Lozz196

A trick I got from our old producer was get a good sound from amp/pedal etc then just engage the BDDI with everything at midday, adjust blend to suit. It just then seems to shape and tighten the sound that you already like, making it just fit in the mix that little bit better.

Congrats Stew, I had one of these for a while as a backup to an SVT 3-PRO and it pretty much nailed the Ampeg sound. Obviously not the full SVT sound but it was very near to the 3-PRO, or at least what I got from it.

Yep, for a padded cover hotcovers is the place to go to.

Agree, and if it were to be 1200 mono there aren’t many cabs around capable of handling that so the potential of blown cabs.

Yep, one of my fave cabs of all time was the Peavey TVX410, just a shame it was so heavy. Peavey gear = good sound & reliable.

Good point, Yamaha quality is pretty much standard (and legendary).

Likewise, this is my fave Maiden song (I’m not a huge fan btw) and this is a cracking version, really enjoyed it.

I’d often wondered what strings our guitarist used……

Make it two of us

Definitely, a shining example of showing how good he is by understanding what the songs need and then doing it.

I’ve not tried the MM range but did have the LM3 and LMT (tube). Great amps, worked nicely for a traditional Precision sound but I couldn’t get what I needed for my punk band which was that gnarly/gainy sound from boosted hi mids and treble. Seems like the eq points of the MMs have addressed that - not specifically for me I might add, but I’m sure that’s just because I didn’t ask…..

I like that, I’ve always thought that optimists play sharps as they’re reaching for more whereas pessimists play flats as they’re not quite getting there.

Just a pity they didn’t sell it to you for the price of a Westone, would have been bargain of the century!

We’re just about to do Cars by Gary Numan which has a tambourine in it (we’re doing the Nine Inch Nails version btw) so our keyboard player is having to programme one in. Much better than someone waving one about out of time with the rest of the band.

Nice, I had one of these back when they came out and I had no trouble with it. It had a superb recorded sound with a Precision as well.

Works in Essex

Very nice 👍

Yes I’ve heard some hideous covers bands that have very good reputations and get paid very well. So those that can’t command a fee…….

I think there is a difference between originals bands & covers bands. In my old punk covers band we used to contact new venues asking for a gig and tell them we charged £200 for the first one as an introductory offer, after that they could determine our worth if they wanted us back. They knew the music so knew what to expect, and must have known if we were suitable for their venue/customers. We were always asked back. Whereas with originals bands, promoter asks a starting out unknown band “what do you bring to my event”. How do they justify a fee. “Well we’ve not played many gigs yet, don’t have a demo and this gig isn’t in our home town so we’re not bringing in many extra punters”. I can see why promoters wouldn’t bust a gut to get their wallets out. They could of course lie, but then the promoter could too…..

Definitely, although as an unknown originals punk band of middle aged chaps there weren’t that many people willing to pay us. If the option had been there to gain the experience at paid gigs to the audiences we wanted sure we’d have snapped it up. We did get a few in between, gigs we wanted but no money and first on the bill as we were unknown Those also helped as the internet then allowed people who’d seen us to start talking about us, suggesting gigs for us and asking promoters to put us on. On the originals scene it’s very unlikely to get anything other than first on the bill/no money unless you’re mates with the promoter and they know your band is a safe bet. Otherwise what do they know that you’re bringing to their gig. A demo might not really represent your live performance, and even if it does the audiences still need to like you, you can be excellent in every way but sometimes audiences just don’t go for a band. An originals band needs “something” to progress.

We did a good few no pay gigs at the start, they were invaluable to us. In front of audiences that weren’t the market we were aiming at we learned how to work as a unit setting up/breaking down in quick changeovers, what we each needed from monitors, how to get through it when we didn’t get that, who laid their gear out in what ways when setting up/breaking down, who needed help on this and who was self sufficient. By the time we started playing the gigs we wanted we quickly moved up the ladder as we worked professionally, all thanks to the experience of those unpaid gigs. It depends on your band, on your plan, and what your aims are as to whether they’re the right move or not, pretty much like everything in life I suppose.