warwickhunt

Same strings on basses with identical scale lengths should be no different in tension. Could it be strap length/bass height/wrist angle related hence putting your fingers at a different angle?

@GremlinAndy?

I use the Fishman Platinum Pro for a multitude of uses, not just straight preamp or DI and they are very versatile; find one 2nd hand (I did and a 'wanted' advert on BC can be useful) and you won't regret it.

It could well be that the only answer is custom molded plugs. I had the KZ10, used and liked by many (as the budget option) and I could NOT get used to the fit/isolation, including trying many of the recommended buds/plugs. I moved to Sennheiser IE100 (your IE) and they were a perfect fit with great isolation, even using the silicone buds that came with it, I had excellent isolation. I even tried swapping the IE100 silicone buds onto the KZ10 and they were no good (perfect on the Sennheiser). In short, the shape and ergonomics of 'some' IE will not fit with some people and it could take lot of experimentation to find the right ones, unless you go custom. I was lucky that the 2nd pair I tried fit my ear canal shape great.

Just read about this; I have to say it hit me. Live life the way you want, when you can... or not if that is your bag but you never know what shyte is coming your way.

If it is just a body (not attached to a neck) then a courier can get it to anywhere in the UK fairly cheaply. Dave Wilson in the NE/NW is top draw, worked at Overwater and among others he finishes for Sobell acoustic guitars and Mark Knopfler.

I agree this is what many in-house engineers would like and not an issue for a lot of folk... only problem is when the sound you are trying to create is integral to the band's overall sound. I play in a band where my bass/amp sound needs to try and replicate a particular tone (12 string sounding with a bit of drive on the top end). I specifically split my signal with the 'dry' signal going to the front end of my amp (to give a nice big bass tone), with the split signal going to a HPF > drive pedal > chorus/octave > to the rear attenuated input on my amp; I then blend in the effected signal to suit. This can then be easily sent premixed from my amps DI to a PA desk. Except when you get an engineer who is trying to insist he wants the DI before any of that stuff so that he can get a nice clean signal and get a traditional bass tone FOH. No thanks mate you've missed the point!

Those ships sailed a long time ago! More chance of a 7 figure advance that requires payback within 5 years at 5% interest! LOL

I had 3 of the 310s and sold 2 after buying a pair of QSC K10s. I had the chance to try the cabs side by side and there was not a lot of real world difference in volume between them; 400w RCF / 1000w QSC. However, you could buy x3 new RCFs for x1 QSC!

Many might be surprised at just how big a touring band The Dave Matthews Band are; they sold over 23,700,000 tickets in 2022 and grossed $1,080,000,000 (yes that is the correct number of zeros... billion +) from touring along. It's not a competition and it doesn't make them 'good' but that's impressive!

You occasionally get one where the nut is so low that you end up with the string adjuster nuts virtually popping out of their respective seats; a shim (no idea why they used card, that is ridiculous) can get you a couple of mm so that the screws are at least threaded in and secure. Which does raise the question why random Warwick basses are higher/lower than others! LOL

Nice one! I've said it on many occasions that I've had and sold Pro I instruments (inc first year of issue and Custom Shop) whilst still retaining my Pro II bass... it just feels and plays better!

Could he use one of those sensor optogate type devices that turns off the mic unless he is in range of the sensor?

The only thing you can't achieve is 2 sounds, one of which is solely the Sansamp, which you can only do by having the pedal into the return of the effects loop, thereby bypassing the amps preamp.

I might be missing something but you could be over thinking it. If you go bass into the Sansamp and then out to your amp, you have two sounds available; Sansamp off and you have your amp tone, Sansamp on and you have Sansamp + bass amp Alternatively plug your bass into your amp, put the preamp into your amp effects loop and you have 2 sounds. Either of these options give you the same outcome that you were trying to achieve in your OP... yes/no?

Yes, that's the one song that I do lead vocal. They actually have a lot of 'dark' brooding material, which is the stuff I love!

