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AllYourBassAreBelongToUs

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  1. Talk about drawing the short straw! I got EV subs when Alto would've been versatile, and Alto tops when EV tops would've been more versatile! (correct me if I'm wrong) The TS3 full range speakers omitted a crossover, because it was instead in their TS3 subs (having in-built crossover in subs was more common at this point in time, I think). It has options to match with the TS38, 12, 15 tops and a generic 100hz HPF (and bypass).Therefore, @Al Krow you could still consider an Alto sub, but not the newest release*. The TS4 range moved the crossover to the full-range/tops... and therefore omits it from the sub. Crossover options here are 80, 95, and 110hz... (18, 15, 12" aka "Large, Medium, Small") so less choice - and perhaps an odd choice of frequencies?? To have the filters on both tops and bottoms would be great... Also, instead of calling the new range of subs TS4, they've dropped the number, so it's just TS+speakersize. I was about whinge about having to cable the mains into tops and then into subs (rather than the other way round), as most of the time this requires slightly longer cables and cabling going back on itself. But I see the Alto newer subs manual advise wiring into subs and then into tops! Therefore, the new TS subs must have in-built LPF; I'm assuming then their output sends a full-range signal onto the tops, don't see confirmation in the manual. But this contradicts what @Al Krow found: Anyway, @mike257 sounds like Altos aren't going to do the business for me either way. I guess I should look deeper into the EV tops. Or any top with a filter - marketing I'll be very suspicious of now!
  2. Second the jam / open mic night networking. Personally, I believe that when people meet in person *ahem* they are quite open-minded. Aspects such as age, likes, dislikes and skill-level are quickly overlooked in favour of interpersonal skills and getting to know someone new. If you are at a gig, already kindred spirits. Like dating - online presence and advertising invites quick judgement: "says here they like cats. Well I don't, so this won't work" Despite Facebook being a lot less popular than it used to be, any advert I post, no matter how vague, receives a large response (I post to music groups with large amount of members). Much like with contacting venues for gigs... most responses will be a waste of time, for whatever reason, doesn't take long to filter them out if you know what to look for. You could offer yourself a deputy. If your local groups all share a bassist, then a single booking leaves the other bands without a bass player. A foot-in that could lead to more. There is a method I'm not keen on, but it's somewhat amusing: Book a gig - find a band. A paid gig is very enticing, it is possible to form a group to fulfil a booking, and you've therefore networked too, with the foundation of "hey that went well, let's do more"
  3. EV ELX200 Crossovers | How they work https://youtu.be/U-IIIoIj8js?si=L5evrarkZEVysRni I ran a quick test and confirm this to be accurate. ELX-P subs do send a full-range signal onwards, regardless of where the filter is set to. @mike257 pointed out, Alto is perhaps not the best... and I'm running everything through FoH with no backline (electric kick and snare mic) but this is why I got subs, to spread the load, maximise headroom. At least, that's what I thought. I'm sure that all reviews I read at the time said the ELX subs had a built-in crossover... but if the XLR out always sends a full-range signal up to the tops, then that is technically not behaving as a crossover? Therefore, all the time, the poor Altos have been trying to pump out everything, including frequencies the sub is already handling.
  4. Thank you @Al Krow for bringing my issue to this forum. The knowledge, experience and further questions raised have been a real eye-opener! @dave_bass5 Indeed - my 2x SM58s are picking up so much FoH and drums, that (during playback) when I unmute the vocal tracks a layer of everything is added! Not good, in trying to boost vocal, it's boosting everything else, creates a bad cycle. When I check the speakers during downtime, I can hear way too much of the room (audience, chatting, etc). @mike257 Everything you've said on this topic is much appreciated. This for example meant I had no idea what a noise gate actually did. May have mixed it up with noise suppressor? @Al Krow mentioned, I was looking at changing mics. Perhaps some good research... coincidentally, I bought an SE V7 (which I plan to use for the soprano) and an Beta58 (second-hand, unused!). To claw in every possible dB available and rejection maximised, I got a Beta57 grille to swap out the 58 grille, to get the singer as close as possible to the mic. As it's possible the key issue is that the singers are simply not loud/projecting enough: I was suspicious of this, and on your advice removed the compression completely at next gig. I always have the low cut applied to every channel, every gig, except kick and bass. EQ... not my strong point! I have a Behringer FBQ3102 to (attempt to) notch out feedback to give more headroom. This has helped a bit; hard to ring out a room that has punters in it though! Context - pubs, clubs and parties are our most frequent shows. Mostly small to mid-size. The former often presenting an array of... interesting floor designs. Every venue provides it's own set of irregularities to work around. The thing is, plenty other bands are at these locations, plenty often, plenty loud and with (seemingly) no feedback issues. Our stage is not strictly silent - snare, HH and crash are acoustic. Our most oft used drummer is not a huge hitter (but is still a drummer!) Always mics behind FoH. Admittedly, this a few metres at best but nothing @Al Krow hasn't experienced. Pre-lockdown, we had acoustic drums, bass combo and all else (2x vocal on SM58s, guitar and keys DI) through 2x B212XLs and a PMP2000D - yep, Behringer. Light, compact, simple, quick. If it works, amazing, if not, learn and upgrade. Aim was actually to not be that loud. Never seemed to be a volume issue, only a large outdoor festival highlighted inadequacy, and I was afraid to put bass and kick through it. Ironically, post-lockdown, I "upgraded" to have set-up with big headroom. Enter the ELX200-12SP (subs) and Alto TS310s (tops), the Zoom L12 for more control over gain structure and monitoring, etc. The two recurring complaints I've had are "can't hear the singers" and "not loud enough [in general]". Both of these aspects seem to have improved over the last few shows, partly to advice from here and friends, and my own increasing experience with EQ. However, I'm running the PA right up to point of feedback and clipping to achieve this... I've no-where to go after that! Doesn't seem a touch on the other local bands, including another I'm in. Audience or onstage, the Senner earplugs go in immediately. And yet not with my own. THANK YOU ALL.
