Jack

In fairness though none of those things are likely to cause very low and very noticeable feedback on the lead vocal. Swapping amps (they're bleeding into other mics on stage) or swapping microphones (which interact with stage monitors in different ways) might. I'd posit that in 95%+ of situations the lead vocal is by far the most important source on stage.

I'm sure they'll be very aware of covid concerns and you won't be the only request like this on a shared gig. Go for the foam.

Hi all, I was only looking through eBay when I came across an interesting looking auction for a telephone mic. Now I have no interest in said microphone but I did check their site and they have a few others. I've been half looking for a sdc and they have one for £39. I'm tempted to check it out, but thought I'd ask first. The company appear to be really new and based in Manchester. They have a few oddballs as well as an ldc and an sm57ish one. Are they really unique designs or rebranded off the shelf? Anyone owned one?

I know this post was months ago and you're probably sorted but for anyone in the future: Most 2.1 to 2.5mm adapters also invert the polarity, so now the power is centre positive. That's why you see a lot of people then suggesting the inverting adapter, to get it the 'right' way again. I asked obbm really nicely and he made me a suitable cable that did everything without the need for a chain of adapters. My Cioks DC7 powers the helix using two outputs.

Yeah it's all about big heavy combos at that price I'm afraid! Ashdown MAG 410 being my choice but plenty more just as good. I guess it depends what a 'gig' is though. Most people, myself included, picture shed-building drummers and mostly-deaf guitarists. What's your band? Do you have a decent pa?

As a happier version of me said above, what you're missing is the editing stage. There's many ways to skin this cat but the 'proper' way is to use as little of the mixer as possible. It's literally just for passing a roughly-the-right-volume version of your recording into Garageband and then you take it from there. The effects in software will be of immeasurably higher quality than the ones in the mixer anyway. You'll be able to save your track as a project in Garageband so you can remix or edit weeks or years after the recording is done.

I had 2 FR800s with my Helix and they were astounding. That is a full band PA you have there, not a bass rig.

My guitarist liked my paradriver so much he bought a bdi and that's what he records with. You'd be amazed how good they can sound.

There's a markbass head and 3x10 cab in the classifieds. That.

Is the solution not just a simple 2u airhead? A used pro pa amp would be peanuts on ebay (I sold my PLX1602 for £160) and that would run rings around the plate amps being discussed here. The execution wouldn't be as neat though, heavier too...

The qsc tote bags are brilliant but not live-in, I'd get a case like the above if I had to put mine in the floor all the time but I don't. I still have the short pa stand I used to use with my Barefaced rig, they can go on there.

..... I can NOT type on a tablet.

I ran this rig for a few years and loved it. So much so that I'm considering recreating it for big outside gigs when my K12.2 won't be enough. You'll need the line outpt on your helix or some other kind of preamp.

When I saw that same functionality on the spider amps of all places it killed me that the helix didn't have it. This is a step in the right direction.

Slightly tangential but I tried one of our (great for pa tops) 712s as a bass amp on a gig and it really didn't cut it. I'd be similarly wary of the 715 based on that experience. Either the 732 or 735 should do just fine. Despite us having and loving a full RCF pa (712 tops, 705 subs and 310 mons) I went qsc K12.2 for bass and couldn't be happier.

You'd think so but no! I've got 2 singers who are the stereotypical technophobes, 2 drummers, who in fairness probably would be OK but I mean I couldn't track drums at home so fair enough, and 3 guitarists. One is great, records loads, has a full band between him and his two kids. One is not at all interested in anything technical, like he asks for help amp shopping. Last guitarist is interesting as he'll get there, but only 17 and limited by budget and experience. He's in music college though, so probably one day soon.

Nah again I think this speaks to the self selection bias on an internet forum. I work with 7 band members across 2 bands and only one of them has the gear/knowledge/inclination to record at home.

I've never had a wireless that wouldn't last from set up to tear down. That said, I felt a lot better about my Smoothound and Line 6 units that took AA or AAA as they could be 'recharged' in 2 minutes easily whereas my current Shure takes proprietary batteries. Try it!

A literal spare everything? No. But I posted a few pages back about covering that kind of thing.

Have you played the Mark Hoppus bass? It's great as-is, would probably be very old-school with a more vintage-voiced pickup. I think one of the bass bashes a few years ago did a blind (like, someone was playing behind a curtain) 'what's the best p-bass sound' shootout and the Hoppus won by quite some margin. IIRC the EA is in the 'right' place, with the DG being flipped to being closer to the neck. He's a pick player and he wanted more room. Much like the Fieldy signature Ibanez, they're FANTASTIC basses that transcend the artist that endorses them.

Subbed. Where did you get it from? I see one on the bay for about £300, is that the right kind of money?

The strat, tele, p and a few other Fenders all seem like they're done wrong* to me. If anything I'd want a slightly thinner response on the heavier strings and a little more tub from the higher strings. Reverse p should be standard surely? *Not that any of this seems to have hindered the last ~70 years of music.

If the dimensions are the same then what is the advantage of the newer 10"? Is it purely a cost thing?