dave_bass5

Ive never heard anyone call a PA ‘FRFR’, as in ‘ill go direct to the FRFR’, and the phrase ‘going through the PA’ is definitely not just just BC terminology. Why not just say PA? No one is arguing a PA can consist of FRFR boxes, but the use of the term in this context seems very ‘uniquie’ to me.

Ive been using my Xvive U2 guitar system with my Behringer P2 for IEM use. Seems to work fine, although a bit clunky.

I think its your use of the ‘FRFR’ term thats caused confusion. Ive never seen anyone refer to going amp less or through the PA as going FRFR. While it might be technically correct to a point, people generally refer to it as going through the PA. I don't think you will find anyone that has said they are going FRFR mean anything other than getting FRFR rig (Headrush/PA speaker etc) to replace what they have. Plenty refer to going amp less, which obviously refer’s to going through the PA. In fact many people go through the PA as well as have backline. Imagine how confuing that is if the say they are going FRFR and have an Ampeg rig lol. Thats why i couldn’t understand you talking about going FRFR and IEM at the same time. Still, we know all know exactly what you mean now.

Ah ok. So going ampless. Now it makes sense.

IVe been following this part of the thread with interest, but not sure what the above means. What are you talking about when you say FRFR?

Ha, dont get me started on home vs live sounds from a rig. Anything can sound fantastic at home, but for me it needs to preform just as well at volume with a band. Only way to reliably tell is to use it like this, and go as far as you can (or at least on to the dance floor/area ) and hear what the public will hear. Obviously only really needed if backline is providing FOH as well. Ive always used a wireless system and checked my sound and the band mix from out front. My experience has shown that a few tweaks on stage to help hear myself better doesn't make a huge difference out front, but i never touch the low end, which is where i think it will make an audible difference off stage. So yeah, totally agree with you.

Thought this was common knowledge and most do know this 😎.

The GK has a GK tone (and a very, very good one), the TC does not. Case closed 😁

Just pointing out that you can use a short lead with any of the bug type systems, so all can be strap mounted if needed.

Or they need to drink less 😂 I like the name. I think its very catchy.

That was great. I had some mates at that festival and they really enjoyed you guys. I assume it was you, as one referred to the band as ‘Carnaby something or other’ 🙄

Yeah, this looks very classy. I love the whole look and vibe it has.

We’ve always used powered monitors for the vocals. In the old band the singer and drummer were using them. In our case it was just one mix, but each could turn their monitor up when needed without disturbing the FOH. Once we got to the stage where the singer was tuning up so loud it would feed back we took it away from him and slaved a passive cab off the drummers monitor. I recall i first took the fuse out at sound check and he had to use it as a passive monitor. Then for some reason i couldn't get it to work at all when i took it home and inspected it lol. I said if he wanted a new one he would have to pay for it himself. Job done 😂

Ive heard rumours that some people buy a bass to enjoy and play….i know, its a silly notion, but not everyone cares about resale, and not at this price.

Not at the moment, only at home when recording. I was preparing to go back to bass as i knew most of the songs, but that would have left us without a keys player. We were lucky that we found someone who knew a lot of our songs already, as we have gigs very soon but only 4 rehearsals (max) to get ready for them. I do miss it, but the band would miss keys more. The needs of the many outweigh the needs of the few lol.

Makes me wish i still played bass in a band now 😃

I used to get sick of everyone mucking around at sound check and then complaining once we start playing. Quite often the drummer tells me after the gig that he was struggling to hear his vocals. He mostly sets his kit up and bangs always until we have finished. Never once will he get up and move a monitor or make sure he can hear himself clearly. He has his own monitor but expects me and the singer to sort it all out.

My old singer used to complain he couldn't hear himself a lot of the time. I showed him what the knobs do on the desk and told him to get on with it. I dont mind getting the sound right at sound check, or at least trying, but i told him once on stage im just the bass player and if he needs something changing he can bloody well do it. He soon stopped complaing and just got on with singing. From where i was standing his monitor was always loud enough so i know it was just him being picky.

Some of the isolated bass tracks ive heard over the years have been just as poor as most of the tabs out there. Ok, they weren’t advertised as the originals, but when you see the phase ‘isolated bass’ you would think its going to be the original. Still very useful to get a grip on how a song goes though.

Arent these just like those Top of the Pops albums we used to get. Not the original artist's, so not always spot on? Ive heard a few isolated tracks and know 100% they aren't as played on the original recordings.

During the first lockdown last year i started playing around with a demo of a program called Spectrlayers. I have the cut down version now, but the full version has presets for extracting different instruments from a mix (drums/guitars/bass/vocals etc). Its very clever and can even keep effects like reverb intact with vocals etc. I used it to get bass lines from songs i couldn't quite hear clearly. I could then listen to them in isolation, or boost the level to bring them out of the mix (or lower the rest of the mix). Quite clever and for a laugh i took Paul Weller’s vocals off his recording of Town Called Malice and put it on our recording of it.

Almost every block will have its own volume/level control, you need to keep these in check. Each patch also has an output block where you can adjust the final output level for each patch. This is probably the easiest way to level them up as it means you aren't messing with the gain stages along the path, and so the sound wont change if you turn the patch up or down. Again, best done in a band environment to really hear whats going on, but at least you can get a head start

Yeah. I use Native when im recording bass and guitars, and its just so nice to be able to see everything, but i know from experience when i was gigging with a Stomp id had to make changes etc and normally on the fly, so i got to know the box inside out.

Iove just brought a new ipad as im getting more and more in to using soft synths.. its amazing how things have come on since the old days. Quality is right up there with hardware synths now. A cheap midi keyboard and an iPad is more than usable as a gigging rig if needed. Got 3 gigs in Nov. This will be my first time on keys since around 1993. Ironically the last time was with a Yamaha keyboard, and this time will also be with one.

For this reason alone its worth getting to know the box and where everything is. Being able to make adjustments when playing with the band, without wasting time looking through menus etc is not to be under estimated.