warwickhunt

@Acebassmusic yes re. channels/instruments. Drums we would expect the engineer to mic and put through FOH desk and give us a stereo feed back into our mixer for us to mix to our own needs; hence the 16 channels. Yes we connect ourselves to our interface/splitter. I see what you mean about the in-house engineer should be expected to connect us to an onstage box, so we shouldn't need to go to the expense of creating a loom!

Following on from a couple of gigs where we have arrived to find an engineer either hasn't the facility or time to give us a good IEM mix, we're going down the route of looking to buy/build a mixer system whereby we feed all our instrument and vocal sources in to 'our' digital mixer, to give us max control of our IEM mix/feed and then we take 16 thru/outs to give the engineer control for FOH... does that make sense? The idea is that we simply set and (almost) forget our individual IEM mixes and the setting is rolled out the same at each gig (small tweaks can be made by each member to their mix). What is the regular/usual way to do this? I've probably omitted to mention vital info but please fire away with questions/suggestions. The band is a 6 piece (inc x2 guitars, x2 keys, bass, sax and 5 vocals... one of the guitars is stereo and both are Helix) with no backline and everyone using IEM. We were probably looking at a rackmounted Soundcraft Ui24 with 2 x 8 channel splitters and 16 'tails' to feed the FOH. Initial thought was that the tails would just be x16 M/F XLR 10m leads but I'm thinking a custom made 16 xlr 10m loom makes more sense.

You can't switch backwards but it'd be very easy to just replicate a patch and switch forward. A (flat) > B (OD) > C (EQ for Dub) > D (Compression) If in a particular song you wanted to go from flat to OD and then 'back' to flat you could as easily be... A (flat) > B (OD) > C (flat same as A) > D (EQ for Dub) > E (Compression) It would get quite complicated if you did something different like that for every song in a set but easily done for the occasional song. Theoretically you've got 50 slots you could name each step in a song based on the song title... but it really isn't set up for that and a multi-pedal effects unit might be easier. I have my presets for a whole song and they tend to be an effect for the 'whole' song and at the end of each song a couple of taps is all that is required to get to my 'A' sound which is a basic amp EQ (I might have even put a compressor in that baseline setting but I'd need to check). You can even add different cab tones to certain amps (IIRC), so you can have an SVT with 810 or a 410 or 115 as your baseline setting (or bypass completely if you have a great amp tone that doesn't need 'extras').

I bought a Zoom 60B for this very reason. You can select something as simple as a basic EQ (variable/para or fixed) or even a fairly flat amp model that allows you to create the dub sound and you can switch on/off or better still the Zoom allows you to designate each patch/function as A, B, C etc and you can call them up (all or as few as you choose) and then a single click of the footswitch takes you from A > B > C etc. Make one of the options (A) a bypass (it gives that facility) and you are sorted. A = bypass B = distortion (many editable options available from slight OD to buzz... the latter I can't see the sense in ) C = compression (lots of classic compressors inc) D = EQ (basic to full parametric) E = Synth F = Phaser G = Chorus etc etc etc One thing I like is that I can have set 20 presets tweaked/edited by me, save them in the 50 available slots but then just select the 3 or 4 I'll use with any particular band... or bass, as you could select an EQ and tweak it for 2 or 3 different basses and name/save each individually. You then select the patches you want and they will be the only options that will be available with each click. Jazz: patch A - D (Bypass/OD/Comp/EQ) Precision: E - H (same as above but tweaked for P bass) Ray: I - L (see above) Of course this last bit is useless info if you only ever use one bass! Oh and I paid about £60-70 for mine 2nd hand.

I was responding to @rwillett's comment about having no reference to the tones that are in 'any' of these devices, no matter whether they are true IR captures/models or Lo-Fi stores in a pedal. Sometimes using your ears and deciding what you like/dislike is the best method for choosing your tones; an SVT might be an iconic amp and some users might assume that a capture in a Tonex is as good as you'll get, yet I didn't rate some of the bass captures at all and the Lo-Fi sounds in a Zoom were as good IMHO.

