essexbasscat

Same reading with a micrometer every time for me, also with my cast digital calipers. I always measure at a place where the string isn't played, either past the nut or before the bridge.

Check flea bay for the advanced fret levelling system. Superb piece of kit Same supplier also sells a number of very handy tools

The strats and teles are a longer scale than the GIbsons. Some people recommend thinner strings for the Fender type guitars as a result i.e. 10's for the gibsons and 9's for the fenders. Always stuck with 10's on the fenders personally. Strats and les pauls are very different instruments to play, they always inspire me in very different directions. Of course there's the humbucker - gibson / single coil - fender differences. The fender roadworn 58 tele's have the chunkier neck profile typical of the age. Supposed to sound and play very sweet too (I'll get one myself at some point ) Check out the classic vibe strats and teles - very very nice indeed. My go - to guitar is a classic vibe strat at the mo. THe Westfield les pauls are extraordinarily good, even more so considering they're really really cheap. I'm setting one up now and it's lovely, honestly. Don't forget to check out the Gretsch electromatic 5345's (I own one and love it to bits) - they're another kettle of fish altogether and a great antidote to the fender / gibson choice. Why not just keep trying them all ? it's fun !!!!!!!!

[size=4][font=Arial][color=#000000]What an illuminating thread this has turned out to be. [/color][/font] [font=Arial][color=#000000]I’m convinced by the conversation between EBS Freak and Monkeyman about the popularity and usefulness of digital desks for the professionals. As a beginner though, my confidence heads for door at the thought of using one in real time on a gig. Too many open manhole covers. One for the future perhaps…[ /color][/font] [font=Arial][color=#000000] Flyfisher +. Monkeyman – thanks for your recommendations for a mixer with enough pre fade outs. The Allen and Heath mixwizard is now on the wants list. From the sounds of it, that desk will be good enough for anything I’m likely to do for a while. [/color][/font] [font=Arial][color=#000000] Anyone selling a used Wz3 out there ? [/color][/font] [font=Arial][color=#000000]For me, one of the more important concepts that has emerged from this discussion is the importance of monitors in the overall context of the PA. In my current band, they’re almost regarded as an afterthought. [/color][/font] [font=Arial][color=#000000]When I’ve worked with good monitors in the past, I was always impressed by the confidence they inspire not only in my performance, but in the performance of the band as a whole. Now l regard monitors as being at least as important as front of house. [/color][/font] [font=Arial][color=#000000]The idea of powered monitors is appealing. As others have said, the internal amp is matched to the speaker characteristics, which contributes to a better sound overall. [/color][/font] [font=Arial][color=#000000]As this topic progressed, I had the idea of buying a set of FOH speakers for my first, smaller rig and using them as monitors as I upgrade the FOH. [/color][/font] [font=Arial][color=#000000]However, I’ve come to realise that may not be such a good idea, as I’ve read FOH units ideally disperse the sound over a broad area for good coverage ? do most people agree with this ?[/color][/font] [font=Arial][color=#000000]If this is the case, FOH speakers may not be directional enough to avoid overspill on stage. [/color][/font] [font=Arial][color=#000000] As for FOH, the idea of a built - in amp for a sub sounds great, along with active tops. [/color][/font] [font=Arial][color=#000000] thanks for all the help, especially to Bertbass, EBS freak, Monkeyman, Flyfisher, PhilStarr, Truckstop, Deepbass. Also thanks to Owen for the kind offer. [/color][/font] [font=Arial][color=#000000] More to come[/color][/font][/size]

[quote name='4-string-thing' timestamp='1357670742' post='1926448'] Hmmm... I didn't mention thay they are part of a 9 piece Lynyrd Skynyrd tribute band, who don't get many gigs, so I am wondering how committed they are? I get the impression this band is a side project and won't be their main focus. The songs listed were just for the audition, so maybe they picked easy songs to help me out? It does leave me wondering just what the rest of the set list would be like though! I'm sure Mustang Sally and Too Hot To Handle will be in there somewhere.... As for needing the money, in my experience, pub gigs only just about cover costs and almost always leave me wondering why I did it! Mind you, the last band did take the mick a bit, using my PA and lights, expecting me to arrive 2 hours before them, setting it all up, packing it all away etc etc... Then expecting the money to be split equally between the six of us. Maybe thats why I have become a bit disillusioned? [/quote] Nine piece band ? sounds like a great networking opportunity there, some of the nine are bound to be playing with other setups (especially as that band isn't busy). It may lead to other things ?

[quote name='VTypeV4' timestamp='1357669299' post='1926419'] I understand one is cardioid pickup pattern whereas the other is hyper/super (or whatever!) cardioid.. I used an 87A once and didn't much like it for stage/groups work. Personally I'd pick a 57A everytime for voice.. [/quote] Could you expand a bit around your impressions of the beta 87 please ? do you remember which aspects didn't appeal ?

