mrtcat

Flight cases rarely work out cheaper if self made. The aluminium extrusions and catches etc soon add up to a small fortune. However many expensive flight cases are poorly made so if build quality is king then make your own. I usually use 9mm ply and then buy a tired old case off the bay and use the parts. Just be sure to buy something big enough so you have enough parts.

Rig is now 4x DR200 and 4x Titan39. Can be seen and heard in various configurations at most of our gigs.

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[quote name='crez5150' timestamp='1331304839' post='1571121']
I'm awaiting one of these presently....... Never thought I'd buy a bit of Behringer kit in my life..... but I've played with this and it's gonna make it's mark in the industry I can tell ya now
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[/quote]

+1000

Have spent a few hours with one of these and it's a very very good piece of equipment. There are only two other Behringer products I'd swear by (DEQ2496 & DCX2496) but this is going to change people's perception of them.

As someone who has spent years involved with PA kit I often struggle to comprehend how much money some people blow on gear then don't bother learning to use it right. For the £6k that the Line6 kit could cost you could have a monster sound system but at least this one seems to be making it easy for people to use it right which can only be a good thing. However I've personally enjoyed every minute of learning how to get it right the old fashioned way.

Can sing whilst playing simple stuff as long as the two parts are similar. As soon as the vocal part and bass part separate I have to work super hard to get there. I also have a pretty baritone voice so high part harmonies are out of the question for me. Shame really as I love hearing a nice harmony.

Played the Red Lion in Witney nr Oxford last night. Really enjoyed it although there were a few minor issues.

A big plus was that the band due to play at the other (slightly better) local venue, Fat Lills, cancelled so we picked up some live music lovers from there.

First issue was that the venue had it's own PA but when we arrived we were told nobody was there to run it so we'd have to do it ourselves. Not really a biggie but would have been nice to know before as we'd have bought our own with which we're more familiar. All went well but our singers mic cut out second song so he used mine til interval and we had a sudden outbreak of feedback midway thru firs set and mixer was behind bar. Luckily our mate sorted this for us with some quick thinking.

Only other issue was me making a hash of Mr Brightside (complex stuff i don't struggle with but chugging thru chords always trips me up for some reason).

Beyond that it was a great night. Dancefloor was packed with lurvely ladies all night (our singer and guitarist are both v good looking), we brought out 11 new tunes to a great reception and our facebook account grew by 19 peeps today.

Happy days

[quote name='4000' timestamp='1330884726' post='1564357']
I'll add that I hate, hate, hate the sensation of adrenalin surge. The sensation is horrible. I'm your ultimate chill-out guy.
[/quote]

Yeah there's clearly a fundamental difference. I'm like a cat on a hot tin roof most of the time and get bored soooooo easily. My wife despairs cos I have to be active all the time.

I know it may sound like hocus pocus but would you consider hypnotherapy or anything? I've never believed in it myself but it sounds like very little else has helped thus far.

Poorly handled but can imagine that, like most studios, he's sick of people blowing his amps, pinching cables etc etc. Go back. Everyone gets a 2nd chance. Judging by how he handled the missing mic I doubt he'll be forthcoming with a free session but well worth asking. If anything like this happens again then knock it on the head.

My concern would be that there's something amiss with your amp. In theory it should be more than man enough for the gig. As others have asked it would be good to know your eq settings, music style and what bass you use. A 300w 4x10 should happily cut it.

Ashdown's have the input gain setting and I've known many people not set this right resulting in distortion. This post may also enter the nice bedroom sound vs nice live sound debate.

On occasion when we're playing somewhere really busy and I see few members of other local bands in the audience i get that nervous feeling as the place fills up before we go on. I love it tho. It's that kind of "I feel very alive" moment. I'm a fanatical kitesurfer and when you turn up at the beach with the wind howling a gale and big waves rolling in you get that same nervous feeling. It makes you respect the situation and keeps you sharp.

I know my nerves don't sound like a patch on yours but I guess they're what makes it addictive.

Sunday morning bump.....

Village pub nr Banbury paid us £200 to play there and the room was so small there was no room for punters so they all stood out in the rain with the windows open. Singer was taking drinks orders and passing cash one way and beer the other. Was a funny night.

To me it's simple. You find the sound that "cuts through" - ie is clearly defined and in its own space - then you adjust the level of that sound so it sits nicely in the mix. Tadaa!

Yeah, although I didn't build these I've built DR280's, DR250's and 16 DR200's and I am yet to find a quick way of doing them. I use 4 DR200's with our band and they are LOUD.

Price drop to £50 bump

Got one and swear by it. When I'm not gigging the sub from my surround sound system sits on it and it really works for that too.

