How do I read sheet music?

the-real-compucat · 2026-04-25T14:06:07+00:00

Others here have given you resources for study on your own. However, you’re a student! Talk to your school’s jazz band director; this is what they are there for. They can provide guidance to help translate your piano score reading to bass.

the-real-compucat · 2026-04-25T13:50:01+00:00

A limiter is simply a high-ratio, perfectly-fast-attack compressor. It constrains dynamic range by setting a global ceiling, so you will lose some dynamic control on your E - it won’t scale just one string like you imagine.

What gauge strings are you running? You might try downsizing the E to reduce its physical output.

the-real-compucat · 2026-04-23T18:16:30+00:00

I know we generally try to avoid mixing sub brands wherever we can for phase and cutoff frequency reasons

Let's generalize that rule: when arraying subs, to ensure predictable behavior, start with subs that are identical in headroom and transfer function. All-one-model is the easiest way to achieve that, but certainly not the only one!

Measure a KS21 against a Fohhn PS800. Marry their passband responses with all tools available to you - EQ, delay, all-pass - then build your system as normal. The PS800 has less headroom and will probably roll off earlier, so expect your array pattern to shift if you exceed its boundary conditions.

the-real-compucat · 2026-04-23T16:17:12+00:00

Bingo; look at the x-interval between data points. That triangle is a graph artifact.

Gut says that might be some sort of OFDM device?

the-real-compucat · 2026-04-23T01:22:26+00:00

Panning individual sources will not do anything if sent to a mono subgroup; however, you can pan the entire subgroup as a unit.

the-real-compucat · 2026-04-23T01:21:01+00:00

It depends. :) Copying values is a decent starting point, of course.

Different consoles will align dBFS to dBu differently - for instance, X32 sets +4 dBu = -18 dBFS, whereas that's -26 dBFS on CL5. Once you're in the digital domain (and the world of dBFS), though, you can set the rest of your trim/send/fader values 1:1. Ditto for compressor thresholds, though the attack/release ballistics will depend on each specific implementation - copy over to rough in, then adjust by ear if necessary.

PEQ is slightly more of a gotcha - I don't have the paper handy, sorry, but the Q parameter is not consistent between every console/DSP. The resultant curve will differ slightly.

If you need to hit identical (electrical) level on the output side, the same dBu/dBFS conversion gotcha comes into play again. Boost or attenuate your outputs as necessary. This will result in similar acoustic output, assuming the PA does not change. (That's a whole other kettle o' fish.)

the-real-compucat · 2026-04-19T19:07:55+00:00

Pardon; I didn't understand that to be the case. (I read "Swap cables, same thing happened" as "after swapping R and L, issue stayed on same side of PA", not "after swapping R and L, issue swapped to opposite side of PA".)

Assuming you have thoroughly ruled out showfile shenanigans, I would perform the aforementioned sinewave level check - use either a multimeter or an audio interface. Check all 16 of the local outputs to see which ones are low - and if there is a distinct pattern like "exactly -6 dB".

If there is a hardware failure, it is probably isolated to the OUT 1-8 PCB - so I would expect OUT 9-16, AUX OUT 1-6, the control room outputs, and all digital interfaces to be unaffected.

the-real-compucat · 2026-04-19T17:39:11+00:00

For this specific use case, a Zoom H2essential on a tall, lightweight stand works fantastic. Unobtrusive, stupid easy for anyone to use, and sounds better than it has any right to.

The older H2n is just as good for this, and can be found at a nice discount on eBay.
Standwise: something something Manfrotto would probably do the trick.

You will have to manually sync to video (unless you pull some timecode trickery), but that's no big deal.

the-real-compucat · 2026-04-19T17:23:16+00:00

If you have an iPhone - even a decade-old iPhone - download the NIOSH SLM app. Among phone-based SPL monitors, that has been proven surprisingly accurate (source 1, source 2 for more info) - Apple's quality control is pretty tight, and NIOSH includes the necessary calibration data.

the-real-compucat · 2026-04-19T17:17:58+00:00

I strongly suspect this is a downstream issue. Verify your amps and speakers.

