TimR

We are taking about a pub band. So 2 aux and 2 mains is pretty much all you'll ever need. Anything else is people being premadonnas.

Looks to me that aux 5/6 can either be linked to the mains or the groups. But not both and there is no 5/6 output.

That's still a 4:2. If you're using the 2 as mains, it's 4 aux.

You'll be hard pushed to find a practical live analogue mixer with more than 4 AUX outs. I had a mixer many years ago that had 2 pre fade and 2 post fade aux, but in those days only used the 2 pre fade for monitors.

It shows that it's just an advanced Google user. Copying what's been done before and changing bits it. You've got Summer of 69, Summer Nights, Summertime and probably some other stuff I don't recognise. Anything conscious or with real world experience would realise that it looks obviously copied. However, some bands have got away with reproducing entire songs from history and passing them off as their own. 😆

There's a whole dedicated thread to pedal boards.

https://www.thomann.de/gb/rolls_pm_50s.htm?glp=1&gclid=CjwKCAjw9-6oBhBaEiwAHv1QvDDWDiEebifCWyBcFU6YK_3mYp-g-zurYd0t0X9lIqp6EvYB6Yy_2BoCVmQQAvD_BwE

Looks like it will do what you want.

I suspect its very good as a tool to get creative juices flowing. In the same way as a drum loop can prompt a bass line. David Bowie used to write random words on bits of paper and pick them out of a 'hat'.

Until AI becomes self conscious and understands emotions you won't get words that connect on an emotional level. That's probably what's missing from a lot of pop music at the moment. Or is probably present but it just doesn't match with the emotions of a bunch of old guys living in the past.

Guy Pratt played the original bass line, but can't remember playing it. But you probably knew that.

I frequently use two systems. 1. Self operated band PA. This normally just has vocals. Although I'm wrestling with the PA owner who insists on just giving whatever is FOH mix which occasionally will have a bit of drums and guitar. This is only because he doesn't understand how to use his mixer and won't let anyone show him. Work in progress... 2. Large PA with operator, festivals etc. I've been using provided backline more and more with a DI to the desk. In this case usually the backline is tiny and the Bass is put into the 'fairly large' monitors. So I'll have guitar and vocals as well. This is my preffered method as it means stage volume is loud but not overpowering (and i just turn up with a bass guitar). As opposed to trying to get the backline to do the stage work or struggling with load ins and band swaps. Not had any issues as Bill describes as the sound man sorts that out so no idea what magic he is doing.

I think getting stage volumes to manageable levels first would be your main aim. One monitor shared by lead and backing. Learn what works in lots of different stage environments. Particularly as you may work on sound check and get everything really good by the end of one gig and then you will have to do it all again at the next venue due to different acoustics. Spending money on additional gear will just complicate the number of knobs to twiddle and may never solve the problem. Being able to EQ monitors separately to FOH and control the level from the desk is pretty much a requirement. How you do that, even if its just a 7 band stand alone EQ is another matter.

I think the issue is only having 3 Aux sends and rapidly running out of sub mix availability. ie send for drummer IEM, lead vocal's monitor and backing vocal's monitor. I would just concentrate on getting everyone to turn down and not worry too much about loads of sub mixes. That problem may* just go away with a reduction in stage volume. *It definitely will IMO.

I guess there will be compromises. If the drummer is using in-ears then he probably needs his own mix, so the two monitors may have to just have the same 'vocal' mix.

I wouldn't normally be putting drums or guitar or anything else other than vocals through the monitors on a self operated PA. The exception being on a very large stage some guitar if I'm a long way from the guitar amp. But even then that gives the vocalist problems. I think getting a stand alone 'stereo' EQ for the monitors is a wise idea. You then just put one chanel through each side.

I posted in the Geddy Lee thread about the change in gigs being more towards the visuals. People now spend so much time in front of screens, CGI films, computer games and listening to enhanced production values within music with auto tune and multi track overdubs that people no longer know what 3/4 men sound or look like. But then watch on 3 inch screens and minute speakers. 😆 What does a U2 gig cost to see now? Wondering if I should have seen them in the 80s when I had the chance to see 4 blokes dressed in black. 😆 Although the rate bands are having splits and members dying perhaps U2 should be a band I go to see. (Another thread?) to say I saw them,

All the more when you see people like Jagger etc, still out and performing.

Quick precis of Collins recently from what I gathered from various sources online. He fell off a drum riser around 2009 and had back and neck problems which lead to him turning to alcohol and pain killers. Later (too late) he was diagnosed with a broken neck but the alcohol and painkillers have damaged his liver and pancreas, together with a drop foot from the damaged neck, he has diabetes, depression and an inability to perform or enjoy performing. Very sad.

This one? I suspect they may have had trouble dealing with 2 drumkits. I've always thought Genesis suffered with not having a dedicated bass player. 2 guitarists who took it in turns playing bass. Plus a load of keyboards. Their recorded material is much better. Depends which phase of Genesis you like. Peter Gabriel Phil Collins pre 1980/83 Phil Collins post 1980/83 It started going a bit different around Duke and ABACAB.

Agreed. But also the back of the mic needs to be pointing towards the monitor as much as possible to avoid feedback, while the front is pointed away from cymbals and any other cabs. I think trying to get vocalist away from in front of cymbals and away from in front of the guitar speaker is a good aim to have to avoid bleed.

I would expect sound pressure levels behind the cab to be very odd. It's important to get the bass cab as close to the wall as possible as it reinforces volume due to boundary reflections. Maybe the positioning of the cabs needs to be looked at as well.

It'll just be drying out all the gunk (oil and dead skin) that gets trapped in the coil.

It's the same effect as boiling strings. You're just removing the skin and oils, but with the added advantage that you don't have any trapped water likely to rust the core. At 200°c I can't believe there's no effect on the metal.

At least get the cheap Elacin ear plugs.