Dad3353

If they came to play in the field in front of our cottage, I would probably not even look out of the window. Not a fan; never have been.

This is exactly how we operate here in France, if it's anything more than a pub/bar. We have a tech sheet, and a lighting plan for bigger events. We seldom have/had issues.

If it's important to your sound, you'll need your own sound person. A generic sound person will do what he/she thinks is best for the occasion, taking into account many parameters. Some will have enough feeling, or experience, to do exactly what's required so that 'your' sound' comes across, but it can only be guaranteed if you bring your own. The band is responsible for the stage levels, the FOH person is responsible for the FOH sound. 'Bring your own' is the answer. There's added benefits, as 'your' tech will know the repertoire, and can add or remove Fx such as delay or reverb etc 'on the fly'. Any use..?

I would add that the USB version is offered primarily for those wishing to use the mic for 'podcasting' with a PC, and are not interested in audio interfaces for recording music or singing. A broad generalisation, but basically valid. Just sayin'.

Define 'excellent' in this context to the satisfaction of everyone. I'd suggest as a starting point : Captain Beefheart and his Magic Band...

That's nowadays, innit. 'Back then', in Hofner land, things were (and still are...) done differently. It's part of History, just like tempered keyboards and micro-tones. One gets used to what one usually hears, and it's all good, anyway. For those that might not recognise this ^^, it's a bridge from a Hofner 500 violin bass, such as that played in the video shown in the OP. Intonation is done by choosing which slot to put the fret wire, and slanting the whole bridge to get the intonation as best as possible. It works as well as is/was required. How are violins and double basses intonations adjusted..? That's right; they aren't. It's all in the fingers.

Sorry, Dave; I was just 'ribbing' you. We play with 'clean' tones, always; that 'gnarly' rock tone suits the song, and is right for the job, so change nothing.

This will do the job just fine. We have several Superlux mics and headphones (some from many years ago, some more recent...) for recording drums, vox and guitar; all are very much up to the job, and well worth their reasonable price. Nit pickers will pick nits, but we're very happy with them. Yes, the 48v mentioned is exactly what's required for these mics. Recommended, with no hesitation nor caveats. You may wish to consider adding a suspension, but it's optional, unless ground-generated noise is a major issue. In our home studio usage, it's seldom really necessary. Hope this helps.

@dmccombe7 You might like to get those speakers checked, though; they sound quite 'gnarly'. Ripped cone..? Rubbing voice coils..? Needs cleaning up (but might prove to be an expensive fix. ...

I've been offered a tilt cab; does the colour matter much..?

Most rooms will change once the public get it, so, unless there's a dedicated FOH operator, it's pretty futile looking for precision. We play bars and cafés, mostly, so the amp is set with a 12 o'clock EQ, end of story. It works for us. I don't re-tune my bass drum, either, for the venue. It'll be what it'll be, or whatever the FOH person makes of it, if there is one.

? ? ?

If you're 'into' carpentry, of course it can be done, but isn't it better to sell the combo 'as is' and buy yourself a more suitable rig for your needs..? Just a thought.

Would it cost all that much to get that mended..? ...

OK, then; now, just let me see... I can put you down as 'cynical' then is that right..?

Aren't there gov't auctions from time to time where confiscated stuff gets sold off..? If not, there's a potential (modest...) revenue stream for the country's coffers, perhaps.

To be fair to our new colleague, it should be mentioned that Lenny (long-standing contributor to the monthly Challenge...) has stubbornly and repeatedly made light of any notion of 'rules', as evidenced by his contributions, where musicality comes a poor second (or maybe third, fourth and circle of fifths...) to inspiration, anarchy, fun, noise and... Well even more than that. The notion of 'covers' does not extend to these outbursts of angst, ire, temperament and talent; no legal repercussions are to be feared from them, apart from the medical costs for loss of hearing, and the replacement of window glass. In short, no covers, except for December and whatever Lenny deems to call 'a cover'. Hope this helps. ...

I've received some clips from our recent outing to a French bar. For the more brave and foolhardy among you, here's the link to my post in Another Place ... 'How was your gig last night...' (Except, of course, it was not 'last night', but a couple of weeks ago now, and I'm the drummer...).

I've received some 'punter' clips from our recent outing (23/09...) at the 'Welcome's Bar', Luitré, France. Nearly 18 minutes, if you can stomach it; the very last section shows the stoicism of Our Eldest doing what he can with a busted string. The all-round ambiance can be seen, I think. Here's the montage, enjoy ... Edit : I forgot to add a nod and a wink to @FinnDave . He'll understand (I hope...)...

Hmm... Do you remember motorcycle batteries, 6v..? Would you put a spanner across its terminals..? No..? Nor would I, as the spark produced from the mere 6v would be quite intense. The potential is low, but the current flow easily enough to set fire to a bike (how do I know..? That's another story...). An AAA battery, 1.5v, has not enough 'juice' to do much harm, but one cell from a car battery (1.5v...) gives off a very nasty burn when shorted. A saline tongue, to a battery, is just about equivalent to a short circuit, unlike dry skin. If I was cruel, I'd urge you to try the experiment yourself and report back, but my better self recommends that no-one try to 'lick' a battery the size of a brick, whatever the voltage. Just sayin'.

Nope, sorry. Did nothing for me; my sky is still grey. A pity; I'd have liked a lift.

I wanted to play the flute, all the more so after a cross-Channel ferry crossing, where one of the cooks took pity on my partner (at the time...) and I, sheltering in the garage with no money, after our round trip of France. He invited us to the crew's quarters, and fed us royally, whilst regaling us with tales from his other, out of season, job as a flautist with a national orchestra. He recommended, for a beginner such as myself, to look at the Yamaha range, and go for a silver head if I could. My budget was understandably low, but it mattered little in the end, as I found that a stupid previous accident at school (trapping my pinky finger in the jamb of a heavy oak door...) had resulted in a badly-set fracture, and my finger did not have a 'normal' movement. It was impossible to use the R4 and roller keys, so I stayed with drumming. Darn it..!

The gig was taken by these guys ...