  5. Really dig this method. Recurring audience, recurring venue, recurring band, sometimes once a month. And (sometimes this is REALLY important) recurring staff! The most likely persons to see a band repeating themselves over and over... and ultimately decide to keep booking or not.
  6. Fondly recall originals. Yes, there's not just a desire to, but a need? to share your creation, the newest being the most exciting! For everyone involved. And you're not going to do yourself a disservice, so practice practice. Nice balance, mixing old and new and seeing the reactions. Artists evolve, they enjoy the process, I guess cover bands hit a point where they don't have to. I am massively generalising and speaking from my own experience.
  7. It is interesting when creating or joining a (cover) band, you/everyone rapidly learns about 30-50 songs in a week or two, but once things are going, sometimes even getting one new tune in is difficult!? One group I'm in had a good set-list for it's style (not typical party/function) but when I joined we found as a group that throwing in a few jokes and musical references was fun, the performance evolved to be quite interactive, medleys formed organically and even surprise rapping emerged. Hit a really good stride and enthusiastically shoved in new tunes. Shows went well, felt fresh and exciting, and then it stopped. We lost confidence in picking up new songs. Agree to learn, and then on the night discover one of us hadn't done the homework. Or learn, but not feel it's right in the moment. Fear of losing audience affirmation, ironically not what the band was about. How many audiences really care about how fresh the band is? Very, very few. Despite being somewhat removed from the typical repertoire of cover bands, we still get heckled for the usual "Oasis" "Valerie" "Brightside" "Sex Fire" (more recently, despite no keyboard even present, "Bohemian Rhapsody") Desire to be new comes from the band. I'm now pushing this group to go for it with the (internal) suggestions. Show them we will do a great job and they will like it - just like how the current repertoire came to be. Which is tough because it means... I have to learn the songs 😅😫
  8. Our drummer find's it easiest 😉 That said, last gig the singer turned around to cue the final crescendo and yelled at the drummer "G FLAT!!!"
  9. For one band (covers - pubs mainly), I use lights accumulated through give-aways/freebies. The initial set-up of electrics/plugs is random each gig, with no set plan, so once the audio side of things is sorted, I just plug the lights in where-ever I can. One has a typical "flower" pattern of large coloured circles, a similar with squares, a red/green moving dots projector and four spots. All set on either react-to-sound or cycle through. If time is tight, I just set up the two large spots with sound response at the front, on the floor (looking forward to using those half-couplers). The end result is a bit chaotic, but it works for that band. When I'm not available the band literally goes out with ZERO lighting. I only see the difference through clips that the venue on the night might share online; the difference is... noticeable. A little goes a long way. I've seen acts use only one simple light to create an atmosphere. For my other band I wanted something more sophisticated, intentional and tidy. Something that would light-up the area rather than just the band. Ideally, programmable to create a proper (albeit simple) light show that synced with the music (we're now using backing tracks, which will make that goal easier to achieve) but as that will take some time to set-up, I currently link the 4x 1m LED (wall-wash?) bars with DMX cables, and set (one of) them to slowly cycle in sync through colours. When we're not actually performing, I set them to solid green (which is our theme) and at the end, white (as that connotes "lights up" / finished) https://www.ebay.co.uk/itm/387093309606 Pretty good for the price! The clip is a poor example of it's capabilities... (of course more effective without the bright house-lights on, and a glass wall) At the back is a basic cheap LED net (which can cycle through different modes I prefer it solid), hanging from a stand actually for a green-screen back-drop... much cheaper than the lighting-specific equivalent. I've got battery-powered LED strings that wrap around the mic stands, subtle but warm-white to match the net and bridge front and back together. Finally... if you're really on a budget, this is great: Articulated black desk lamps e.g. https://direct.asda.com/george/home/lighting/table-lamps/black-desk-lamp/050180701,default,pd.html Plus either "disco bulb" or "RGB bulb spot" for cheap, simple, fairly versatile lighting. The disco bulb adds a little pizazz to what you see in the clip (nice as the slow-face cycle is I felt lacking something). Very cheap, but bear in mind the disco bulbs are fragile. 20230623_235600.mp4
  10. AMAZING Thank you so much for this - had the idea in my head but no idea terms/keywords to find it... Cheapest I've come across is bopdj.com
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