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goblin

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About goblin

  • Birthday 16/04/1992

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  1. Bought this a few years ago from a club singer, and only ever used myself for smaller pub gigs. Back when things were made properly, it’s absolutely bulletproof! Very well looked after, everything works and in great condition apart from a few rusty looking spots on the casing (photographed). Also comes with a flight case, £250 ONO, collection from Holmfirth, West Yorkshire or Rochdale, Lancs. Going up and down the country all the time so meeting up is an option, or happy to courier insured at buyer’s expense. Specs copied from Mackie below: Designed to take the hassle out of mixing live performances, Mackie's CFX Series compact live sound mixers feature genuine Mackie mic preamps, four subgroups, precise nine-band stereo graphic equalizers for greater sonic control, and onboard EMAC. These also make great studio mixers for production and mixing down. • High-headroom mic preamps with RF rejection • 12 channels (8 mic/line mono, and 2 stereo line channels) • 32-bit EMAC™ digital effects with 9 reverbs, 4 delays, phaser, chorus, flange; 2 parameter controls + EFX wide spatial expander • External and internal EFX sends • EFX to Monitor control • 9-band stereo graphic equalizer • Inserts on all mic channels and main mix • True 4-bus design with direct sub outs and L/R assign • 2 Pre/Post Aux sends and internal/external FX level sends on each channel • 3-band EQ with swept mid (100Hz to 8kHZ) on mic/line channels • 4-band EQ on stereo line channels • Pan, Mute, PFL solo on each channel • Inserts and 100Hz low-cut filters on all mic/line channels • Subwoofer output from built-in 18dB/oct. 75Hz crossover • Ingenious BREABREAK switch • Headphone output with level control • Tape/CD inputs with level control assignable to Main Mix via Break switch • Logarithmic taper 60mm faders • 48V phantom power • 12V BNC lamp jackIMG_6722.HEICIMG_6723.HEICIMG_6724.HEICIMG_6725.HEICIMG_6726.HEIC
  2. So, I've been doing tribute work for quite a while now. I've been with a George Michael tribute for the last five years doing theatres, festivals and clubs. I'm also the MD for a Katy Perry and Taylor Swift tribute, and I've depped for numerous others including Oasis, Elton John, ABBA, and I'm due to start working with a Barbra Streisand tribute, and a Take That tribute. Do you have to be a fan of the original artist, or maybe you become one? I think it definitely helps, but it's not imperative in my situation. The main thing for me is that it helps to have an understanding of the music, as I'm a stickler for detail from particular sounds to musical nuances. So being a fan of the music in the first place helps because you naturally want to invest yourself in learning the material properly. However there are instances where I've had to potentially start to like or "get into" that artist, such as the Barbra gig for example. How important is it to be visually/musically identical? How much latitude are you allowed? I've found with tributes there are two main schools of thought here. If it's a full on tribute, then it makes sense to be visually as close as you can, or at least for the main person (George in this case). However there are instances of it being a celebration of the music, so you can end up in a position where they may not sound or look like the original artist, and it's their own performance of the songs. It's very much down to how you market it. As for myself on the gig, the only show where I'm in costume is the ABBA show. How accurate my costume is? I don't really know. It's white and has sequins, but it at least looks the part. The main cast of the show are a lot closer. The other gigs, it's usually stage black. Do you ‘get into character’ or is it just a gig? Being effectively in the backing band, there's not really any character to get into in my instance. Good example of this is I remember meeting Rick Astley's previous keys and guitar players. I've seen Rick live on TV various times, but had absolutely no idea or recognition of these gents. A session band generally speaking just fades into the background. Does it feel musically limiting, or is it fulfilling your needs? (Maybe you have a side band?) I'm quite lucky that I play with so many, as it keeps things interesting. With it all being different styles, different quality of dots (some are learn by ear), and other shows can have really challenging pads to read as well. The George Michael and ABBA gigs are probably the most challenging to play, though with the GM gig been under my belt since early 2017, it's like an old pair of slippers and I only use dots when new material goes in. I don't find it limiting as in a way I have a free pass to add more interpretation, as GM loved bass and I've been told that his bassists have been known to be taken off on a tangent by GM with the MD left powerless to stop them, but there's a fine line between being tasteful and overplaying. I'm very much about the pocket and groove of it, but every now and again it's fun to throw in a tasty fill or run which still turns other band members' heads. I've even managed to turn Wayne (George)'s head with a massive grin on his face in the past too. But, don't overdo it. The Barbra gig is going to be the other end of the scale I imagine. Do you have any qualms about tributes ‘stifling original music’? It's a totally different market, so not really! Have you ever met or been seen by a member of the ‘originals’? What did they say? Yes, one of GMs keys players came down a couple of years ago and introduced himself before the gig, came back to watch the gig and then stuck around afterwards. Loved the show (very lucky as it was our first night with our new drummer as the last one was terrible, and