mrtcat

Hey, Can anyone recommend some live drum mics? We currently just use a kick mic (shure Beta 52A) but as the venues we play and our PA are growing we need to think about the whole kit. Ideally we would go for an off the shelf complete mic kit but as we already have a decent kick mic it seems a shame to buy a kit where a large part of the cost is going on a second kick mic. However as the current mic is mine I could use the new one for my amp to run along side my di. Does anyone currently use a cheapish kit? Our budget is about £200 so I was wondering if anyone knows of a reasonable sounding one around that price. I know it won't be as good as an expensive one but any help would be appreciated. Thanks all Tom

We went the Behringer route for amps and mixer as you can get some bargains on the bay. We have an EP2500 for subs, an EP1500 for tops and another EP1500 for monitors. All three were £310. Mixer is a 24 channel job. Not top of the range or owt but copes well with 3 x vocals, 1 x guitar, 1 x bass, kick drum, snare and overheads. £150 off the bay. We've got a few rack bits & bobs EQ's, crossover, vocal pre and a multicompressor for drums Finally speakers I built all of ours myself and if you can cope with tools you can save £1000's Subs are BFM tuba 30's which rule. Put both side by side and they'll bring the house down. Tops are BFM DR280's and they're very very good. Total spend was probably £1400 but worth every penny as we get lots of love for our big sound! I'll happily make any BFM cabs for a price as long as you first buy the plans from Bill at www.billfitzmaurice.com let me know what you want and I'll give you a price.

Got a P & a J and have to say I get heaps of positive comments about the J and some (although slightly less) with the P. Sound check and some good engineering work will make most basses sound ok tho as will technique. P lacks growl in a rock setting IMO but that's not necessarily what everyone is after. P sounds good on pop and motown. Same amp settings won't do for both tho. Age old discussion about who prefers which coming up which in my eyes shows that both instruments are good it just depends on your personal definition of good bass sound.

TM Stevens, WHAT A FRIGGIN LEGEND!!!! Great day and heding off to see Mark at Bass Direct this week to place my order for a Dingwall ABZ 5 in Honey Amberburst! Sssshhhhhhh don't tell my missus!

I see all my guitars and amps as tools. Some of those tools are a joy to play but their still tools so I use them live. They're insured so that's fine and if they get nicked I get to go shopping (guaranteed they need to be nicked from inside a secure fortress with armed security guards b4 insurance pays out). I'm not very sentimental about guitars etc even if I really enjoy playing them. I guess I'm more sentimental about the music and that can't get pinched, damaged or drenched in beer. I think it's my lack of sentimentality that stops me getting all moist about vintage gear and I totally understand that vintage stuff is a whole different ball game as that stuff is very difficult to aquire and replace. If I was into old stuff I'm sure I'd be very wary about gigging it. As Warwick stuff is not in high demand at the moment I'd be more than happy to take a $$ gigging.

Oh Joy! I'm going tomorrow. Gonna take my plugs. I kinda see slapping in music shops and shows the equivalent of going to the motor show in an old ford escort with a big spoiler and one of those shade banners across the top of the windscreen with "Kev" and "Sharron" written on it. In a handful of songs it fits well but by christ it don't impress me. Maybe we should start a forum based "Slap Is Crap" action group and start shaming these twangers into hiding? EDIT: As someone who plays slap in 4-5 songs maybe I should change that to "Slap Is Crap - when used as a vehicle for self promotion"

I'd only want someone to comment on a recording that i'd posted if they felt they really wanted to and not because they feel obliged. Positive or negative I don't care but don't feel obliged to review my stuff if you have no real opinion you'd like to share. I found silddx's thread about his East pre really interesting as I'm keen on getting one and appreciate the info and sound clips to boot. I didn't really feel the idea of the thread was to comment of the technique tho but all sounded good to me.

As someone who's been here I would defo suggest meeting the band (away from the rehearsal room as guitarists simply can't not play when there's an amp and axe within arms reach) and 1. Let them know what you're thinking 2. Ask anyone if they think they're not up to it or can't commit to it 3. Tell them that excuses will no longer cut it 4. Set some deadlines (i.e set a date and go book a gig for that date) Communication in bands has suffered since the arrival of emails and you really can't beat a positive but frank face to face discussion. Also people tend to take it more seriously if there is a structured plan in place as there's less room for people to stall. If someone is holding the band back give them the option to sort it out or leave.

At the risk of starting uproar I was totally nonplussed when I finally got hold of a Warwick Streamer stage one. Build quality was incredible but the praise ends there. Neck was too fat, it needed waxing regularly to keep the wood looking healthy but worst of all the volume across the strings was pants. Our local luthier, who has done some sublime setups for me, said he thought it was poor too. Maybe a duffer but I'd dreamed of buying one since I was 15 and it was a real let down.

Welcome! Small world - played a wedding at Eynsham Hall once. I'm in the less celubrious part of the shire - the town that never wakes - Bicester!

I do a little teaching for holiday spending cash. I have a few cards in the local music shop but plug my services at our gigs as does our drummer and guitard. We made some cheap business cards on the PC that we can hand out. We seem to do well and it helps that people see you play first before asking you to teach them. It's funny how many times kids call saying "dad saw you play last week and said you do lessons?". Remember to self assess tho as you'll be publicly advertising that you take money to teach. It's remarkable how many strings / guitars / amps you go thru when teaching tho - it's no wonder there's so little taxable profit!

