EBS_freak

Funny things can happen... A singer that was in my very first band managed to get herself an agent in London. No prior acting experience or anything - agent just saw potential. (Incredible singing voice) Got her a shot at auditioning for chorus in the Lion King in the West End. Got the role of Rafiki. Did a stint both in the UK in Paris before moving onto a lead role in Hairspray. Got film work singing on the soundtrack for Gravity. Got backing singer work for the Charlatans, Michael Ball and more notably - the Kate Bush gigs. She may have ended up having a lead role in Emmedale not too long back. Not bad eh? Keys player In my current band contacted Inglorious to ask to play keys for them on tour. They asked him to audition. He got the gig. No prior experience. Spent the last two years playing club, stadiums and festivals to thousands of people. Not a bad result form a tweet eh? The key thing is, he’d learned the stuff inside out and nailed all the sounds off the album. Job done and outperformed all the others that auditioned. Never sell yourself short!

Not really. I don't believe any false arguments have been used - just clarifying the difference between being swayed by marketing and endorsement... and physics. Why would anybody be protesting too much? I couldn't really care what anybody is using... I've heard good bands and bad. And that's with a mixture of expensive and cheap gear. But of course, my opinion of what is good and bad in itself is open to... well, you know what. But I still stand by the fact whatever The Smiths are doing, it sounds pap.

Interesting, thanks for the analysis.

I think it's more about what it sounds like when you put a stapler through it!

Yet he picks up a Stingray. Go figure.

A few thing from those quotes... "Well, I think it pretty much defined his sound in the 80s*" - as in "you" think? Or maybe the marketing spin is that it gives you instant King tone? Was he recording pre or post DI? Even so, by the time it got to the desk and the outboard, the TE influence is somewhat watered down. It wouldn't surprise me if the the DI was straight through and the tone shaping was all done via the desk and outboard and the speakers of the combo were merely providing monitoring. As an extra insight, if you look at the stuff he was using in '99, where he was using Ashdown with GB, you can tell he is going DI because the Ashdown simply won't produce the highs that you hear out front. Similarly today - with his move from Ashdown to TC to what is it now, MarkBass, out front there's very little change because it's all DI driven. As far as Mark is concerned, if he can hear himself on stage and the gear is put there for him, jobs probably a goodun. Anyway... moving on. "But using a radio link I get no signal loss" - not in the 80s you didn't. Just like the analogue systems today, companders are in play and hence, by the very nature of how they work, there will be signal loss and low and high end roll off. It's not like today where you can get full range but at the expense of latency. "Weedy" - that's capacitance in action... and a roll off in the top end. If you think about Mark's playing, theres lots of attack and transients in the top end. Capacitance will certainly kill the perception of that. What does "weedy" actually mean anyway? It's not a scientific measure - its a perception, in this case, Mark's and it's in comparison to the sound in his head to what he's hearing - or in this case, what he's not hearing. "I first started using Trace Elliot from 1981. Back then it was about as high end and high fidelity as you could get." - what Mark really wanted, is to go direct into the PA to get the most hifi sound that he could out to the audience.... oh. Of course, marketing would have played a big part of all of this. Mark listens to a TE and it gives him something more akin to a PA sound. Back then, there was only really two brands focusing on this - SWR and TE. TE gave him something close to what he wanted - although truth be know, anything plugged DI into FOH would achieve the same.

Remind me again - which is the combo that he didn’t DI to send to front of house? Or use in the studio with a whole host of post processing?

I'll have to take your word on the unprocessed sound being exceptional... but of course, you do realise that the sound of something being exceptional is all subjective anyway. With regard to post, I would normally agree with you... but with bass, you can mangle the sound so much that it's nothing like the source material, I would say its more an advertisement for the processing rather than the bass itself.

Totally understand - I was just being that annoying person that was chatting from the other end of the scale

Depends what you call a quality bass rig. Price up the Meyer rigs of Gordo, Anthony Jackson, Lesh... and Stings Clair Bros rig...

Of course, nothing to do with mega amounts of post processing that are all present in the clips posted above.

multiple connections in from various devices is all good.

Have you not seen how many strings he breaks on a gig...?

Gosh - that brings back memories. One of the first "big gigs" I did was there. I was working with a management signed artist that was looking at breaking it "big" (whatever that means) - but it was probably the first gig where I came out on stage (there had been a big stage erected there with sound and lighting rigs being brought in)... playing a bunch of songs that I don't think I really knew that well. I had just taken over from a bass player who bizarrely enough couldn't cut it on bass and went to singing just on backing vocals - I think it was a cost saving thing they were trying to do... Anyway, the various songwriters were all in the audience with all the record owner types... and there was me panicking to see if I'd played the basslines in line with how they'd been written. I remember coming off stage an absolute sweaty mess... (I don't normally sweat - hah Prince Andrew) - and remember being more glad that the gig was over rather than getting into it. I wish I had the composure that I have now back then!

Its pretty easy - all you have do, click on the aux and do a link over channel like you do in the preamp channel view. So for example, if you chose to link over aux 1 and 2 channels, aux 1 would be stereo and then aux 2 would be on output 3.

Excellent news! Turned out OK in the end.

Bow finishing. Awful website, awesome finishing. https://www.bowfinishing.co.uk/

Probably not recommended. Those gig strides are so tight, they'd probably inflate.

I think I'm going to have to look into this camera a bit more - I'm not too keen on the wide movement but for a two or three camera angles, I think I would really like it. Mevo seems to be doing a similar thing - but the low light performance of the GP seems to trump it slightly. I'm guessing you could take the footage into Lightroom and correct for lens distortion. Hmm.

Aye - very moody.

@intime-nick and myself only caught up with each other this week. I can't say when at this stage - but we are still pursuing it but cottage industry prototyping without bankrupting yourself is pretty difficult! The design has moved on somewhat since we last updated... and I think it's fair to say that we are pretty excited by it. It's construction is like nothing you've seen before.

Yes ! For one unit in low light, it appears to work pretty good. Nice one. Thats actually surprised me to how well it performs. Quick q, how to control what the framing is like? Can you control that precisely or is it an auto in app thing? Having (yes, I know) worn similar trousers to the singer on a gig, I thoroughly sympathise with her taking those off at the end of a sweaty night. Mind you, ladies don't sweat, right?

The QU is great. The SQ too... although that seems to be catching a few people out with some teething troubles. I'd really like a go on an Avantis... Of course, the Behringer Wing is what everybody is talking about at the moment. Certainly seems to offer a lot for the money.

Finally! Welcome to 3d! Massive, massive improvement isn't it? Next you'll be running a separate desk for getting inear specific channel EQ, compression and fx. Who am I kidding? 😛

PS a real sound engineer would use SMAART. But when you are rolling something like that out, you generally have the luxury of time and a room that isn't full of punters or other sources of noise to get your starting point (because the room will still change as soon as people enter). Try doing something a RTA reading in a pub with a load of pink noise or a sine sweep or even something like a DriveRack and you won't be very popular. And of course, in smaller venues, the second you start introducing people into the equation, the whole thing becomes a pointless exercise. Not being rude - but the "taking me for an idiot comment" isn't helpful, especially when what you describe in your posts is generally for domestic use (hifi nerds), suggests optimum speaker placement (in a pub you go where you are told) and overall, not viable in the situation for which we are talking. For pub gigs, you are best off playing a prerecorded song that you know inside out, hear for any hot or cold nodes and adjust appropriately. I also tend to run chromatics on the bass and hear or watch on RTA for any hot notes and likewise adjust. At least people won't be as annoyed hearing a bass player running notes up and down the neck...