EBS_freak

Re: inears, a lot of digital mixers have access to the auxes via your iPhone, iPad or Android tablet. This enables you to do your own mix independent of foh, remotely from where you are standing. basically, anything you want to hear, put into the desk and then mix on an aux (or two for stereo) to sent to your ears - either via a wired or wireless route. There's loads of info in the big inears thread in the Accessories area of this forum if you are interested.

I feel for you on the band front. Scary echoes to one of my own projects. I provide a killer PA, all players have wireless IEM systems available to them, I do all the funding of the band, I do all the promo - all I ask is that people make themselves available to do the recording. 12 months on and I'm still waiting for those tracks to be completed. i think because they have no financial input, ultimately things are difficult. They are available for gigs (sometimes) - yet complain about the fees. They know of my ability to run a band and get it earning some crazy good money... yet they do nothing to help it work. Yet they want the money. It's amazing I'm actually able to land any gigs with zero promo available. Funny isn't it? You can't gift some people a band.

You are sure that your PA is up to the job haven't you?

"Here mate, you can use my rig... but I'm not sure these customer inears will fit in your ear. Oh... and excuse the wax, I've had a bit of an ear infection of late." Surefire no share gig win

I'm guessing cos it's a contender for fitting in the boot!?

Chad Little's stuff over the pond is pretty incredible - https://www.ethoscustombrands.com/collections/guitar-straps For me, he's defo the benchmark on the leather front.

Bassjim - it sounds like you are sorted with your setup. Your preamp would be replacing your HD350 and the FRFR cab your 210. Hardly any reason to change - especially when your rig is doing the business for you. If you could ditch the rig, get on IEM and let the PA do all the work then we would be looking at something different. Then you would be able to do your trip in one. Wired IEM, bass DI and bass all in a gig bag.

Man of many words.

And you have a driving license? Stick with it, it's not that hard!

A good few years back, I used to play in an acoustic trio. I had a stereo setup comprising of two 2x10s, each with a separate head powering them. They were placed in front of me tilted back towards me like a monitor - with a wedge for the vocals and guitars in the middle. Sounded bloody ace - and nobody on a shared bill really got it. Best thing is... nobody asked to use it. Similarly, I remember somebody asking if they could borrow my rig on another shared line up gig. I was just relying on a wedge on the stage... I said, knock yourself out, reached into my rucksack and pulled out a Microbass 2. The look of panic on his face was priceless. Their drummer asking the drummer in my band for cymbals and sticks(!) won the prize though.

Careful, you'll be turning into a lead singer next... who brings your bass? The same person that brings their mic?

Possibly. And you don't even need one hand to count the number of them that I would like to own.

I don't buy that eBay listing description either...! Being economical with the truth in order to sell something? Surely not!?

Im not entirely how true this is. The Tye Zamora bass was available for sale. I know a guy local to me who bought one (Birmingham), hence why it is so readily in my mind... then he spent the best part of 5 years trying to move it on without loosing a stink load of cash. I don't know how many were made - there seems to be many, many stories. There was one attempted to be sold on eBay not too long ago. http://vi.vipr.ebaydesc.com/ws/eBayISAPI.dll?ViewItemDescV4&item=181680800060&t=1442031318000&tid=10&category=4713&seller=technoempire&excSoj=1&excTrk=1&lsite=0&ittenable=true&domain=ebay.com&descgauge=1&cspheader=1&oneClk=1&secureDesc=0 Tye himself was selling some - prototype/real thing... whatever How many "the rest" is, I dunno! Here's the guy in Brum with said bass -

Any DI pedal that can be powered by phantom power, you could lose the need to plug in power. That way, you'd just plug your bass to the DI, then XLR to the desk (with the desk supplying the phantom power). You'd still need to power a wedge of course if you wanted a powered speaker of some sort on stage.

Removable tow hitch and trailer?

Ha ha. So she made you burn the stinky leather trousers too then?

Man, you aren't doing this by halves. Do you play for Taylor Swift now?

There's a wealth of information out on BC already - but I'll summarise it for you here. Basically, the thought about using the PA is the same as what you'll see at the biggest of gigs. This is - 1. The majority, if not all (ideally this) the sound that the audience hears, comes out the front of house. 2. You'll need monitoring to hear your bass. This will either be traditional backline (- but typically a lot smaller than usual because it is not required to provide the bass to fill the venue), a wedge, or IEM. Note - Not all PAs are suitable for running a large amount of bass, particularly with a lot of low end frequencies, at high volumes. Just like you would need decent backline to put out a lot of bass, you'll need a comparatively good PA to do the same. This doesn't mean you need subwoofers, but it is likely that if you are looking at entry level PA cabs, you probably won't be satisfied with the results. If your PA is suitable for putting bass through, a XLR from your amp head (the three prong socket on the back) to your mixing desk, will get your bass signal from your amp head to the PA. You adjust your sound front of house for your bass in the same manner you would a microphone - from the desk. The EQ on your head should be for the EQ of your amp on stage* In terms of monitoring on stage, you can either plug in a cab to your bass amp and adjust the volume so you can hear yourself. Again, the quieter that you can get away with, the better - as the quieter the stage, the better you can get your mix out front and the less bleed you get going into vocal mics. How successful using a bass rig is on stage, depends on how loud the rest of the band is. Ideally, you want everybody as quiet as you can on stage and let the PA do the work. If you can have the bass amp facing back at you instead of the audience, (tilted back at your face if it helps), you will have less bleed into your mics. If you struggle to hear the band on stage now, then you aren't going to do well with making your rig smaller - unless the rest of the band turn down or you look at something like IEMs. You could do all your monitoring from the desk and get rid of you speaker if you have decent wedges. You can do the monitor mix from the desk and put exactly what you want to hear through a wedge. Note - most people skimp on wedges so invest in a very good wedge if you want to go this route and have lots of bass available to you. Alternatively, just check out IEMs and just sent everything you want to hear to your ears using your own personal mix. Theres a massive thread under the Accessories sub forum. There's everything and more in there. * This probably isn't the place for a pre/post DI discussion.

Did you replace the smell of weed and lines of coke with a Haze plugin and sherbet dibdab too? You have a lot to answer for young man.

My condolences. Hope you can rekindle the inner dinosaur.

Sounds like a complete fail then.

I think the pre/post thing is become less of an issue for sound guys now that more and more digital desks are on the scene. They can carve the signal they get a lot more accurately than when they just had analogue EQ. In reality, if you sent your sound guy a signal post your pedals but pre your amp EQ, he'd have to do less on the desk to reign that sound in. If your amp is grinding hard, then likelihood, they'll mic the cab (if they can even be bothered) as the bass will naturally be rolled off by the bass cab anyway. If you are lucky, you may get a blend of mic and DI out front. But here's the crux of the matter, if he's just a venue engineer and you are passing through, they won't really care if you sound like garbage. As long as more bands sound good than pants, they are good to go and it reflects more on your sound as a band rather than them as an engineer. I don't know why people seem intent on not working together with engineers.

True! The BBNE2 - love that bass. Not so keen on the BB EAST inlay though.

Exactly - the one that sounds best to your ears is the one for you!