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Al Krow

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Everything posted by Al Krow

  1. Al Krow
    Aww mate, taking one for the team again. You're a legend.
  2. Al Krow
    Top of the range Bergantino cab, currently not available in the UK (due to the domestic US demand), in very good condition with padded Bergantino cover. It's a fantastic, articulate and great sounding cab and, without doubt, the best cab I've had! (And must admit that statement is putting quite an element of doubt about my moving this on, so I'm looking to be firm on price on this one). Bergantino website description / spec I've spoken with BD and they have advised that these will be around £1,800 new when they get them back in stock later in the year. Willing to travel a reasonable distance of London or Birmingham to meet up to provide delivery in person.
  3. Al Krow
    Darkglass AO 900 amp, footswitch & padded case in vgc. Saw a decent amount of gig use pre-Covid, when I was using separates, but has been well looked after and is not getting too much use these days. Features 900 W RMS Class D Power Output 8/4/2 Ohm load compatible Analog preamp with Passive/active input switch Bendable Alpha and Omega analog drive/distortion circuits Drive/Clean Blend control, with separate Bite and Growl switches Three speaker cab Impulse Response slots, selectable via the Cab Select switch. Built-in adjustable studio-grade VCA compressor Ultra-quiet 6-band graphic EQ 3.5mm Auxiliary input Headphone output with cabinet simulation and separate volume control MIDI - for remote switching USB to connect to free Darkglass Suite (for Mac/PC) Loads Impulse Responses Control for the VCA Compressor (programmable on/off per channel) MIDI config etc. Supplied with matching Intelligent Footswitch (Super Intelligent Footswitch sold separately) Intelligent fan control - reduces noise when playing quietly [Pics to follow]
  4. Al Krow
    That makes much better commercial sense to me. Surely the point is what would a dep be happy to do a dep gig for i.e. what's their going rate? It will vary depending on the gig (pub or function) and travel involved and how good they are. If they can get their target rate, then it's a win for them and a decent night's work. It shouldn't matter at all to them what the band they're depping for get paid. Deps we use for our covers bands don't need to put a lot of time at all into learning new material - we usually tailor our sets to what they already know and the ones who regularly dep for us are pretty experienced and have a pretty wide rep, anyway. Generally speaking, we usually know quite a way in advance when we will need a dep, my bandmates know when they're likely to be away a couple of months ahead and put it on our shared band calendar, and I guess we've been fortunate in rarely having the last minute panic of someone dropping out, but obviously that can and does happen to any regularly gigging band.
  5. Al Krow
    I mean I take the exact same approach as you with all the bands I'm in. However, I think you've essentially asked the exact right question: "why should someone earn any more than everyone else unless you are hired as a 'session type' player for an agreed fee?" How about precisely if they are putting in more work than everyone else (e.g. providing PA, lights and do the majority of the booking). Should they be expected to do that extra work for free? If so, aren't they the ones being exploited by their bandmates?
  6. Al Krow
    Acquired this loud, punchy combo from a fellow BC'er in Oct 2020 who had looked after it well. It's since been kept up at my parents place in Brum for practice when I go up to visit. It's had a minimal amount of use since then and not been gigged by me. The combo has a 12" speaker, and puts out 300W by itself or 500W via an extension cab. Weighs circa 39 lbs. Collection or happy to meet-up within a reasonable distance of Birmingham or East London. Please note this is the MkII head - spec as follows: Markbass CMD 121H 1x12 Bass Combo - Peach Guitars (£659 new for the combo by itself without a bespoke cover). (Obviously just the combo for sale in the above pic ) With Roqsolid cover:
  7. Al Krow
    My bands split gig monies equally and always have done. We may pay musicians depping who have done nothing to build up the "brand" or put anything into securing the gig a different amount - but that's a rate for the job as a "session" musician that we agree with them upfront and it's up to them to decide whether they want the work or not. Whilst it's not something I'm planning to do, I've wondered whether it's actually unreasonable: If bands are prepared to pay agents a commission for getting gigs, is there anything unreasonable about incentivising band members to get off their ars*es and maybe get half the commission rate you'd pay an agent for putting the time in to getting a gig? The same, if one of the band spent (say) £1k on a PA and transports it to/from gigs that the rest of the band benefits from? Or if you're in an originals band and have written most of the songs the band are playing? I guess regards the above, it's going to boil down to open an honest communication and, in particular, letting bandmates know that is the deal that they're getting into when the join the band. I guess if an uneven split was the premise on which you joined the band and you've never discussed it since, then everyone's going to assume the status quo is ok unless told otherwise? If you were fine with it at the start and you're not any more then my approach would be to have a chat with the two getting paid more and letting them know you're not happy with the situation anymore / asking them why it's ok if they are wanting to be a band where everyone is equal and to be putting in equal effort?
  8. Al Krow
    I've had them both (P35 and 735A) and know which one I defaulted to in wanting to pick up to play / gig and preferred the tone of. However I also know out of me and Mark who the (significantly!) better bass player is, so...
  9. Al Krow
    Sold a pedal back to Ben (one that I'd previously bought from him, in fact!) Super smooth transaction. I guess I should properly thank you for letting me have the pedal on (free) loan and giving a whole new meaning to the concept of "return period" 😊
  10. Al Krow
    That's a really interesting observation. I was struggling with a similar point when I played with the FI live - just found it glitchy when first engaged and it let out a bit of an unseemly squeal which seems to be similar to what you are describing. Part of the reason for my sticking with the Boss SY 200 - the quality of the tracking / non glitchy fx is the trade-off I've taken for it not having the same quality of synth tones that the FI undoubtedly has. I think it's partly down to the SY-200 having polyphonic tracking which the FI doesn't. I was advised to change my playing style to suit the FI. My preference was to change the pedal - maybe that was me being lazy, but sadly I've too much else to try remember and get right when playing live.
  11. Al Krow
    Happy to consider near offers.
  12. Al Krow
    Just sold on eBay for £265.
  13. Al Krow
    I suspect there's a reason they've not including an OC-10 sim. Probably the same reason that they've ceased production of their rather too accurate and much loved clone 😁
  14. Al Krow
    That's really helpful thanks @mcnach! Must admit I'm a little underwhelmed by the Zoom B2-4, given it's price point, which is a shame being the Zoom fanboi I am. I may just hold off now to see if anything decent comes out of NAMM 2023, or if Yamaha/Line 6 finally get around to upgrading their 8 year old Helix offering.
  15. Al Krow
    @Woodinblack - totally agree with where you're coming from. The compactness and plug and play ability of the Xvive U4s along with their price point were all key factors in us deciding on using them.
  16. Al Krow
    Well I hope that's not further fuelling your feeling of being very middle class and having to look down on us plebs with our cheap gear? 😁 But more seriously if you're in a successful covers band making £'000s annually from gigging, then it makes complete sense to be getting the best quality kit that you and the band can afford, whether it be KS12.2s or quality wireless to enable you to deliver a great sound for your audiences. Although Russ has previously commented that we're often paying quite a premium for Shure kit over sometimes equally good / better alternatives e.g. Shure SE425s vs KZ ZS10 Pros. I don't know if that point would extend to something like the PSM300 wireless currently retailing for £730+? I guess the other point is it's nice to have the option of something more budget, like the Xvive U4 which together with a KZ ZS10 Pro have together come in at around £200 / head all in, for those of us wanting to dip our toes into IEMs and wireless for the first time and see if "conceptually" it's a runner. Very much looking like it is for my covers band, I'm really happy to say.
  17. Al Krow
    @mcnach Be really interested to get your warts and all thoughts on how your GP 200 handles pitch shift to enable us to easily change key on covers material? One test for me of how good a multi is, is how well it handles this as it's not one that the Zoom B1-4 is brilliant at - and not as good as Helix Stomp on this one.
  18. Al Krow
    Haha I've been through 2 and now on my 3rd. Not too outrageous over 10 years? 😁 Take the point about reducing the aux send output - that's helpful. I can boost it at the receiver end to compensate.
  19. Al Krow
    Yes, the Zoom B1-4 does do a decent synth which I've used live. I'm almost not surprised to hear you say it does synth better than the Core and Stomp.
  20. Al Krow
    Thanks chaps. I'm using a pair of KZ ZS10Pro which should be perfectly fine, so more likely to be something in the signal chain - so I guess easiest solution is to cut the pre EQ gain and boost the fader volume to compensate.
  21. Al Krow
    On the subject of Xvives - used mine for the first time at a gig a week back. Generally good: excellent at individual sound check, but with the full band I felt that the bass was clipping / distorting through the IEMs. Bandmate suggested it was because both me and the singer had a wireless set-up (her's were not Xvive U4 but the more upmarket / bulkier LD MEI G2) and that, in general, wireless was less good at dealing with the top end treble / lowest end bass frequencies but that the treble would win over the bass. Does what he said make sense and is it something I'm just going to need to suck up?
  22. Al Krow
    Just seen that there's a baby brother to the GP-200 the GP-200 LT. It shares the same basic capability of the GP 200 but loses the expression pedal and half the stomp buttons to give it a more compact form factor which would be pedal board friendly if you wanted to combine it with other dedicated pedals e.g. a synth. @jimfist you were asking about the Nux MG-30 on the Zoom B2-4 thread as an alternative to the latter; I think this Valeton could give the Nux a very good run for its money and (sadly being the Zoom-fanboi that I am) is a more appealing multifx to me than the B2-4 to me. I'm impressed that it has a bit crush / ring mod sim on it, that's not a common feature on the more budget multis in my experience! It's double the screen size + drum machine + aux in + 3 more effects blocks + for half the price of the Stomp, but without parallel path options which the Stomp has... I think I'm starting to put myself in harm's way of getting one of these!
  23. Al Krow