I don't have a major problem with people who don't know basic theory as long as they make an effort to get up to speed and don't start slowing everything down. I have played with some guys who knew no theory at all but could really hold their own and when a problem arose they took it upon themselves to learn a bit of basic stuff. I've also played with people who refuse to learn anything and that never cuts it long term. I personally think everyone needs some basics under their belt but beyond that it depends on what you want to achieve. I know enough to allow me to communicate and vary stuff. Players like doddy probably have forgotten more than I'll ever know but they are pro muso's and their livelihood depends on it. I'd be sacked before the end of the first song if I tried to cut it in their capacity but I play an O'Neils gig several times a month and earn good pocket money with my limited theory knowledge.

Could go either way but until you meet him I'd keep your options open. He could turn out to be a real asset with his history. Maybe offer him a trial period if you're worried about his cockiness.

[quote name='Ou7shined' post='1147265' date='Mar 2 2011, 03:47 PM']In the rectory? [/quote] lol

Hey Silddx, really pleased to hear you love your new improved tone. Would you say the John East pre-amp was the main reason for the improvement? I've got a US75 and love it to bits but am sorely tempted by an East pre. How difficult is it to fit? Edit: OMG just realised John East's place is less than 200yds from my house in oxfordshire - surely it's a sign!!!

Reminds me of some chap that came to look at a jazz I was selling last year. He came in, bashed the hell out of it and then decided he was really after a ray. Took plenty of restraint not to insert the aforementioned jazz where the pope don't rollerskate!

I like the national bass strike idea but not convinced the guitards or singers would even notice

Sharp exit for you and the drummer with an invitation for the guitards to come as long as they quit whining about drum volume would be my solution. A bass / drum partnership will not struggle to attract guitars and vox if you're tight already. Good luck - it'll work out for the best!

My best mate is an engineer. He's done some really big name hard rock / metal bands in the last 5 yrs and has a great reputation in the industry and is flat out 365 days a year. To my ear he destroys the bass every time and he firmly believes it should present but barely noticeable. He always puts really heavy strings on the basses he's recording as he says it needs to be a dull low sound that sits at the back of the mix. I would never let him record me cos as a bass player i hate his approach and I can hardly ever pick out the bass on his stuff. Lots of the younger engineers seem to go this way especially with rock and metal. Might be worth seeing what your engineers philosophy is?

If you want to get paid for originals it has to be worth the money. A lot of people like to knock the "covers" thing and in fairness it amazes me how many people put themselves thru the misery of songs like Mustang Sally. In my opinion you should only expect to get paid if your act is worth it regardless of whether you do covers or original stuff. For a pub to pay a band say £200 and make the money back they would have to shift about £700 of beer. I make that about 250 pints which probs means you need to keep 50 people minimum in the pub all night. If you can do that week in week out with original material then I tip my hat to you and envy your talent. I play covers and really really enjoy it. Some people have a problem with that and claim they are "keeping it real" or think they have "integrity" by only doing originals. I believe "keeping it real" is being honest about what you genuinely enjoy and doing it. For me this is playing covers well. There's also a very good reason that cover and tribute bands can tour and make money - punters want to see them (supply and demand). In my experience most people who claim to be keeping it real and slate covers / tribute acts are only doing so to appear cool which is exactly the opposite of keeping it real surely. If you want to play Mustang Sally then good on you. I prefer to do some less well covered stuff but as a band we know that to get away with that you have to make the show really entertaining. We only do paid stuff as a couple of members of the band are only in it for the cash but we're booked solid for months. We don't do all the usual covers but we do focus on entertaining and engaging the audience.

TC Classic 450 + 2x12 cab with USA 75 Jazz played fingerstyle somewhere between the two pickups. Both pickups on full and tone at around halfway. Classic and contempory rock covers. Start at all flat and tweak from there. Minor tweaks are usually all thats needed but the odd venue can throw a spanner in the works and a complete re jig will be needed. Dont use on board compressor or valve drive as I like the sound of the guitar. Volume 3-4 so I can hear clearly alongside the drums and the drummer can hear me. Then let the PA sort the FOH volume. Nice thread - v handy

[quote name='Lozz196' post='1136774' date='Feb 22 2011, 09:51 AM']I`ve a TC Classic 450, and have used it through both Marshall and Ampeg cabs, and can get a nice warm sound through either.[/quote] Big +1 from me with this. I also have a TC Classic 450 and with a little tube tone blended in its super warm and nice and punchy. I love the simplicity of it too. I run mine through a Bergantino AE212 and the 2x12's give you something somewhere between the warmth of a 15 and the punch of 10's. I would be tempted to try the TC with a Barefaced Super 12 if weight is an issue.

I'd definitely play for free if there was a blanket "bands don't get paid" policy in place in the uk. If I didn't I'd have to give up playing full stop as I only play so I can play live. I don't really get the bedroom player thing. I currently play either a fri or sat night every week with my covers band and it pays enough for holidays, cars and guitars. I'm tempted to try forming a second "no charge" covers band with like minded individuals for friends parties etc. I'd love that kind of "no pressure" playing and it could only benefit my other band as I'd be playing more. Imagine how much more live music there would be in the pubs and bars etc if the venue didn't have to pay for it and you'd never struggle to get gigs - would defo want free beer tho!