing. A lot of people had turned up just to see us, and a lot to watch the boxing who ended up enjoying the free music as well. Then apparently during our break the actual boss turned up and went apeshit wanting to know why the band wasn't in the usual, better sport, and allegedly read the riot act to whichever member of staff it was that reserved the tables 😆🤣. As nice as it was that he was on our side, it was too late to do anything about it (time-wise and the pub was bursting at the seams by this point), and he should have been on top of the situation and never let it happen in the first place. The second set went down amazingly well judging by the people we could see and hear - the whole place joining in for Fairytale of New York was a particular highlight. Liam, one of our singers was encouraging everyone to be as loud as possible and annoy the neighbours (this was our last time playing here as the pub is closing for good in the new year - sold to developers to build flats). "Let's upset the neighbours!" he said. "What are they going to do, shut the pub down?" So it was bittersweet in the end. We've always had a good gig there, and this was a good gig too, just marred by poor logistics! Oh well, roll on next weekend for the Cow & Telescope, one of our favourite venues.

Everyone knows trolls can’t even count up to four! In fact, trolls traditionally count like this: one, two, three, many, and people assume this means they can have no grasp of higher numbers. They don’t realise that many can BE a number. As in: one, two, three, many, many-one, many-two, many-three, many many, many-many-one, many-many-two, many-many-three, many many many, many-many-many-one, many-many-many-two, many-many-three, LOTS. Sir Terry Pratchett

Our leads are colour-coded and numbered, with corresponding numbers on the stage boxes, and numbers on the mixer. The CQ20T mixer also has corresponding colour codes for each channel. Even so, there's a couple of people who don't know how to plug themselves in. I think I might make up some more labels for the stage boxes with people's names and instruments (such as "Greg Bass" and Greg Mic") to make it even clearer. Whilst I'm at it, I ought to colour code the speaker cables and speaker sockets to make it as foolproof as possible. I think I'll take a couple of rolls of electrical tape and a Sharpie to the next gig! Come to think of it, can anyone recommend a good quality, not too expensive 6m dual XLR cable? We're running two leads from the mixer to the sub. A dual cable would save a few minutes

Starr Sports, Canvey Island, on Saturday night. Load-in and set-up went quickly and smoothly. Everyone (well, nearly everyone) knew their roles and what to set up now. It was also somewhat aided by both singers now migrating to the Xvive U4 system the two guitarists and I have been using, meaning less trailing leads for P2 IEM packs. A bit of a challenging audience in the first set, apart from a group of young drunk booked going nuts over the heavier stuff, and getting way too close and knocked the singer's sample pad over - he managed to grab it before it hit the deck. The bouncers turfed them out shortly after. It didn't help that the bar has a new pool table in the middle of the room that is way too close to where bands play, leaving not enough room for dancing - and it can't be moved... at all. (Honestly, this is one thing that really pees me off in some venues). Oh, and shortly before we started, I came out of the loo to see the female singer walking away from chatting to the drummer and catch her flares on my guitar stand, and watched in horror as my Ibanez EHB fell face down on the deck! Luckily, it appears to have survived its fall unscathed apart from a small ding in its headstock. The second set was much better. More party tunes in this set and more lubricated people ready to sing and dance (at the space next to said pool table rather than right in front of it). Obligatory encores and we were done by midnight. By this point, I was running on fumes (and Red Bull) due to a late night the night before and a very early start (cruise ship dinner party with family - get to bed at 1am and didn't realise until I was awakened by my uncle phoning our cabin that we had to be out of the cabins by 7.30am!) So yeah, I was rather tired by this point, but we all mucked in (well, nearly all) and was tucked up in bed by 1.30am. Next stop, The Sarah Moore in Leigh. Earlier start than usual due to them showing the boxing after (🙄). It's usually a good one for us, but sadly our last one there as it's closing in the new year as the building owner want to build flats!

Glad to hear you had a barnstormer of a night to finish the band's run. Definitely one of our favourite venues to play, and the perfect place to play your final gig! We're playing there later this month on the 28th. It's that awkward time of year between Christmas and New Year, so fingers crossed we'll have a decent turnout. I'm sure the colourful regulars will be there no matter what!

Saturday was the first of a busy December for us at the Crumpled Horn in Upminster. We play here every Christmas and the landlord is a former DJ and agents and is an old friend of the band (indeed, he even DJ'd at my wedding). The weather was atrocious, as it was everywhere else in the UK - although I reckon it would have been cancelled if we were in the west of England. A decent sized audience when we turned up to load it, but by the time we was ready to go at 8.30 a number of patrons had left, and more during our first set - although they were singing and dancing while walking out the door. By the time the second set started the pub was nearly empty, but those who stayed were very enthusiastic. The doorman told us that this pub is half empty whenever there is bad weather, so we can take solace in the fact that we didn't cause the lousy turnout. The landlord was happy with us too and gave us a little extra on top of our usual fee. Oh well, roll on next weekend. Back to Canvey at Starr Sports. Usually a lively one!

Our drummer uses a small mixer for his IEM feed that sits on a shelf clamped to his hi-hat stand so his can quickly adjust the level without fumbling with a belt pack. He forgot to bring it Saturday night. Behringer P2 to the rescue! Seriously, any band that used IEM should have at least a couple of these or similar in a gig bag as a backup.