Al Krow
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Everything posted by Al Krow
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@Phil Starr @Chienmortbb gents, any takers?! 😊
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What's the weight of your subs, Bill? Feels like there's a gap in the market / interesting commercial opportunity for a high quality relatively lightweight sub, certainly over here in the UK? In the same way that Alex Claber made a big name with his Barefaced cabs. Bass Direct in Warwick could be an ideal UK distributor if this sounds interesting, as they regularly import from the USA.
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Thanks Bill. So I think you're saying lower cost and lack of need of wider dispersion makes the 15" the obvious choice over 2 x 10" for a sub? Would you expect the size / weight of the two set ups to differ for same power output, other things being equal?
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Sure, and I agree with all of that, Bill. But would a 2 x 10" speaker set up ever make sense for a sub vs a 1 x 15"?
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Finally someone making sense on speaker cone sizes. So they do matter and make a difference. Hallelujah.
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Decisions re. new PA for 4 piece band. 10 / 12 / 15 tops +/- Sub
Al Krow replied to warwickhunt's topic in PA set up and use
What are you considering to be small vs hefty? And where, in particular, do 12" speakers fit into that? -
Don't get rid of your synth pedal any time soon though! 😅 I'm not sure how good that review was tbh, felt like it was doing quite a few things "adequately" and not necessarily showing off its potential? If you have a set of individual pedals you were 90% happy with, that's a pretty decent outcome! Genuinely looking forward to hearing if it ends up cutting the mustard for you, or if you decide to stick to your existing board? But nothing ventured, nothing gained!
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Decisions re. new PA for 4 piece band. 10 / 12 / 15 tops +/- Sub
Al Krow replied to warwickhunt's topic in PA set up and use
Both great options! For a pub band, I think a more budget Option 3 for the core PA could also work well: 2 x RCF 732A + Desk to suit your needs It's what we typically use for our weekly pub/function covers gigs, with no backline, and works very well for our 4 piece band. Your two options are both a step up from what we have. -
I suspect the CQ12 will be a significantly better machine in terms of the quality of components (and also a lot less noisy with certain wireless IEMs)?
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About to say goodbye to the last Yamaha in my herd (a lovely BB 2005) and it will be the first time since 2017 I'm without one! Just been finding that my Elrick and Spector are giving me everything I need for the 60 or so covers/function gigs my crew are currently doing annually. But it's been a fun 380 page journey while it lasted and it's great to see folk still coming across Yamaha BBs for the first time and falling in love with them.
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Haha, you and me both! Just thinking for my 4 piece the smaller CQ-12T should do the trick - it's got 10 XLR inputs (5 of which are combi and also take 1/4") and 6 individually configurable mono outputs plus a headphone output. We've been managing ok with our Soundcraft analogue desk with 8 mic or jack inputs plus stereo input for e.g. Spotify playlists during breaks and 2 mono + 1 stereo (can be made into two mono) + 1 headphone output, but only the 2 mono outputs are individually configurable. It seems to me the key pros are: A&H digital - much greater ability to tailor and store EQ settings on each channel strip, including FX (global FX applies across all the channels on the Soundcraft); - individually tailored monitoring for each band member - ability to multi-track record Soundcraft analogue - ability to multi-track record - individual sliders There will be digital desks that allow you to do all of the above which don't break the bank e.g. Zoom Livetrack series - but the Zoom L8 I had proved to be relatively poorly shielded / noisy when used with our Xvive U4 IEMs
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So the software update applies to the CQ range as well as the higher end CD range that @Chienmortbb mentioned in his post? That's excellent news!
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Fantastic initiative Phil! The ZARs are a definite step up from the ZS10s and not a very good price if you get them from Ali Express. Put it like this, I was starting to question the benefits of IEMs in terms of gigging experience vs using backline after using the ZS10s for over a year. No longer feeling that way now I have the ZARs.
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What nice confirmation of the 140Hz low mids boost being magic fairy dust, thanks John!
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@ratman came along to a recent gig and felt that the bass tone in the mix was really thin. We've pinned the cause down to a combination of the desk HPF kicking in at 100Hz and a 3dB bass cut at 60 Hz which had been set like that in my desire to avoid any boominess, but was clearly overkill! I've taken off the desk HPF for the bass (and kick drum), and replaced with one cutting in at 50Hz on my Zoom multifx; got rid of the -3dB desk bass cut but added a 3dB boost at 140Hz. Voila! So much more weight to the low end now and sounding much less thin/clearer through my IEMs too! The low-mids boost at 140Hz does seem to be magic fairy dust for both FoH and IEMs - I guess I tend to forget that anything up to 200Hz is bassEQ-land and not to allow myself to be conned by the it being labelled "mids" (albeit low). Not often you get an expert bass player and sound guy rolled into one in the audience, and I suspect this very helpful bit of feedback which the silent stage approach had kept a little hidden from me is going to be a bit of a game changer - thank you Alex!
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Has anyone figured out what the three global EQ centre points are on the B1-4? The manual doesn't seem to offer any clues.
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That's helpful thanks. So I would describe that as "a bass technique" but not necessarily one that distinguishes a good bass player from a mediocre one? Not sure it's something, for example, my bass heros such as John Entwistle or Geddy Lee regularly used?
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I'll check that out, thanks. But is what you are suggesting, essentially getting at playing a more staccato note style?
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Have you come across any decent examples of what you've helpfully suggested online?
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That's a really nice story! Is there a good YT tutorial that you or @Quatschmacher could recommend relating to the improved technique and muting you're referring to, and/or able to provide a good summary "mini-masterclass" yourselves?
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I don't think FI need to be the least bit defensive! It's a very common pricing strategy in the real world. In fact every smartphone maker on the planet uses it. Ok the price cuts following launch were maybe quicker here might usually be seen, but that's FI / retailers decision and it totally worked in my case! I wasn't going to buy at the launch price, others were very happy to.
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^^ this If that's not an option for your inputs, wondering if something like the Hosa GPP-419 TS Mono Jack - TRS Stereo Jack Adapter | Bax Music (bax-shop.co.uk) might be your answer?
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Any of you using the B1-4 as a headphone amp? I've been using mine with a decent pair of over ears and finding the headphone preamp pretty boxy/harsh. Global EQ to the rescue: bass boost +25/50 mid cut -15/50 treble roll off -10/50 and voila, much nicer! YMMV!
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First impressions are definitely positive. Does feel like its tracking better. Quickly auditioned about half the stock patches and very much liking #47 which has a differential response depending on how hard you dig in - synthy with a lighter touch and more of a gated fuzz sound when you dig in hard. Pretty cool! One of yours, Peter?
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Very neat "dynamic responsiveness" feature: the amount of drive is controlled by the bass' volume knob and you don't need to adjust anything on the pedal, while the output volume remains the same unless you change the pedal's volume knob. That's going to have some very cool live applications!