I presently play in 2 tribute bands NOT trios but for the last 12 years I've also been in a pub/rock/covers trio/band and the main reason it was a trio was financial. Pubs weren't paying any more than they were 30 years ago but the cost of gigging has gone up massively (equipment, strings, fuel etc), being in a band with 2 (or more) guitarists in, didn't make sense. Venues certainly weren't bothered if you were a 3 piece as opposed to 4/5/6, so long as you were a full live band and you were entertaining! Easier to manage 3 diaries and no negatives to speak of!

Gig was canny but the PA and engineer were woefully unprepared (despite us supplying a tech spec when we booked) for a 6 piece band (inc sax, keys, x2 guitars and bass), with 5 vocals, no backline and 6 IEM feeds req'd... the poor guy managed to give us a single mix through 3 tiny little 8" wedges! We know all BVs were pulled from the mix and unconvinced that the bass was even in the FOH mix.

Not Tonex but I went through preset amp tones on 'new to me' Zoom 60B and despite having experience of a few of the amps I didn't think many were representative of the tone that was in my memory banks. In the end (using factory settings) I found the SWR tone was the most pleasing and I used that for my baseline setting.

The pics look legit but that description is A.I. generated at best!

Do you leave them with a jack plug plugged in? I'm sure Warwick used to quote battery life for their active basses to be 1000hrs+ (I think that is conservative). If you used it 3 hours a day 365 days of the year you might deplete a battery in a year. I used to give my active basses a battery change each Christmas, I then started to do it every other Christmas... now even less so!

I've got a couple of Warwick basses that I gig regular and the batteries are 4 and 6 years old (I put the month/year date on when I install). I know this as I took them out and did a test on them to see how they were doing... well over 9v on both of them but I replaced the 6 year old battery any way.

...but where does the steel come from? We get a lot of it from Europe but how will those trade deals progress if we don't side with Europe?

It looks to me that if we on BC are representative of most instrument buyers, then post tariff prices will mean we don't buy new American produce; ergo American manufacturing suffers and they need to reduce pricing in order that we buy again... or am I looking at it too simplistically?

If profit margins are already tight in the UK, there is no way the importers/retailers can absorb 10-25%. I'd imagine that USA instruments will be getting hiked by whatever that amount is, unless there are exceptions to Trumps blanket tariffs and/or there are back door imports via countries that don't have tariffs imposed... which will be none. If prices are hiked you can rest assured they won't go back down if Trump eases tariffs or is deposed.

I'll tell the drummer... everyone else is IEM. @ezbass - it's a great gig and certain songs are just a dream.

Off to 'ull next week.

How to further muddy the waters of Musicman/Sterling/By bass identification... give it the same name as a previous model but take away half the electrics. Genius.

I went in, out and around the whole digital pedal route and I eventually settled on an analogue pedal for my core sound (Fishman Plat Pro) and a Zoom B60 for any drive, phase or chorus. I found the digital modelling devices to be far too complex for my needs and unnecessarily involved.

Local guitar maker in the NE.

Not really PA related so wrong section but... It isn't as easy as just popping in lighter speakers. The cabinet size and porting should be designed around the speakers intended for its use. You can obviously just drop any old speaker in but you might not get the result you expect... other than it will 'probably' be lighter (some neo drivers can be heavier than ceramics, not often but they can be). Also the cost of the neo drivers/speakers might be more than simply selling your present cab and buying something lighter.

For 'me' yes. The pedal functionality is reasonably straight forward but to amend/edit and store etc it was a chew on and so many things to do that weren't obvious or intuitive. Spent ages searching for Youtube vids to show how to do stuff... and everything I did had to be done/redone every time.

Tonex One - should have been the answer to my needs but what a god awful user experience it is; editing etc. is woefully too complex and counter intuitive. It went straight back to Thomann.

2 x 210 stacked vertically. Take 1 to rehearsals or small gigs; 400w 8ohm or 800w 4 ohm.

Tragic. I never met him in person but we've messaged over the years and I felt like I knew him and he was a friend, which says something about him as a person. Thoughts with his family and friends. R.I.P.

Any news?