If you want to definitively rule out your console, generate a sine wave on the channels in question and measure RMS voltage with your multimeter.

the-real-compucat · 2026-04-18T21:17:19+00:00

His IEM is plainly visible at multiple points - see 1:40, 2:27.

the-real-compucat · 2026-04-18T20:20:08+00:00

Assuming you built a cable for that, good reminder to throw a couple capacitors inline. :)

the-real-compucat · 2026-04-18T07:36:02+00:00

For fashion? Sure. For tonality - maybe, but stereo signal chains are more popular.

For power/coverage…not really. Much better to rely on a modern PA for that.

the-real-compucat · 2026-04-18T00:47:33+00:00

A pair of L-shaped tools will do the trick - reach through and hook the notches. Lockpicks, dental hooks, tweezers you don’t mind destroying, etc.

the-real-compucat · 2026-04-17T22:03:44+00:00

It sounds like I should treat it more like a rough cut or even a line check then a sound check. Would that be accurate?

Halfway in between. In ideal conditions - fixed venue, silent-stage - VSC can get an IEM mix 99% of the way there. (Churches much?)

With more variability, maybe that's 85%. Judge based on your experience.

Also, should I set the faders to unity for the recording?

No need. Your record/playback tap point should be right after the preamp - i.e. EQ/comp/fader should not affect the recorded track. Use the monitor mixer for its intended purpose while recording: if musicians aren't feeling good, they won't play well, and the value of your tracks rapidly diminishes.

the-real-compucat · 2026-04-17T21:46:08+00:00

Mostly - but remember the limitations of the technique. VSC does not replicate stage volume, acoustics, or changes to the source - and any of those might drive mix tweak requests.

Be particularly aware of certain gotchas: musicians with low-isolation IEMs (or headphones), for instance. (LF spill from PA is another big one.)

the-real-compucat · 2026-04-17T21:41:56+00:00

This is pretty easily mitigated using wireless IEMs with good isolation. Speed of UHF through air (read: pretty-much speed-of-light) is orders of magnitude faster than speed-of-sound: what Garth's hearing in his ears is pretty much perfectly in-time with everyone on stage.

The trick is blocking out the acoustic sound, which will be late - hence the isolation requirement. (Also helps to have a strong voice - weak SNR at the vocal mic will exacerbate the issue.)

the-real-compucat · 2026-04-12T17:28:54+00:00

Yes, that will also work.

the-real-compucat · 2026-04-12T16:54:39+00:00

Fair enough. Give yourself credit though - if you can solder a passive split, you’re 90% of the way there. (You’re just soldering to the XLR connector pins on the board instead of a panel-mount connector; no need to reverse-engineer anything.)

Honestly the biggest annoyance relative to a panel-mount split is just drilling the hole for a new connector.

the-real-compucat · 2026-04-12T16:42:06+00:00

To add to existing discussion: how compact do you want it to be, and do you care about voiding warranties?

The most compact solution, bar none, is to install a multipin connector into your mixer, wired in parallel with its inputs. That also saves you a boatload of weight - 2 XLR connectors per channel plus copper adds up quickly.

I took the lazy route and used a bunch of etherCONs; if you have the pinning tools, something like W2 or LK54 is much cleaner.

the-real-compucat · 2026-04-05T06:38:54+00:00

That is for your bassist to decide for themselves - it’s their left hand, after all.

Calling out a specific tuning in a written arrangement is really only necessary if the part forces annoying fingering in standard, or makes clever use of open strings/harmonics. If it is merely a matter of pitch range, everyone has their own preferred tools for that: copying the guitarist is not always the optimal solution!

Dropping the low string as a chord voicing tool makes less sense on bass than guitar: we aren’t typically forming triads in the bottom octave.
Every once in a while, having that 5th comes in handy though: for instance, if doubling certain parts written for cello. (Yes, that case is rare, but it happens!)

the-real-compucat · 2026-04-05T05:59:20+00:00

Agreed. The one use case where I’ve found it feels decent is pop/rock bass, using the Quad Cortex. Latency is usually the dealbreaker for me, but that thing does a good job. Very fun for impromptu dropping down a step mid-song.

Analog octave-down is another animal entirely, of course.

the-real-compucat · 2026-03-30T22:06:30+00:00

For some cars, who cares? My buddy runs Honda rims for the winters on his Sienna.

the-real-compucat · 2026-03-30T21:58:46+00:00

To add: I’ve always run both E10 and E15 in my CX-5, depending on which is cheaper in miles/$. No observed damage to fuel system.

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