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warwickhunt

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Everything posted by warwickhunt

  1. warwickhunt
    Your average gigging muso (not pro touring band) has never had it so good. 50-60's they had very little in the way of loud amplification or efficient cabs; a couple of 10-20w guitar rigs (that included bass) and 'maybe' 50 - 100w WEM PA. 60-70's saw the relatively cheap transistor amplification taking over and 50w guitar and 100 - 200w bass rigs were available. 80-90's... we are into 500w bass amps being readily available and a 1000w power amp driving your passive tops was normal. 00's to the present day - watts are dirt cheap (and mean little), you can buy a 500-1000w bass amp for a couple of hundred quid; PA's are active 2000w per side and weigh little in comparison to the past! A lot of generalisation obviously but through time, amplification has increased in power and efficiency, whilst getting cheaper. We would (almost) all have bought into the ethos of needing the biggest and best and what of our drummer friends... they hit harder, so the band play louder; a vicious circle?
  2. warwickhunt
    Can you expand?
  3. warwickhunt
    Gawd I hope so. Thankfully the additional work hasn't cost me!
  4. warwickhunt
    Update... It seems to be operating absolutely great. Fingers crossed for long term operation.
  5. warwickhunt
    I think Bill would agree that anyone playing with a loud drummer should take care of their hearing but you are likely missing the point that everyone else on the thread thinks. This being that your 'present' amp + cab should be so loud that you almost need double ear protection. Adding another amp to drive another cab is not what most folk are suggesting is the answer to your problem. 1100 watts into a pair of Big Twins is at a point (or way beyond) where PA should be carrying the bass. Personally from what you've said about clipping/distortion, you've got an issue that needs addressing before you add more amps/cabs!
  6. warwickhunt
    Great amps! I had the 550 (foolishly sold it), bought the 750... then bought my original 550 which I foolishly sold back.
  7. warwickhunt
    I bought one (as well as 3 other preamps) in my pursuit of IEM tone as you are... to find it was the fault of the desk, not my gear choices. Oddly I've gone back to the Sansamp which I had all along. I've had no issues with software, though I did read up how to avoid the issue if it did happen. Only thing I find is that I can't 'quite' get the smidgen of drive that I require; it tends to go from no drive to too much, despite balancing level and drive. However, I might not be using it to its best ability or missing some important interaction. Don't get me wrong it is very good and defo gives you a more realistic amped tone but I'm finding the sansamp or Paradrive does what I want easier!
  8. warwickhunt
    NuX MLD? Not mega expensive but you have 3 amps 8 cabs and mid control (+drive).
  9. warwickhunt
    Messaged
  10. warwickhunt
    I do have my own aux mix which allows me to mix the instruments in my IE (on my phone) but our ongoing issues have been the actual tone/sound of the bass through my IE. It has been an awful buzzy, boxy, compressed tone. Don't ask me why I didn't immediately identify compression as the main culprit but I was too busy chasing my tail thinking it was MY equipment/IEM that was either generating the awful tone or I was inducing latency. I'm hopeful that if I can just get clean, unadulterated signal from the input to the aux, I can leave the FOH to do what it wants/needs.
  11. warwickhunt
    Indeed! Our analogue desk (in use till last year) had 1 knob compression and I bet you can guess how it was set... OFF. I'm off to Google/youtube how to use this desk/interface.
  12. warwickhunt
    It will happen but it's like herding hungry kittens at meal time! We've agreed to at least get to the gig 30 minutes early so that I can get a baseline setting to work from with no effects, compression, added IRs or anything applied to my aux send. iirc we did try this but the interface interaction from my phone is limited; hence I'm taking along a tablet and I'll get our guy to just show me how to access all menus on my aux and go from there! Any tip to globally switch off everything on an aux send (Soundcraft iu16)?
  13. warwickhunt
    Sound engineer is our guitarist/singer. Loads of experience with assorted guitar/PA gear but I don't think he is approaching the use of the i16 desk and it's complexity anywhere near as much as he could. Part of our problem is we have never in close to 10 years had so much as a band rehearsal; we turn up to gigs an hour before start time, set up the kit and play (material is learned at home in isolation and played/busked/improved at the gig). We've had multiple 'discussions on the fact that what I hear through my IE is a compressed/farty/buzzy/mush and the responses always reverted to 'compromise'... which I was at the point of saying that I'm not compromising what 'I' want to hear for the sake of anybody. Possibly a selfish approach but it was at the point where I wasn't even enjoying playing any more. It was even suggested that my choices of preamp (I own and trialled; Fishman Plat Pro, NuX MLD, Sansamp, BBE Acoustimax) was limiting and I should go to Helix and that my KZ10's were budget and a decent set of headphones would fix it. This btw was the final straw as I knew I could listen to various sound sources and get great clarity, yet the band bass mix was just buzzy/mushy/shyte... several hundred pounds was not going to fix this as we weren't discussing nuances of bass/mid levels or 2db peaks at XYZ frequency, it was a compressed mush. We shall see how we progress from here. I'm going to request ALL compression be taken off my aux mix and I'll deal with volume/dynamics via my Behringer vol control.
