BigRedX

For the bands I like, IMO there is a reason why most of the out-takes and other unreleased tracks were unreleased at the time, and that's because they weren't very good! I think it's fine if the bonus tracks on an album are non-album singles, B-sides and 12" mixes from the same era, in fact that's exactly what I want. What I don't want is half-baked demos, badly performed and recorded "live" tracks, or songs that at the time weren't considered good enough to even be included on the middle of side two of the album. I can't think of any previously unreleased track by any of my favourite bands that have given me sufficient listening pleasure to warrant their inclusion on a re-issue version of the album. I also can't see the point of new mixes that supposedly take advantage of new listening set-ups, with maybe the exception of the handful of albums from the 70s that were mixed for quadrophonic. Almost everything else was recorded with the intention of being mixed in stereo at best, and for many albums recorded in the 60s the mono mix was the the main one that had time and effort taken on it, whilst the stereo version was dashed off in a couple of hours afterwards. Most domestic listening environments are barely good enough to do justice to a stereo mix let alone anything with more channels.

Current forecast is for no rain and maybe even some sun, which is a relief for a band with more than a bit of technology involved in our performance!

I have a Canon ink tank printer. TBH I'm not particularly impressed with it and wouldn't have another for an number of reasons reasons: 1. While the ink is a lot cheaper than buying cartridges, the ink flow mechanism has a tendency to empty back into the tanks which means that suddenly your prints will be missing one or more colours. The method used to get the ink flow going again uses a significant amount of all the inks not just the ones that have stopped flowing, and while after about 4 years of usage I'm only just on my second set of refills I would estimate that half my ink usage has been fixing problems with the printer rather than actually producing prints. 2. The quality of the prints for anything important is nowhere near as good as my previous cartridge-based printer. It's fine for simple text documents, but for photographic prints and anything requiring colour accuracy, it's pretty poor, and that's after using my colour calibration meter to create a custom colour profile for it. 3. They are a lot more money than a cartridge-based printer, and to date my total usage cost (vs cheaper printer but more expensive cartridges) is about the same for the amount of usable prints I have got out of it. So if you are doing lots of prints, using it almost every day and don't need to have good colour accuracy or excellent quality photographic prints, they will work out cheaper in the long run. For everyone else probably not. I'll probably get rid of mine next time I run out of ink and buy a laser printer instead.

We're an originals band so a single set of between 25 and 50 minutes length depending on the gig, where we are on the bill and how many other bands are also playing. Our next two gigs are 40 minute sets (which actually works out as 35 minutes of songs, 2 minutes of intro music and 3 minutes of between songs talking by our singer), which IMO is about right for an originals band with a couple of reasonably well-known songs (within the genre) but no album out yet.

A reminder for anyone on here in the Nottingham/Beeston area that Hurtsfall will be playing Oxjam Beeston on Saturday. More than 100 acts spread out over 17 venues from midday to midnight all for £10 (and it's free to get into any of the venues before 6) all proceeds going to a good cause. We will be performing at The White Lion at 6.00. Apparently the gig is in an outdoors space but under cover for both the band and the audience, which is just as well as there is still a 40% chance of rain. We will also have shiny new merch on sale in the form of two new T-shirt designs and a limited edition CD of our forthcoming single, including an exclusive new version of "Calling Out" which will only be available at gigs.

While they were differences, I'd have been hard pressed to say which, if any, sounded better, particularly once the bass is in the mix with the rest of the instruments and EQ'd to find it's correct place. Based on personal experience I'd rather have a well-engineered hi-mass bridge simply because it's less likely to shed screws and other parts through the act of playing.

IME most digital devices will burn through batteries at a rate that makes using them without a mains PSU unfeasible.

I could never buy tickets for a band more than a month or two in advance, as I would rather be playing myself. So apart from the bands that I'll be supporting over the next three months, I'll be going to see: IST IST on 17th October at The Rescue Rooms Machiner and Westenra on 2nd November at Whitby Brewery Some other bands at WGW although I haven't decided which other gigs I fancy going to yet. Vision Video on 2nd December at The Bodega

The website says that both the headphones and line out sockets have speaker have cab sims applied to them, but doesn't say what kind of a cab, or mention if there is any way of turning this off. The manual doesn't mention cab-sims on these outputs at all.