Still going today; 50 years with 1 non original member (Daxx a son of a band member)... not bad considering. I was never the greatest fan in the late 80's-90's but I had to do the tribute thing as a fan.

I've been trying to get the idea of a tribute to Cheap Trick off the ground for years (who?). Absolutely it is a niche market but Cheap Trick have been MY band for almost 46 years and I had to create this tribute as they were never going to call me! Long story short (it started 12 years ago LOL), I finalised the line up of CHEAT TRICK this year with 3 other guys who were massive CT fans... and it fell apart again within 2 months due to issues with the guitarist. In stepped the guitarist from my other covers band who is a technically brilliant player and he got us off the ground, mainly due to the fact he could write out and read the main song structures and was ready for a debut gig in 4 weeks. Sadly he wasn't a fan of the band we were trying to recreate and after a year of waiting for him to actually cop the style of Rick Nielsen, we had to let him go as he just couldn't understand that a tribute should at least be playing in a similar style (he's more Paul Gilbert/Steve Vai), a 1000 notes a minute isn't Cheap Trick! This week, we organised to audition a guy who we knew to be a Cheap Trick fan... BOOM! He walked into the studio and proceeded to run through 30 songs with us, emulating Rick Nielsen's style and chord/note choice to a 'T'. Not only that but songs we hadn't even asked him to look at, that he'd never tried to play, were handled like he wrote them. I have to say that I left the studio space with a grin a mile wide and buzzing to be chasing gigs this year to get out and about. Has anyone else had that Eureka moment or conversely that dread that someone in the band just wasn't the right person and you can't progress?

Indeed but it is essentially 3 other musicians who are preprogramed to think that the only place for bass bins is in 'that' wrong place!

Cheers @Bill Fitzmaurice & @Phil Starr. I've been doing onstage mixing for small/medium venues for 40 years and I know a lot of the nuances of a fair few venues (shared dimensions). I've rarely used bass bins in the past but then again I generally ran my bass through backline and in 50% of venues didn't use it through the PA; more frequently I'm going ampless and 100% through PA (to monitor or IEM), with a bass bin (or 2) being supplied by another band member. For the last year I've tried to convince the band that 2 bass bins directly under the tops (15" RCF) isn't the best place but I'm battling 3 other opinions with all of their ingrained habits and it isn't easy. The worst situations are the 300-400 seater 'clubs' where subs with poles and tops are placed 7-10m apart at the front of the stage area. I'm trying to show that placing them together off to one side near a wall will improve matters but I don't want to scupper my best informed ideas by making things worse, hence the question re. how close is too close!

How close is adjacent? We sometimes have to set up in fairly tight spaces (inc long skinny rooms) and I've only just convinced our PA owner/operator/guitarist, to move the sub(s) from directly under the FOH main speakers... just to the rear and side of the drummer is sometimes the only position available that is near a rear wall or corner.

Part of this was down to the fact that the output control was such that you had most of the output delivered in the first 1/3 of travel (or less). The first time you used a TE, you'd go to turn up the output (after setting the input) and 'BOOM' before you were past #2 you had volume enough to scare the beejeesus out of other band members.

When you say 'talk between songs', I realise you mean in a quiet ambient kind of way, to overcome having plugs in your ears but you can also get a talkback foot switch which allows the use (band leader/main singer) to talk into their FOH mic and it will only be heard through the aux channels not FOH. We find it useful as we often change song selection on the fly to suit the mood... only downside is if someone in the band isn't using IEM, they then don't hear the instruction (though it could be equally fed to a monitor but you might get bleed through to the audience)!

I'm always sceptical when terms like 'full power' are used; is full power when the output gain/volume/dial is on max rotation and the input gain/volume/dial is turned sufficient to get a clip light indication or till it starts to distort? I know of clip lights that are set to come on before any clipping and some that vary colour (green, amber, red) depending on how close to clipping but would you only be full power if in the red, if not how can a musician at a gig/rehearsal tell when full power is achieved without taking multi-meter readings? Genuine question not any form of dig.