was sacked... and then he went and setup another GM tribute), and he stuck around telling stories, said to me "Steve (bass) would like your playing!" . So... seal of approval I'd say. We're also very privileged to have recently had GM's percussionist join us for a gig, and he wants to do more in the future. We also have Cliff Richard's drummer depping for us fairly often, and one of Sister Sledge's guitarists. So I imagine we've been doing something right! What is the overriding thing being in a tribute act has taught you? It's a dog eat dog world. I see so many tribute bad mouthing each other, it only seems to be Beatles and ABBA tributes which help each other out in that sense. I've known other GM tributes accuse our guy of miming (absolute BS by the way), and the punters can also be VERY harsh as well. You'll never please anyway, because people are such big fans of original artists, they often expect to see a perfect clone, which will rarely happen. You could sell out a 4000 seat theatre, there'll be 3995 blown away people, and 5 people who think it was the worst thing they've ever seen... you just get on with it. Having done it once, would you do it again? If so, would the musical angle be very different? It's my job, I play music all over the world for a living and tribute work is a big part of that. I'll be honest, I much prefer it to function work. I play with some top function bands too, but I've had enough of weddings and the way musicians are often treated. My fiancée is a wedding planner, so on her jobs I know we get looked after, and not all weddings are bad, however I've seen drunk people falling over gear, walking through where we're setting up and being very racist towards members of the band, which is wholly unacceptable. I was gigging down in Maidstone a few months ago (I live in Holmfirth, West Yorkshire), so it was about 250 miles home. I left an ABBA gig at about 22:00 - 22:30, and I tend to give other musician mates a call on my way home, and I called one of the guys in one of the function bands I work with, and he said "sorry can I call you back, we're just packing down" ... I'd already completed 225 miles of my journey at least, and they hadn't even loaded the van, and the money was only a little bit less for me. I love tribute work for that, it's still a lot of miles, but the people going to these gigs want to be there and enjoy it more. Less alcohol is consumed generally speaking (GM gigs are still middle aged women behaving badly though - someone in her 50s grabbed his crotch the other night!), but it's much better than weddings for me. The next step for me is to get onto the bigger acts, but I'm very happy doing what I'm doing at the moment, and wouldn't hesitate to do more tribute work, and I wouldn't really change any angles either. The only thing which bothers me is that if I was MDing it, I'd be writing all the charts myself, because I'm sick to the back teeth of getting a bass pack, and the parts are inaccurate.
  3. It'll always be the case, I have to play lots of covers in lots of bands, it's my job. Not liking some of them is just part of the parcel.
  4. I've had a good few back now and I can't put into words how happy it makes me. I reckon my face here at Legends Festival in Henley with the George Michael show I play with sums it up!
  5. Still a glorious rig, still taking space in my lockup... still for sale!
  6. Having the age old "buying my first house so need to clear out unused gear" sale, and this has been sat doing nothing for a while. The pedal itself is the clean boost pedal, and it does exactly what it says on the tin. 4 knobs: gain, treble, mid and bass, so it couldn't get more simple really and it can be used as a bit of an EQ pedal too. Now discontinued with the creator retiring, but this one's in great condition and comes with its original box and user manual. Used but has spent it's working life on a pedalboard which has always been transported either in a flight case or Mono pedalboard bag, so condition wise I'd give it 9/10. Everything works perfectly, the only thing missing is the rubber feet which were removed to allow velcro to be put on to stick to the board, which I've left in place. Price is £100, I can deliver or happy to meet with it depending on location, and collection is always welcome from Rochdale or Barnsley.
  7. This one on the other hand... I'd say that's how it's done!
  8. I can't say I'm a fan of it either. It just doesn't seem to gel musically. I've seen much better, but I've also seen much worse!
  9. Top service from Neotech. First one of mine started to split where the foam meets to rubber at the horn end, so bought another as I’d had a couple of years and a lot of use from it. The replacement failed within 8 months, so I emailed them about the warranty and mentioned that it was the replacement for the other which lasted much longer. Lovely lady on the other end of the emails in America said they’ve since changed the design and they haven’t been sent to UK distributors yet, send me address and she’ll get one in the post, and I just need to destroy mine and send a photo of it. Two days later, two brand new ones land on my doormat and I haven’t had to even consider using the second one yet.
  10. I keep the majority of my gear in my lockup, but this sits at the back only coming out occasionally. With the rona hitting my gigs and I’m financially cutting back where I can, I want to reduce my unit size until I’ve got a house with a garage, so this is first in line as I haven’t properly gigged it since 2016. The head lives at home though so I can use it every now and again just to make sure the pots remain clean and such.
  11. A very good point to consider! All of mine are screwed direct into brick or studding. If you've got poor walls, I certainly would NOT recommend wall hanging!
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