HI there Continuing the venture into things associated with PA's, I'm lined up to buy a Shure Beta 87c microphone. When I set up the deal, I assumed the 87c was just an updated 87a. However, further research reveals that's not the case at all, they are indeed two variations on the beta 87 theme. Does anyone know much about these mics ? is there much of a difference in practice between the two ? is one more suited to band work than the other ? THanks all

[quote name='flyfisher' timestamp='1357588442' post='1925021'] Good topic! I'm certainly no expert but I've faced a similar situation. Also, as 'expert' can be a relative term, I seem to be the 'expert-elect' in the bands I play in, either through their lack of knowledge or lack of interest by my band mates. Initially, we had a vocal-only PA with passive speakers and no monitoring at all. For small venues this could be OK but was often difficult to get a good mix . . . especially if anyone actually turned up and the venue acoustics changed a lot from when we did the soundcheck. So I got a separate mixer and PA (2x powered Mackie heads + one powered sub) and used the vocal-only PA as monitors. I've also added a Wharfedale powered wedge monitor. I paid attention to the number of mixer channels but not really to the number of aux outputs, so I've ended up with two pre-fade aux outs and two post-fade aux outs. The post-fade aux outs are not really any good for monitors so that means I can only have two monitor mixes. This is just about OK but if I was buying another mixer I'd be looking for 4 outputs (one band has 6 members). I've also sometimes used a small guitar combo as a separate monitor for the drummer. I'd say powered monitors are the way to go because, apart from reducing the number of boxes and cables involved, they enable volume levels (if not the mix) to be adjusted on stage if necessary, which gives the performers a bit more feeling of control - though this can be a double-edged sword of course. Also, it means that only balanced line-level signals need to be routed from the desk to the stage (though that can also be achieved by putting any separate monitor amps on the stage somewhere) and makes it less likely to mix up speaker and instrument jack cables. Ideally I'd aim to only have speakons for speaker cables, jacks for instruments and XLRs for everything else, but I'm not quite there yet. I've also got a dual 30-ish band equaliser that I have connected between the desk output and the main PA but, to be honest, I'm not very adept at using it and tend to leave it switched into 'pass-thru' mode most of the time - but we're not really all that loud so are not often battling feedback problems. Still, it looks good in the mixer rack. The same applies to the Behringer Feedback Destroyer I bought but have never used in anger. [/quote] Hi FF. Am I correct in thinking that the post fade aux. outs are the FOH signal ? if yes, I'd understand why that wouldn't be suitable for on stage sound as they are two different sound requirements. Your point about the number of aux out is well taken and very much to the point of starting this thread. I'm now on the look out for a suitable desk upgrade ! Also begs the question, why make a desk with a limited number of aux outs ? The 30 band eq.Connected between the desk and the main PA ? not sure what this entails TBH. Do you mean the desk for the monitors and the FOH PA ? if yes, how do you do this in practical terms i.e what wire goes where ? forgive me for asking what must seem like obvious questions. Thanks for your help here

[quote name='EBS_freak' timestamp='1357587750' post='1924998'] How many band members? budget? [/quote] HI EBS Freak. Thinking around the topic at the moment. THe band I'm with at the moment have their own PA, which has vocals, keys and electronic drums through it, with additional backline amps for guitars and bass. Not looking to replace that at the mo. I'm at the point where I'm considering what to buy for a band of my own if the need arises. I'd like to build at least a moderate quality rig, with the option to upgrade when possible. I'd also like the rig to be flexible enough to work well with anything from a three piece up to a five piece band.

[quote name='Truckstop' timestamp='1357586671' post='1924970'] I had the following: Powered mixer powering 4x passive speakers (2 subs, 2 tops) for FOH Then Ran two powered monitors with one passive monitor each off two 'Aux-outs' from the mixer (total of four monitors; drums, guitar, vox and keys). There's all sorts of combinations you can go for but essentially auxiliary outputs are your friend for monitors. A guy I know uses a passive mixer with a 2k power amp for FOH and a smaller 500w power amp for the (passive) monitors. Problem being you can't change the monitor mix. Just buy loads of any old sh*t and see what sticks. Truckstop [/quote] Thanks Truckstop. Interesting about the 500w amp for the monitors. Is there really no way to change the monitor mix if you use an amp ? would it be possible to send two individual signals to the amp, one each side ? accepted odd numbers of monitors per side may not be possible due to ohmage issues ? I've read time and again about using a 31 band Equaliser with monitors to address feedback issues. Anyone know how one of these would be connected ? Apologies for the ongoing evolving questions, just going from the beginning here.

Thanks DB5. Active monitors do offer the flexibility of accepting a signal mix suited to the individual band member, which is a huge plus. By slave outs of the mixing desk, are you referring to auxillary sends ? While the active route appears to be very simple, I wouldn't mind learning more about the in and outs of passive and passive/active combinations as well.

Hi there After years of faffing about and relying on others to provide the PA (and inevitably accepting the influence that goes along with it), I'm now at the point of studying PA's in general to inform choices about what to buy, what to avoid etc. Monitors are the current items under scrutiny. Reading around the topic on old threads throws up quite a few different recommendations, which generate yet more questions. While writing this up, I've realised I have more than a few questions about how to connect monitors to the desk, combinations of active and / or passive, mixtures of signals into monitors, amplification for monitors and the implications for load etc etc. Some folk advocate passive systems, as individual parts appear to be easier to upgrade without scrapping whole sections of the PA. Others promote active components, often citing ease of connection and fewer things to carry. There seem to be fans of both camps. Is there a comprehensive guide on the topic ? I'm going this route rather than starting off numerous threads at this point. I've no doubt I'll be asking for clarification on some issues along the way, but this seems to be a good way to start. All contributions appreciated Thanks all

Mark bought my Ashdown ABM300. We had a good listen through his cabs, sounded better than when I had it ! Recommend him to anyone THanks for everything today Mark Tom

I bought an OBBM cable from Mark, sound as a pound and a nice price too. Thanks Mark Tom

[quote name='BigRedX' timestamp='1357162879' post='1918574'] Unless you have [url="http://www.truetemperament.com/site/index.php?go=0&sgo=0"]true temperament[/url] frets, only the 12th fret harmonic should be in tune with the fretted note. [/quote] !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Is it just me that thought his vocals weren't that strong and didn't project very well ? he was also a bit low in the mix overall

Just fitted some deep talkin flats on the classic vibe P. Down went the action and Slip, sliding away, slip sliding away.......... More resonance that I expected too Happy bunny