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You guy really have me considering an LM-5.........
........ do any of you know what kind of Rosewood is on Nate Watts' LG-5..........?
........ do any of you know what kind of Rosewood is on Nate Watts' LG-5..........?
I'd like to know what kind of Rosewood Nathan Watts' LG-5 has as well 
.
Here's a clip of him playing it at the Super Bowl 40 pre-game show.
.Here's a clip of him playing it at the Super Bowl 40 pre-game show.
I'd like to know what kind of Rosewood Nathan Watts' LG-5 has as well
Here's a clip of him playing it at the Super Bowl 40 pre-game show.
Hard to tell but I think it is Indian...
Peace,
T
[/IMG]
Holy Crap! The gear whore shows his face!
LoL T...I thought you just flipped basses! Didn't know you actually placed these things! 
nice shots man.
Matt
Holy Crap! The gear whore shows his face!
nice shots man.
Matt
LOL...I play em too....
Peace,
T
Had a blast! Good crowd, laid back gig, huge money! What could be better?
Peace,
T
Chef
In Memoriam
Tom: funny to see a face with a name I've known so long...never quite what you expect
Sheesh, that one sofa pic looks like it's from Mars man!
Additionally: how many power amps you guys need? One per mic? Wow!
Kinda fuunny to me how the Alleva headstock looks like the early G&L headstock that got shut-down...
Sheesh, that one sofa pic looks like it's from Mars man!
Additionally: how many power amps you guys need? One per mic? Wow!
Kinda fuunny to me how the Alleva headstock looks like the early G&L headstock that got shut-down...
Tom: funny to see a face with a name I've known so long...never quite what you expect
Sheesh, that one sofa pic looks like it's from Mars man!
Additionally: how many power amps you guys need? One per mic? Wow!
Kinda fuunny to me how the Alleva headstock looks like the early G&L headstock that got shut-down...
LOL...Thanks guys! I did not even pay attention to the gear in the background...Yeah I guess that does look like a lot of amps! I have a very high end NEXO PA system. It is a French system and Yamaha Pro bought the company in July I think it was. These are QSC PLX2 3602s on the Mains with one for each speaker. Here is a pic that shows it a little:
There is one NEXO full range PS15 and one NEXO SB2 Sub on each side with a BRIDGED 3602 running into each one! I have another pair of PS 15s for the other 2 QSCs in the top of the rack and the oddball older QSC runs a pair of wedges for my vocalist and keyboard player. Here is a closer pic of the rack and the console in the background:
We had a guy sub for us on guitar for the first set at this gig and he ran a split off the vocalists wedge. The rating on the sub is 145 db!!! It is sick! If you notice you don't see a bass rig in any of the pics. I don't need one with this system. I use Future Sonics Atrio in ears into a Sennheiser IM300 wireless IEM rig. I usually use one of the plugs in my left ear and sometimes I don't even use in ears or a rig depending on the venue. This is a better pic of the rig:
We actually hear the PA as clear as a wedge or an ear mix. It makes for a very low level stage mix! My guitarist runs my 65 Amps London into a Grendel Dead room Iso box and has NO stage volume at all!!! It is sick! He gets everything from his In ear mix and the PA. The keyboardist is very low level and my Vocalist usually needs very little stage wedge because the mains are so full and clean. We have done gigs in tiny places with NO stage wedges or in ears before with no problem! Pro guys no doubt! I run the System from a Yamaha LS9-32 from the stage as you can see. The rack on the table has my Neve 8801, an X2 wireless and a pair of the Sennheiser 300 wireless receivers, one for me and one for my guitarist or a spare for me if I am touring! I am very lucky to have what I have! All the gear pictured is mine including the drums and keys. The guitarists have their own guitars but the rest is mine! Yes I am CRAZY! My gear whoredness is not limited to bass gear unfortunately! I never have to worry about the main mix because I am mixing! It is great! I wish we all had it so good! It is a pleasure to play with good gear and great musicians! The Vocalist and the Keyboard player and I have been together on and off for about 25 years! Good times and good friends!
