TimR

Try the Long Distance Running thread in Off Topic, might be someone there.

[quote name='PaulWarning' timestamp='1430045369' post='2757335'] I just can't listen to Guns and Roses because of his voice [/quote] It's a shame really because their version of Live and Let Die is streets ahead of the wings version. I'm not fond of either of the singers though.

Yes. Mariah Carey. And anyone who thinks they are Mariah Carey. .

[quote name='JTUK' timestamp='1429804760' post='2755159'] ... If I was playing in a music shop, I might make a contact or just get known by someone etc etc .... [/quote] I think that's a very blunt tool. There's much better ways of networking than playing impressive riffs in a music shop.

[quote name='JTUK' timestamp='1429733631' post='2754483'] I said I kind of laugh ( wry smile ) if playing a standard riff in the shop context, and half of that is that we've all done it thinking it would impress, when it probably doesn't, especially if that riff is one you recognise when you were a kid learning to play these standards ...-and the other half is that the vast majority of musicians I know have an ego...as that is what gets them up on stage in the first place. Some may hide it better than others and some may not wish it to be a factor as they know where they are in their playing, but it is there in most, IME. Someone playing in a shop is nothing to do with my thoughts about what this place is for. [/quote] Kind of. But when I'm playing in a shop or at a band practice I'm not trying to impress anyone. I'm buying a bass or practicing with the band. If I'm on stage then I'm trying to entertain and maybe impress an audience. I don't think I've ever gone into a shop to impress shop staff. Seems a bit of an odd concept. Hence. I don't have a box of tricks to play.

[quote name='jonnythenotes' timestamp='1429633795' post='2753464'] A few scales in different positions on the neck. This means you hear the bass as it is, and will not be influenced by how close the sound is to the original version of the riff you are trying to play. Also, knocking a few scales out means you try all strings in all positions on the neck. Play 'Doh Ray Me' etc at with a little bit of speed...(not the mind altering drug,) both ascending and descending and move up a semi tone each time you complete a run, and that will impress people more than kicking the arse out of the riff to Peaches or All right now... [/quote] That's what I would do.

[quote name='Marvin' timestamp='1429121163' post='2748291'] ... Cohesive is the word I'd use. ... [/quote] Yes. I agree. I always think that there is a much more informal 'Jazz' feel about the whole program. It's more of an amplified acoustic set. If that makes sense. The kind of sound you would enjoy if it was in your front room rather than a stadium or underground club.

It sounded ok to me. But then I'm one for a blended band sound rather than stand out bass. I suspect the sound engineers on the BBC are proper sound engineers rather than pop music producers.

"Thanks. We always enjoy playing here, the audience is very appreciative." Followed by : "Do you play?" Then you can listen to them tell you about the time when they supported... While you concentrate on packing away your gear.

[quote name='leschirons' timestamp='1428869134' post='2745546'] I think the band you're looking for were Prolog. They were playing at Rue Point du jour (about 37k into the run) [/quote] That's them. Thanks. Superb from the two or three minutes I heard. I'll definitely look them up.

Bit of a long shot here. I just ran the Paris Marathon this morning. I'm now sitting outside a cafe with a cold beer and a ham and cheese sandwich taking in the atmos. Anyway, enough of the boasting There was an awesome band around mile 24, the name began with a P, I knew I should have taken a photo or made a note but quite frankly I was concentrating on not dying at the time. Any leads? They were really good and I suspect amatuer band as they had a band nearly every mile. Anyone in Paris with a half decent band should contact the organisers, there were very good and there were some terrible.

[quote name='Ancient Mariner' timestamp='1428147003' post='2738466'] Is music an olympic sport? I'm very much of the mind that if the most important requirement were to perfectly reproduce a piece of music then it would have been better just to use a CD instead of having a band. It's often the small variations, changes, even 'mistakes' that make hearing a live band pleasureable and worth the time. While there are a small number of people (outside the bass community) for whom perfection is a basic requirement, they are a tiny minority. [/quote] I agree. Music is an art form not a science. I want to hear music breathe and have it's own energy. I gave up critiquing either my own band or any band I was listening too. It was just sucking the enjoyment out and not productive at all. Apart from note perfect sterile soulless function bands. I don't want to pay big money to listen to that. The audience enjoy it. Work out why they enjoyed it, why you enjoyed it and why listening back has made you now not enjoy it. Take a photograph of something and show it to a friend who wasn't there. They're only ever going to see what's in the frame and from that one angle.

