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[quote name='Davo-London' timestamp='1477324052' post='3161422'] LOL, good responses. I too play with loud drummers. I hate it. That's why I play drums very quietly. Seriously, I've been asked, on occasions, to play louder. Imagine that! Davo [/quote] same here, but I think I can trump you.... I play with a guitarist who is regularly asked to turn up!!!

If you're going to help, try not to drop everything. One of my band mates dropped my cymbal bag trying to be helpful (although no-one has admitted it yet) and now I have a sharp dent in all of my gigging cymbals. One member did helpfully suggest I get a hard case. I'm not sure he realised just how much it would cost to replace them all.

I'm also a drummer/bassist. I have a bag with a back-strap for my cymbals. All of my hardware goes in one bag, then I have a snare, two toms and a bass drum. I can generally do it in 2-3 trips and set up in 5 minutes. I'm ALWAYS set up before the guitarist(s)... I play 6 string basses and to buy new strings is generally £30-40. I can get 3 pairs of sticks for that The one thing that I hate, and no other members of the band would have to deal with, is lack of space. Especially if it's a multi-band gig, the first drummer will have set up the kit about 2 feet from the back wall. I don't know if there's some sort of rule where promoters find the shortest drummer possible to put on first but it certainly seems that way. I have to shift the whole kit forward, into the back of the frontman, who then complains that he doesn't have enough room. Also shared kits. They're always sh*te. I always bring my own but I'm not allowed to use it. I guess people don't believe I can set up in 5 minutes?!

I don't have anything against it but it wouldn't work for most of my bands. There's only one band where we could stick rigidly to a pre-recorded track with a click for the drummer (me). The rest of my bands feed off the singer/front people, and also off the atmosphere of the gig

ace! Thanks!

I have 3 6 string basses, they all sound very different, but I can get a usable sound from any of them for any style (in conjunction with my pedalboard) so I generally take the one with the freshest strings (or oldest strings if I want that sound)

that's ace, great band!

It's important that the performer is as comfortable as possible. Sometimes that means acquiescing to some difficult requests, particularly when they're spending money. Furthermore for a lot of people, reverb helps pitching. This is true for most non-fixed-pitch instruments (IE fretless bass) as well as vocals

Cheers, already got plenty of ideas, it's the value for money I need to research!

yeh, that's what I'll do in the meantime I've never bothered much with outboard. I do have a couple of multi-effects racks I use for reverb occasionally, but because the reverbs on the PC are so much better I always go back to them. Right, time to research some reverb units!

I doubt anyone makes it. What overdrive pedal is it? I bet SFX could make one for you

We found a reverb for the vocal, which we both liked, but it was pretty CPU intensive. This coupled with reverbs on other tracks, plus drum triggers, some VSTs, and a lot of audio, meant the CPU load was quite high. This was fine with a large buffer size, but unusable with a small buffer The artist wanted to re-do his vocal, and listen to his mic monitored through the actual channel in the project with all the effect on it. I think I'll save up for some nice outboard reverb, that'll solve it

lots of ways to make it sound great on bass. I do it a lot with delay and other effects

I use my tuner to mute, and my volume knob(s) to control the output from my bass. I use a lot of dirt and compression so varying the input on my signal chain can have significant effects on tone, without necessarily changing the volume that the audience perceives

I'm using Cubase 6, I don't think it has an easy "render effect" option, but obviously I could just export the tracks I want and bring them into the project. Probably the quickest way to achieve what I want is to export the entire song without the lead vocal, then use that as the backing track to record to, then import the new vocal into the original project. A bit of a PITA but it sonds like there's no easy workaround I'm regularly running projects with more than 50 tracks of audio

Small pub in Uttoxeter on Friday night. I think we played to about 10 people. I had to keep my volume (drums) right down which is always a challenge, so I did make a couple of mistakes. Never mind!