  14. warwickhunt
    I 'think' I've made a bit of progress re. my mushy, overdriven, compressed, boxy tone via wired IEM. I've continued to have massive issues with my bass sounding like it was an Amstrad/Binatone POS from the 70's. So much so that I spat my dummy out and basically told the main man in our band (owns the PA, pushing the IEM) that he could stick the IEM in another orifice and I was going back to backline. We'd had a 20 minute discussion at the gig re my IE sound (FOH was fine) and I was being told it was unrealistic to expect the bass to sound as good IE as it would in front of a cab and that you have a compromise to make because IE have tiny drivers 'v' bass cabs and spl. However, all I wanted was to have a bass sound that had clarity and definition as you'd expect listening to any sound source (CD/phone/Hi-Fi). I even tried the drummers headphones (closed back not IE) and they sounded EXACTLY the same. On having my hissy fit, he went back to the desk and hey presto... 50-75% improvement! He said he'd tweaked the compression attack on the aux send and it wasn't as hard an attack. I've yet to get to the bottom of why I need any kind of compression on my aux send as I'm not putting the (acoustic) drums through, so other than a bit of guitar, vocals and my bass, I'm keeping my levels at the volume of the drums that are picked up via vocal mics and fed into ears. Is there a specific / good setting I should use on the IEM, should I be just turning it off (bass is compressed for FOH)? Any other comments welcome.
  15. warwickhunt
    Most basses/bassists need a degree of relief (bow) in the neck to allow the string to vibrate without buzzing, playing with a light touch you can get away with less relief. Fretting the bass around the 5-8th fret if you have too much relief shouldn't put it out of tune any more than fretting from 8-12. If you've got it working now that's the main thing.
  16. warwickhunt
    I've never encountered intonation issues on a neck that actually go away as you go up the neck. If it was out at the 5-8th I'd expected it to get progressively worse as you went further up the neck!
  17. warwickhunt
    Glad you asked, as it has clarified for me also.
  18. warwickhunt
    You could buy a cheap amp and not like the DI sound... If you aren't using the amp as an amp, I'd certainly be looking at a preamp/DI pedal rather than an amp which you will be paying more for as you are paying for the power section.
  19. warwickhunt
    £35 new but often found used for sale. https://www.thomann.de/gb/behringer_vtone_bass_bdi21_analog_modeling_preamp.htm?glp=1
  20. warwickhunt
    Cheap as chips Behringer version of the Sansamp will do a great job at not a lot of money.
  21. warwickhunt
    Line 6 G50 no colouration that I'm concerned about. Zero drop out issues... till about a year ago! I believe it is the congested 2.4 frequency, compounded by the band's use of a router now. I've gone over to a cheapie 5.2 system and no probs with drop outs but only weeks into it's use.
  22. warwickhunt
    Done
  23. warwickhunt
    However, if we ALL say we are going to take matters into our hands...
  24. warwickhunt
    I've always liked the look of the Hofner Club basses and one popped up locally at a good price so I snagged it. This wasn't a totally random purchase as I have a shoulder injury/issue which flares up now and again and I'm liking short scale, light basses for when it gives me gip. Any ways... bass arrived needing a massive set up as it had a stupid high action: nut cut 3mm lower (yes it was that bad) and I took out the floating bridge adjuster grub screws so I could get the bridge down and not have 5-7mm of grub screw ripping my palm. Got it all fettled and started playing it in earnest... Well it's a feisty booga and notes seem to bloom in odd places, where others are slow to sing. Added to which it sits nice on a strap but I like to play/mute over the bridge and I ended up wrapping my finger around the piece of wood (yes it is basic, check it out), this lead to filing and sand papering to avoid discomfort. This all aside, I decided to gig it straight away. This is where the challenges set in 'big style'! The bass is hollow bodied and the bridge is floating which gives some interesting resonances, this lead me to tweak EQ but I was constantly aware that playing in certain ranges/areas I was going to need to moderate my style... it also meant I could border on creating feedback/sustain and on some passages I was muting to stop it going off on one. I generally never have to do this on any of my regular basses (34" solid bodied basses); maybe the odd room resonance. It was really good fun, trying to manipulate the instrument to get what I wanted or to use to add/enhance. It wasn't life changing and I've encountered stuff like this in the past but to have to work with and around an instruments weaknesses (or is it a strength?) was good fun. Maybe I'm just tired and bored of the songs I'm playing! LOL
  25. warwickhunt
    Just bought my old Zon back from Simon, dead easy transaction and nice to meet and put a face to a name.
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