[quote name='Dad3353' timestamp='1428498213' post='2741821'] That's probably reasonable if a 13A fuse blows before the tripping of a 16A circuit breaker. I'm not that much of an expert, but from what I see published as performance figures, it would seem that a modern CB would trip much faster than a fuse. Depending on the overload, a fuse can hold up for up to an hour before melting. Under those same conditions, a CB would last only a few minutes. For outright short-circuits, too, the CB wins each time.Fuses are a rather clumsy method, after all (which is why CB's were developed and adopted for domestic protection...). I'd be more convinced if there was a CB in the plug, rather than a fuse, but that would be too expensive, I suppose. Still, as long as Albion has its citizens protection at heart, all is well. [/quote] Yes. But we have 3, 5 and 10amp fuses as well. It means you don't have to wire a table lamp with 2.5mm2 wire and then your 40w table lamp bulb isn't backed up with a 16amp breaker.

You'll probably find two types a 5A one and a 13A one. They have different cables but the IEC plug socket is only rated at 10A. Work that one out. Anyway, you might need a 13A one with a 10A fuse depending on your amp power and whether it has a 'soft start'. There's a grey area between 300w and 500w amps as to whether the manufacturer fits a soft start. Essentially you could have a 500w amp that randomly blows 5A fuses when you turn it on.

Superb! How did he explain to the kids who they were?

Yes. Same happened to me on an Ibanez. They're cast aluminium. Rubbish. I ordered a new one but they come in packs of 4. I'd offer to send you one of my old ones as I swapped them all out but I suspect they're different. PM me if interested and you want to try. Don't think they were expensive anyway.

I doubt he came with the express intention f nicking something. More like it was opportunistic. Best case he took it down and left it by the car and someone else made off with it (I bet that'll be his excuse anyway). A good reminder not to trust people you don't know. I don't let audience members onto the stage or help pack away at end of gigs.

Check if the footswitch has an audio function. Looks like an ideal solution. It'll control the pan and tilt of the headbangers as well as the RGBW. I just have 4 PAR 64s and set them to auto/sound. We also have a laser and smoke machine. It's all just auto at the moment. Unless you program something very clever, not many people will notice for a band situation. DMX comes into play if you're doing a stage show. In a previous band I used to have 6 different 'mood' programs based on colours but run them from sound. Even the band wondered what I was doing with all the cables. I left the band and they still have the fixtures and controllers. For £85 though I might have another punt with the new band. Especially as we have the smoke machine and laser which are DMX.

[quote name='lollington' timestamp='1428274704' post='2739909'] Ah, it's only channel 11: http://www.soh.cz/data_images/Image/pronajem/manual/headbanger.pdf ... [/quote] Those headbanger units will still work in 8 channel mode though. I suspect you can emulate the strobe function through programming the controller. Do you use it a lot?

Post a link to your DMX fixture. Do you mean Chanel 11 on your fixture is strobe? Seems odd unless it's a 16 Chanel fixture. In which case I think you can usually fiddle with addresses and fool the controller into controlling it by using channels 1-8 on one address and 9-16 on another address. I'm not totally sure about that though.

Actually things have moved on since I last looked. Foot switch and DMX controller all in one £84. I think I need one of these. https://m.thomann.de/gb/stairville_led_foot_8_dmx.htm?ref=mm_a_15

Really the best way to approach it is DMX with a mixer and a midi foot switch. It's expensive. Each par can is about £50, a controller about £120 and a midi foot switch another £150. But you can run whole sequences or individual scenes very easily using that method.

[quote name='Cameronj279' timestamp='1427974574' post='2736502'] ... I have noticed that I seem to walk a step back and then forward again quite regularly...no clue why though. [/quote] Add in some side to sides as well. Never mind the shadows, just makes you look bigger and more interesting on stage.

Credit card or similar plastic card?

Having speakers side by side will give the audience different levels, because depending on where they stand in the audience they'll get different amounts of sound from each speaker. This may sound silly because the speakers are practically right next to each other but the sound waves from each speaker 'interfere' with each other and the sound is 'reinforced' and 'cancelled' at different frequencies which compounds the effect. Google Young's Double Slit Experiment. Stacking vertically does the same but up and down but as your audience is across the stage it shouldn't notice too much. Unless you're playing a theatre with banked seats. Also think of the sound as the beam from a torch, spreading out. The high frequencies are more directional and bounce off objects and the beam is narrow - you can hear this by walking across your cab the high frequencies become more noticeable directly in front of the cab. Your ear is more sensitive to the higher frequencies and it will seem louder when you're standing directly in front. The low frequencies are dispersed in a very wide bean and will travel around objects.