yes, good suggestion, didn't even consider it. It'd be a bit of a faff but would have given him what he wanted. I should have thought of that, I used to do it loads when I was a kid because my computer couldn't handle processing the effects "live" ...but I imagine the fancy studios don't do this

the specific situation I recently came across was like this... I started with a guy and his guitar. I added drums and bass to the track, and he added backing vocals and the load vocal. At this point the session is fairly simple. I have one reverb for the whole session (IE sending from all vox, drums, and a bit of guitar). We then built up the song more and more, adding loads of different instruments, percussion etc, and effects on individual instruments, including two new reverbs, one for lead vox, one for backing. After all this, he wasn't happy with the lead vox and came back to re-do it. However, he wasn't happy to hear the dry mic, or just any old reverb. He wanted the exact sound I had in the mix, in his headphones. I couldn't do it without enough latency to put him off. It's an unusual situation, and perhaps there's a better way to handle it rather than say "sorry mate, I can't figure out how to do it", but I figured there must be studios out there where this is possible? I guess long term it'd be better to get some decent dedicated outboard reverb which I can leave permanently patched in

no problem, happy to help! ...now can anyone help me?!! I figured it was standard practise for most people to monitor inputs on their DAW these days (as opposed to an analogue desk), so you must have near 0 latency? If so maybe you keep your plug-ins down to the very basics during the tracking stages? Or maybe your computers are far better than mine?

10" and he does regular Pilates. It's going to make for a hell of a stage show, but you'll need a projection and a close up camera on him

[quote name='KevB' timestamp='1476179131' post='3151953'] My current band play the downstairs bar (The Crew) sometimes, we are there on New years Eve. They let us use the changing room for the main hall upstairs so I've at least walked across the stage though unlikely to ever actually play on it! [/quote] Yeh I had a few beers downstairs, it's a pretty cool pub. TBF you don't want to play upstairs unless you can guarantee 100 or more [quote name='Raymondo' timestamp='1476180650' post='3151962'] I've played the main stage at Rock City three times. When we were booked for the first time I vowed to play the set, leave my gear onstage and retire. I was so excited I didn't of course The reason I am commenting on this thread is that I wanted to mention the sound on stage, It was awesome every time. I don't know the guys' names but the on stage monitoring was incredible....a massive side of the stage desk with a separate sound crew obviously helps but they just nailed every request for individual monitor mixes at the first attempt. [/quote] I was surprised not just by how good they were, and therefore how good the sound was, but also how NICE and FRIENDLY they were, as though they were somehow trying to go out of their way to disprove the soundman stereotype. Similar experience at the 100 Club in London, they just couldn't have been more helpful

just on the control panel for the interface you can set the buffer size. The lower the buffer size, the lower the latency

Queens Hall in Nuneaton on Friday. Dead cool venue, great soundman, not a huge crowd but it was all right Rock City on Saturday supporting Buzzcocks. I was just a bit blown away to be playing on the main stage at Rock City where I've seen so many gigs. Anyway, it sounded ace and we went down really well which was a bit surprising! Then we rushed off to a gig at The Rigger in our home town. I've never seen it so packed! Awesome sound as always (Hi Matt ) and I think we played well, but to be honest I'd had quite a few beers by this point Sunday was a weird one in Clayton Le Moors. It feels more like a folk club or something but everyone was having a good time and danced and sang along. Ace weekend!

This is something I should know about but would like to hear how everyone else copes. I use an analogue desk for direct monitoring in the studio, and this works really well. I have some outboard if people want reverb etc. Anyway, the other day someone asked me to give them a monitor mix from the computer, so that they could hear the exact same reverb as it would be in the mix. This is something I've always shied away from because of latency. I can get near 0 latency with a tiny buffer, but then this compromises CPU performance, especially if I've got a fancy reverb on the go. So,what do you all do? Keep a tiny buffer size and use low-powered plugins? In case it's relevant I'm using a MOTU 24 IO. My PC is running windows 7, has an Athlon chip 3.5GHz 8 cores, and 16Gb RAM

We went with Al Scott for mastering our last album. Not sure how much it was but great results