    Zoom B2 Four

    Al Krow replied to MarshallBTB's topic in Effects

    I think the fx patches are going to be identical to those on the cheaper models, and many will have no need for 6 flavours of DI out as they can go directly into the HiZ input on their desks. I do love the Z synth on the Zoom multis though! Puts many other more expensive multis to shame. And there are a ton of usable features and fx on even the cheapest Zoom multis. But if I'm forking out a lot more than I paid for my B1-4, I'd probably want to be getting parallel path routing for fx, and I think the entry point for that is something like the Helix Stomp. @JohnDaBass are you hearing a noticeable step up in sound quality between your B1-4s and your B6?
  24. Al Krow
    We've been trying to work out what they're doing differently - they're both (highly) trained and very experienced vocalists and it's not down to mic technique or awareness of speaker position. We've boiled it down to one having more powerful vocals which allows us to have a lower gain on the desk.
  25. Al Krow
    Hi Phil - thanks very much for that. So your point about compressors is only in relation to vocal or drum mics picking up sound on stage rather than e.g. a bass pedal board compressor, correct? How does DI'ing help with eliminating the impact of a compressor on a desk? Be delighted if you started an audio feedback thread! Not least as both our singers have similar Sennheiser wireless mics but one of them is able to wander into the audience in front of the FOH speakers without getting feedback, whereas the other much more often does get feedback issues. Having PA speakers with more headroom and being able to turn the gain down at the desk does seem to help, as the singer with the more powerful vocals manages to avoid feedback with most PA set-ups including our 310As, whereas the second has less feedback when using with the higher rated 912As. I'll take a read of that soundonsound article you've kindly linked.
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