EBS_freak

The left one yes. The right one has never registered with me. The left was the original yeah?

Great move! Enjoy

I haven’t seen half of these basses before! EDIT : there's only 3 basses I could save from a pawn shop sale after theft. The OBBM stingray, nobody really knows who owns it. It's a bit of a mystery bass. Probably been stolen and parted out now. 😜

The Red Gus, the OBBM Status and the striped Gafbass are the ones that are registering for me at the moment.

If you are referring to this one... then yeah.

I was just checking out the Vigier thread where @ped posted his Vigier. I've come to know that bass pretty well due to my mispent hours on basschat... but then it got me thinking... what are the basschat iconic basses... the ones that people instantly know who's it is as soon as people post a picture? Aka, "your bass has been nicked? - that wouldn't last long in a pawn shop without being reported to the owner" thread.

If you do measure, upload a pic where every pixel is illuminated white. I’m guessing that will give you an idea of real world draw - although I’m not sure what processing can be instructed to get an idea of a Nextion under load. Hmm. Sounds like you got plenty in the bag anyway - so as you say, nothing to worry about. In fact, I wouldn’t even bother testing it... plenty within tolerance.

Ha! That's a good point though. Whats the actual rating on the Mega in terms of powering external devices...? I guess if it doesn't stop... then jobs a goodun... I guess?

Doh I’m on a slow day. Yeah forgot the Mega got onboard. Yeah - my next comment is to take into account most pedal supplies are centre negative! Anyway, I’ll leave the above for anybody looking to drop voltage and use a standard psu for a nano (or similar)

7805 regulator with a couple of caps will drop your voltage so you can run at 9v off pedal board power supply of daisy chain off stomp power supply.

Hey Stoo - how are you powering your setup? Are you doing a 9v off a pedal board and dropping it down to 5v? Ah just read back and reminded myself. You're coming off USB power. Do you use external power - or would you consider a daisy chain split off your Stomp power. Let me quickly draw you something up.

Must admit without some pointers, the Nextion can be a bit of a beast as I didn't find it immediately intuitive. And then when I'd got to grips with it - with many hours of frustration, I found this series of tutorials. Sod's law.

Yeah - you're doing the same with QLC with what I'm doing with DMXis. When I started, I was sequencing all within the Arduino... but then timing based stuff begins to get quite difficult, especially when trying to factor in multiple fades, moving heads etc... and as you probably know, arduino being procedural based, makes it quite difficult to get things to do different things at the same time... whilst keeping code manageable. You hit the nail on the head - automatic lights are pretty vomit inducing. Slow fades, black outs... even the odd retina burn is defo more classy. Rotary encoders are nice feature... the only downside, is that you are using I/O pins. Depending what you want to achieve and how often you need to achieve it... and depending how many stomp buttons and I/O you have, the Nextion is manageable. As far as Nextion tutorials are concerned, I found this guy's to be pretty comprehensive - check out InterlinkKnight on YouTube. Here's the first in the series. Work through them and you should be alright.

Those UE11s man. What a hot price. Mind you though 18s under a grand.

For anybody looking for customs - there’s an absolute killer deal going on for UE at the moment. But be quick! (quad, six and hybrid flagship)

The Nextion is great - it enables some really pretty UIs that would be otherwise be beyond the realms of the lowly arduino. The Windows software is a bit ugh... but stick with it. Once you have defined your screens and you are back into just targeting changes via the Arduino, it’s pretty slick... and certainly gives the impression that your project is more pro. The touchscreen isn’t amazing by modern standards - don’t expect the feel of a modern mobile phone... but for simple presses and the like, it’s very, very effective.

Yeah - a lot of it is for instant access so that you don’t have to keep scrolling through patterns. I’ve got a fair few lights on the go too (having said that, I’ve never got the luxury of time to set them up on most gigs). I’m offloading to DMXis to do the heavy lifting rather than programming patterns directly onto the arduino - it’s a lot simpler doing it that way rather than getting the computer out to flash a chip every time you make a change. I may revisit QLC - May be easier to cart around a Pi than a computer! Your project looks great, keep up with the development!