I've really enjoyed reading this topic as money is something that plays a huge part in my band's daily discussions. It's good to hear the opinions of so many regular players.

I truly believe it to be a two way street. First and foremost a band needs to have its act together performance wise, musically and with whatever followers they have. If you have a great show that's well executed and a system that lets you connect with the people who have enjoyed seeing you before then you're in a good position. Venues need to also work on building a following based on good service, a good environment and a selection of regular good entertainment. The combination of both parties fulfilling their part can surely expect to at least make the most of the local potential for music lover business.

Yes venues can be very frustrating and as a band that plays week in week out we don't expect our friends to turn out every week and as mentioned in the op's link this is not really the ideal solution for a venue. We do however work really hard at getting people to subscribe to all our social media. This includes talking to audiences before, during and after each gig. The half time interval is so so important when it comes to forging friendships with punters. We are then able to promote gigs in a bid to get the locals to come see us when we're in town. In return we ask a sensible fee from the venue. It is also up to them to do as much promotion as possible. We will supply them posters but they need to make sure they take care of their own business.

Basically what I'm saying is that yes venues have the ultimate responsibility but bands also need to make themselves attractive. We all know some bands will play for peanuts but in that case we need to up our game and deliver quality backed up with a sensible marketing tactic.

Oh BTW if people get up and dance - no matter which way they face take it as a compliment.

[quote name='Mr. Foxen' timestamp='1330284869' post='1555224']
Know what speakers are suitable?
[/quote]

Yep the options are:

Recommended drivers are Eminence Deltalite II 2512
Less expensive alternatives are the Eminence Delta Pro 12 and Beta 12.
Premium alternatives are the Eminence Kappalite 3012HO

Cheers

I took these in part exchange for a build I did for a band last year. I had all good intentions of renovating them but in reality they'll probably just sit at the back of the workshop gathering dust.

They need a little love and are missing the 12 inch drivers. The plastic corners have been removed as has the speakon connector on one cab. They do however have all 44 tweeters present. I'm told that the tweeters are the Pulse ones from CPC farnell. I have tested them and all work fine. The high/low pass crossovers are in and are working correctly. They don't have the foam lining in the driver chamber but this is cheap to buy and simple to fit.

About £20 of parts plus drivers will see these up and running.

If you want some BFM cabs and don't want to spend months on the woodwork then these will be a very quick and simple way in. As a cab builder I can assure you these are not at all easy to build and they are amazingly loud even with a low powered amp.

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Need the space so £20 is all i ask. Collection from bicester oxfordshire only please

I did the woodwork on this cab for my 16yr old nephew who was going to finish and load it himself. The ungrateful little sod has made an attempt at painting it and then lost all interest. I need the space in the workshop so i'm selling it for the cost of the wood. Cab has no electronics and is purely the completed shell.

It's a super light cab and when loaded will be a really good gigging cab. My nephews paint work leaves a little to be desired but will sand back easily to leave a blank canvas.

Collection only please from Bicester in Oxfordshire.

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Did the Cort bass sell? I'd snap it up
If you still had it.

I don't think diversity is an issue [b]if[/b], in the long run, you are looking at 60+ songs in the quiver (which IMO is essential for any pub band as audiences can really surprise you with what they respond to on the night). That way you'll be able to make set lists for specific gigs that not only suit the audience but also make sense. If you're only planning on having a single set list of 20-30 songs then I would first ask the question of "what type of band are we?" and then stick to that.

I would be happy enough to hear your set list as is but I think I'd rather be playing in a band with a bigger pool to pull from. We have 122 in our bag at the moment and there's very few songs that don't get used over the course of 4-5 gigs.

[quote name='mcgraham' timestamp='1327172866' post='1507477']
People like this need to be told to grow up and we need to stop tolerating them.
[/quote]

Pleasingly it seems that collectively the BC forum don't tolerate tools like this. Some very impressive responses chaps. Made for a very uplifting read lol

Did you see this one? It may help

[url="http://www.youtube.com/watch?v=TAVzap5JUnY&feature=related"]http://www.youtube.com/watch?v=TAVzap5JUnY&feature=related[/url]

[quote name='mep' timestamp='1326141861' post='1492938']
The issue with the loud guitarist need sorting out. IME most loud guitarists are unlikely to turn down for anything. It will always be an issue so if you can't get them to do something immediately then look elsewhere.
[/quote]

This.

De-tuning a semitone is common and you'd be surprised how much it helps the singer. It's a totally pointless exercise though if nobody can hear the singer cos the guitarist is too loud.

Strings sound super new too if you ask me.