I forgot to mention that I run the entire rig into a Power Conditioner and can usually run the whole show including our LED lights on just 2 20 Amp outlets!!! I can do up to about 4,000 to 5,000 people OUTSIDE with this rig when I add the other 2 top PS15s!!! It is crazy!!!
Peace,
T
That's a sick PA!
I thought I had found an LG5 on Long Island and it was for sale as well (by Youngs). Unfortuntely he recently moved to Mass. after a long thought about what to do I decided to buy the bass from him without playing it.
I will soon find out if an LG5 is really right for me.
It's -
Oly white (poly)
satin finish neck
Dalbergia Negra board
VTC
Lollipop tuners
I haven't been able to confirm this yet but it seems to be exactly like Tommix's bass from a year ago but I am not sure.
Pete
I thought I had found an LG5 on Long Island and it was for sale as well (by Youngs). Unfortuntely he recently moved to Mass. after a long thought about what to do I decided to buy the bass from him without playing it.
I will soon find out if an LG5 is really right for me.
It's -
Oly white (poly)
satin finish neck
Dalbergia Negra board
VTC
Lollipop tuners
I haven't been able to confirm this yet but it seems to be exactly like Tommix's bass from a year ago but I am not sure.
Pete
Interesting how there are so many ways to approach these gigs. I play mostly the corporate freelance thing, along with the high end wedding deal. The agency I work for has moved to a totally different approach. The goal of this organization is to cover the 50 by 50 dance floor and have the sound drop off as much as possible after that. So, VERY small PA that just has vocals and horns (usually just a couple of 15 and horn boxes with around 400 or 500 watts or so). Then, everything else is backline... simple, it sounds great on the dancefloor, and people can talk in the back of the room.
On these types of gigs (we do a zillion of them), the old saying is really true... 'no band has ever been fired for being too soft'. I'm 'in and out' within a few minutes, and the PA company is in and out on one large cart. It takes about 15 minutes to set-up or tear down.
Just musing... cool that there are so many different ways to approach all of this. That being said, my Alleva and a nice neo 410 with about 500 watts or so sounds killer on stage and on the dance floor
Interesting how there are so many ways to approach these gigs. I play mostly the corporate freelance thing, along with the high end wedding deal. The agency I work for has moved to a totally different approach. The goal of this organization is to cover the 50 by 50 dance floor and have the sound drop off as much as possible after that. So, VERY small PA that just has vocals and horns (usually just a couple of 15 and horn boxes with around 400 or 500 watts or so). Then, everything else is backline... simple, it sounds great on the dancefloor, and people can talk in the back of the room.
On these types of gigs (we do a zillion of them), the old saying is really true... 'no band has ever been fired for being too soft'. I'm 'in and out' within a few minutes, and the PA company is in and out on one large cart. It takes about 15 minutes to set-up or tear down.
Just musing... cool that there are so many different ways to approach all of this. That being said, my Alleva and a nice neo 410 with about 500 watts or so sounds killer on stage and on the dance floor
I TOTALLY AGREE! This is why I have this rig. The top box is a proprietary 15 and a proprietary horn. The bottom box is a dual proprietary 18 in a custom enclosure. The bottoms have a caster that connects to the front and they roll on their face (GREAT dollies that carry a lot of gear!) The Amp rack is self contained and the tops go in a red Jan-Al case you can see in one of the pics (Also a great dolly). If you look you can see that the Top box is raked down to the dance floor to accomplish exactly what you are talking about. I have several different ways to manipulate the height and the angle using the mounting plates and the stands themselves. The whole thing is so efficient that it can cover anything from just a few people in a house to about 1,500 or so at higher volumes with the single tops. It is scalable so all I have to do is add the second pair of tops and do the larger crowds. We can be really soft or REALLY loud but very clean. This system runs with a custom processor that completely eliminates clipping and distortion and is so clean you can run it wide open and it won't hurt you. (I have never done it but tried it before I bought one) I have set the whole thing up by myself in about 20 minutes (PA ONLY of course). You can see that I run a single cable to the top bix and there is a jumper that runs to the sub. It is multi conductor cable and the top box is actively biamped. The sub covers one octave from 32 hz to 64 hz and it puts out so much clean tight bottom