Merton

Yep the TE1200 and the Barefaced 10s work stupendously well. There’s a Six10 for sale at the moment which would be the dream with it! It took a bit more to dial in the Super Twin but now I’ve got it nailed, it is superb for the silly volume gigs.

I think we’re a very select bunch with this amp Martin 😂 I don’t use the dual comp very often, more as an effect or a room-compensator (controlling the low end to tame boomy stages) but I really want to spend more time with it. I’ve got this week off work so might just annoy the neighbours 😎

Ah Alan I’m so sorry 😢Music is a good healer though, even if you got blisters from it!

Brilliant. Thanks everyone! Much food for thought

Brilliant, thank you. That’s the sort of feedback I need the guys to see. The idea of using the tracks is mainly to keep the recorded vibes, as when we’re live as a 4 piece it tends to veer into rock territory a bit much for the singer’s liking. I’m just going with the flow and trying to help with how to make it easy! Playback device likely to be an iPad or MacBook; there are a few songs where the drums don’t appear u til halfway through hence the idea for everyone to have the click, otherwise he will be having to tap everything on the hi hats (or similar). He is likely to be the one triggering things… all these details need to be worked out in all honesty. It’s a very very new idea for us!

Thank you - I’m that is where my brain was heading too. Just trying to work out how we get the stage instruments into it easily when monitoring etc is already set up.m, as it would necessitate a lot of re-routing cables as far as I can work out! Might be that we just have a single ear for click/tracks using the XR18 and leave the other ear open for stage/standard monitoring. Bit weird though?!

I’m sure this has been asked before and is probably covered in great detail in the IEM thread so apologies for being lazy, but it’s a fairly specific question for which I need the Basschat Hive Mind’s assistance I play in a band. I play in a few actually, but the one in particular in question here is a band for an original singer/songwriter with a couple of EPs already released and an album waiting to go. Up to now the live show has been a four piece - singer/acoustic guitar, electric guitar, bass and drums, plus BVs from the guitarist and occasionally me. The recordings are more heavily orchestrated, with way more BVs, other instrumentation and extra guitar tracks etc. The singer has decided that she wants to use the extra instrumentation and BVs from the recordings to fill out the live sound. A fine idea, and hardly the first time this has happened. Some of her contemporaries do similar (one even has bass on tracks but a live drummer, bit odd…). But we’ve never done it before, and are totally green. The guitarist (joint songwriter and the only other band me member on all recordings) wants to make the tracks pretty comprehensive: stereo BVs melodic instrumentation mono percussion instrumentation mono click for all of us (not just drummer) This means the nice and easy stereo mix of click on left, track on right sent to FOH isn’t so easy. We will need the multitracks running as separate channels. To summarise, all in all we need to give sound men the following, whilst also getting 4 separate IEM mixes for us to have click and whatever else we all want: Lead vox Acoustic Electric Bass Kick, snare, overheads, toms as per stage set up on the gig Stage left BV Stage right BV Stereo BV track Mono melody instruments track Mono percussion instrument track So my question is this…: Bearing in mind we do a fair few festival type gigs without much time between acts, how the hell do we make this easy for resident sound engineers? Edit to add.. Is it as simple as having our own mixer with all the track inputs and outs, and then ask them for 4x XLR monitor feeds for our IEMs?

I’m still trying to come up with other options for you 🤓😎

No such thing as overkill 🤓 Other amps to consider would be the Glockenklang Blue Rock or Blue Bird - both of which are in the classifieds at the moment. As in fact is the GR 1400 thingamibob. Personally though, o think the Trace is the bomb, seems like it really suits being a platform for pedals/fx etc

Certainly are - Sunday 2nd June. Will be the end of a long weekend of non stop gigging as I’m at Epsom Derby with the “rock band for kids” on friday and Saturday, got a pub gig on the Saturday night and then in the car Sunday morning to drive to Liverpool 😀 If you do come along, please come and say hello. I’m crap at the socialising thing too but would be ace to put a face to a name

I realised next year is the 10th anniversary of my ACG Finn 4 arriving, and that means it’ll then be a year off being the longest serving bass I’ve had* (currently a Status Retroactive J holds that record at just under 11 years). And that is the longest serving of the current crop - I can’t see any of them going anywhere any time soon. *I’ve still got my Vester Jazz which was my first bass but it was retired from main bass duties about 10 years after I got it, when I got my first 5 string. So I don’t count it.

Yep, I play bass for Katy Hurt who originally branded herself “country” but there are so many influences in her music it’s easier to call it Americana. Doing Black Deer fest this year, have done Buckle and Boots, Rock’n’Ribs, Long Road in the last and hopefully again in the future. As @jimmyb625 says the festival scene does sometimes feel like a very closed club though. Have met some lovely people through it though - Gasoline and Matches, The Jackson Line, Two Ways Home to name a few bands worth checking out.

I vote you hold off for an ST to appear in the classifieds, that way if you decide it’s not for you you won’t lose as much on it. And for me, no tweeter 🤓

That’s a fine shout.

Brilliant cab. I use one with my TE1200; I’ve used it for punishingly loud bands and it hasn’t batted an eyelid with the TE. I have to say I find the Barefaced 10s “easier” and as @Lozz196 says, you need to consider your EQ a bit with these. I ended up setting up a switchable 10 band EQ on my HX Effects to soften the mids a bit and it’s perfect. So for me, 10s for the smaller gigs with PA support and 12s for the gigs where I have no PA to help.

I’m miraculously still in too. Not a lot tempting me and no budget to go crazy so that’s handy.

My last two Katy Hurt gigs have had the 500W combo as backline. Hugely impressive little things. Bet the 800W slams!

Agreed @BassAdder60 I keep saying I find the TE1200 an excellent “pedal platform”. The core tone is superb but if you want grit or anything else, the amp just soaks it up and makes it sound better. A really impressive noise machine 😎

I agree wholeheartedly regarding the TE1200 Martin - glad you are liking too!

Hi John, No idea what “flat” settings are I’m afraid. AFAIK mine is still stock, I’ve done nothing to it since buying it from here in about 2018/2019 IIRC. Sorry I can’t be any more help!