Strictly speaking, they should be mounted away from each other (up to 1m+) - although there are some factors that influence this. Generally, if you are using a low number of wireless channels and in your cases, the two frequencies are truly intermodulation free, you are likely to be OK. The problem of interference becomes more of an issue when your channel count goes up and close proximity of transmitters and receivers can cause issues for one another. The best thing is, is to put the two side by side and test it. If it's good, it's good.

Aha! Nice one @stoo - The Nextion upgrade! They certainly give projects the pro looking upgrade don’t they? I haven’t done much tinkering of late. I’ve been tinkering with video controllers and that’s about it. I want to revisit MIDI and DMX controllers. I’ve currently got a 32 switch DMX foot controller on the drawing board!

The inbuilt WiFi on these things are always rubbish. First thing you do is find an external router... Behringer, Soundcraft... whatever.

Depends what sort of sound you are looking for - but if you are looking for only toneshaping, straight into the desk and using it's own EQ can yield some very powerful results (especially on digital desks as they tend to be a lot more comprehensive on the stone stack front compared to the analogue world.

Not really, I do all gigs... from big functions to tiny country pubs. If anything, IEMs make even more sense on small gigs where the rooms are just generally not geared up to be sound friendly at all. The concept is this - make as little noise as you can on stage. This means there is less to bleed into the vocal mics. The biggest issues you get with bands is that the cymbals tend to bleed into the vocal mics... there's only so much you can do about that... but it doesn't help if there guitar and bass flooding through those mics too. All this does is mess up the mix out front and dramatically increase the change of feedback. Then everybody complains that they can't hear. They tend to turn up... which makes the problems worse. People slowly accept that... So out come the wedges.... which helps to a certain extent... but adds more sources of noise to the stage. That bounces around, again messing up the mix but also, bounces back into the open mics... and again... increases the chance of feedback. So in short, no wedges and IEMs instead, means less sound bouncing around. Electric kit reduces stage volumes and also the number of open mics. Of course not everybody wants to go down the electric kit, so the other option is small kit (my drummer uses a 16 inch kick) and dark cymbals. Bass and drums wise (and vocals for that matter) - if you are using IEMs, you don't need to hear your backline. So run it really low and put it through the PA and let that do the work. In fact, if you can't hear your backline, theres no point in having it... consider a modeller so you can have a silent stage altogether. All of this gives you less things to mess up the front of sound... and gives a better spread of sound... so no more hot spots where if you stand on axis with a guitar cab you are deafened by guitar... yet if you take 2 steps to the side you can't hear it. Micing up the drums for IEM use really isn't an issue. As I say above, it's a kick drum mic and a overhead. They don't even need to be sent out front... they could be sent to just your IEMs. Also, IEMs dont work like ear plugs. With a decent set of IEMs it's like having your fingers in your ears. The way to think of how they should work is like this - if you want to hear it, you have to put it into the desk and send it to your IEMs. If you don't you won't hear it. Therefore, if you want to hear the audience... point a mic at them that you feed into your monitor feed. Of course, you don't put that through the front of house speakers... but in your IEMs it gives you a sense of the room back... if thats what you want.

Plus compressor (if you know how to use them, otherwise ignore what I just wrote) and a gate for the kick will clean up all those energy sapping lows. PS don't put gates on your IEMs. You'll make no friends... especially with the drummer.

Split boxes and something like an XR16/18 makes for an easy venue friendly portable monitoring rig. Plug your gear that needs to be sent FOH to your split, one output to your mixer, the other to FOH. As for drums, let FOH do their things as they normally would, just put your own kick and overhead into your monitor rig. http://orchid-electronics.co.uk/micsplit.htm

I haven't been name checked but have done both. Minimum for acoustic kits for IEMs is generally a kick and an overhead condenser - although it's also good for a simple way of micing up for FoH also. Simple, bass drum mic and then a condenser on a stand behind the drummer, high, reaching across the drummers right shoulder pointing towards the snare. This is usually enough to get a good all over sound of the kit and hats. The more you start micing up, the more fun you can start having in your inear mix though... but that all takes time, channels - and maybe overkill, especially if you are in a small venue and not really sending anything out through FOH.