that it is scary. I usually attenuate the subs input level by 6db most of the time so they don't run away from the tops. I boost the tops by between about 1.5 db and 3 db depending on the room. I can do all kinds of things with the processor. I have 4 other guys and we can unload, setup the lights, PA, and backline and be playing in about 45 minutes to an hour including a line and sound check. At the end of the gig we are packed and loaded out within 30 to 45 minutes or so depending on the distance to the truck. I have an 18 foot Isuzu box truck and we take up less than half the truck. I rented a trailer for a gig in Florida a while back and we all went in my Grand Cherokee and a 12 foot U Haul tandem trailer with room to spare. I have cases for everything and it packs and loads quickly and easily. 2 People can move everything easily and set it all up quickly. I have multi pair cable made for everything from the drum loom to the mic/line looms for the vocals, keys, and guitars. My rig is right at the console and I take 2 12 channel 50 foot stage snakes for all the signals right into the console. The LS9 has built in processing in the form or compressors and gates on every channel, 4 stereo effects and returns (That are very good actually) built in 31 band graphic EQs (for the House and the 2 wedges) and I can record every gig right into a 2GB USB stick. It is the slickest rig I have ever had in my life and the best sounding by far! Here are couple of other pics showing the sparsity of gear we need.
Here is the guitar rig. You can see the Grendel Iso Box in the back beside my RD700:
The Line 6 combo used to be mine and the sub guitarist bought it from me. We are using the rack as a stand for it here.
There is one cable going to each side of the PA from the amp rack and 1 cable that has 2 lines going to the wedges. I keep them in the console case! The 2 lines I need for power are in the Amp rack and we have a big case that holds all the mic stands and other stuff we need. We have cases on wheels for everything and everything rides on something. There is NO DOLLY IN THE TRUCK!!!!! I have the ability to configure the top amps to run more wedge mixes if I need to and I have VRX15 monitors and SRX712M monitors when we need them, small but loud and they sound great. All the power comes into the amp rack distro and then out to the backline gear and we can plug our LED lights into any outlet with no problems...All in all the sweetest, easiest rig I have ever used. I have had all kinds of stuff over the years. JBL, EAW, MacPherson, etc for my personal systems not to mention the many larger concert touring systems I have used and this is the best sounding stuff I have ever heard. It freaks people out when we are setting up to do 2,000 people at a festival and they see the system. I have had promoters tell me they would hire in a bigger rig until they hear it. Then it is the best system everyone has heard and they want to know more about it. I have never had a complaint. I get more people asking me to turn it up because it runs so clean that they can handle more volume than they are accustomed to. We NEVER get asked to turn it down...
I am very responsible and my mixes usually have really clear vocals, a solid VERY full low end that is not overbearing and I run in stereo and mix as if I am doing a record mix (which I am, I mix the PA, monitors, and do a 2 track record right into the stick!) I usually take the keys in stereo and pan the piano out completely left and right, the Motif gets about 8 and 4 o'clock or 9 and 3 o/clock and I have a 414 and an SM57 in the Iso box on the guitar. I pan the guitar at about 11 and 1 o'clock. The sax player plays into his vocal mic (a Neumann 105 that REALLY picks up the sax nicely and sounds fabulous on vocals) The guitarist plays trumpet and also sings and plays into a Neumann 105. The rest of us use Shure Beta 87s. I can get away with these high end condensers because our stage volume is so low. The Sax is probably the loudest thing on stage. The drummer is a music major and plays my DWs very sparingly because he also sings harmony and lead and is aware of how much bleed there is in his mic. If you can see the drum mics you can see we mic everything ALL the time and obviously we have no stage rigs so we always mic and DI everything else to. Everyone knows what has to be done and sets up there own gear quickly and efficiently. We have it down to a science and everyone works together to get it done quickly. It makes for a very enjoyable playing experience every time we have no weak links in the sound, lighting, or the musicians! The guitarist, keyboardist, and drummer, were all music majors. The Sax player and I are old school players that have played all our lives. We both did our first playing gigs at age 12! It is a blast!!Peace,
T
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