Weird how some "mojo" is acceptable and some isn't 😉

£15 is now the minimum for a band T-shirt. Last time I was selling them for just a tenner they only cost us £3 each to produce. IMO most merch for new originals bands only sells at gigs, so it's a legitimate form of gig income IMO. And consider this: we recently were part of the musical entertainment for an all-day "alternative" market. As well as getting paid, fed and watered all the bands had a large shared gazebo with tables from where we could sell out merch for free. We did well and sold out of CDs of our debut single as well as nearly all of our last batch of T-shirts. Everyone else selling at the event will have paid £50 for a space and that would have just been a space and nothing else.

Looks like an Ibanez of some kind.

That's not what I said (or even implied) and you know it. To me that sounds like your originals band is doing it all wrong, or you covers band has some lucky breaks that allow you to skip some of the usual costs (like being able to rehearse at someone's house for free). My originals band has had a good year so far, and while we may not be commanding £800+ a gig yet, we've had some very well paying ones which means that I've just been able to pay for a production run of 2 designs of T-shirts and limited edition CD single which will tide us over until the album comes out next year. We'll make a decent profit on this which will in turn pay for the production costs for the aforementioned album. IMO if I can be in a band that can do this then anyone can. You just need to have the enthusiasm.

My reading of the OP is that they were asking what kinds of cabs people were using along with the genre and playing style. I stated that my preference was for no cabs, what I should have added is that I play post-punk/goth and mostly (but not exclusively) with a pick. In this genre no backline is becoming increasingly the norm. My band did a couple of all-day events earlier this year. At the first not a single act had any kind of backline, and the FoH sound seemed all the better and more evenly balanced for it. It's certainly produced the best sounding phone video of my band that I have seen to date. At the second only one of the acts had any amps and they most definitely had the most uneven sound of the day.

What I was trying to imply was that, for me, the only reason the chose a specific type of cab(s) for a particular genre of music is for the image. For the sorts of gigs I play my choice of both amps and cabs make no contribution to what the audience hear FoH. Since for one of my bands our image is for an empty stage I don't use any cabs and go straight into the PA.

IME unless you can actually see which terminal is connected to which contact on a jack socket, it is always best practice to use a multimeter to check.

Why not? Did you choose to play for free? Did you not think to ask to be paid? Or were your band simply not entertaining enough for the promotors or venue to consider you worth paying? Unless my band(s) had deliberately chosen to play for free, we'd always be paid at least enough to cover the expenses of playing and promoting the gig. This is from when I first started gigging in 1980 right up to the present day. In those early days when we were all either students or unemployed, lots of the gigs that we played would have been impossible to do if there was no payment involved due to equipment hire or travel costs. Also based on my experience, I'm still not convinced that covers gigs pay as well for the time effort and general expenses that need to be put in compared with a well organised originals band.

Or you could chose to play in an originals band, where unless you deliberately decide to play venues that don't normally put on live music almost everywhere you will want to play will have an in-house PA and lights complete with someone to work them for you.

Next Saturday Hurtsfall will be playing as part of the Oxjam Beeston festival: We're down as playing The White Lion at 6.00pm but given that's it's outside (albeit under cover), we're a band with a lot of technology, and the current forecast is for rain, that might change. On the plus side we should have a load of shiny new merch to sell, including one item that won't be on-line and only available from us at gigs.

My preferred bass sound is to do all the tone shaping I want in my Line6 Helix and then dispense with back-line entirely and go straight into the PA.

That's the data base that iTunes uses to get its ID3 tags lying to us again. And "Squashed Things On The Road" was originally the B-Side of their 1980 single "The Haunted Tearooms" although IIRC the version on the album which did come out in 1982 was a new recording.

If you want to stick to just 1982 these are all superior (and more memorable) bass lines than the one in the OP: Squashed Things In The Road by The Dancing Did Somewhere by Danse Society Life In Tokyo and Quiet Life by Japan (in fact everything off the Quiet Life album) Steppin' Out by Joe Jackson She's In Parties by Bauhaus

But compared with how poorly some other members partners have done previously in this thread, that's pretty good. Especially considering that she knew the names of several bass players that I didn't.

Helix Floor with nothing else. I did toy with the idea of adding my Linn Adrenalinn, but it turned out to be too much hassle for slightly improved sounds on a couple of songs. In an ideal world Line6 would add a MIDI-triggered filter/gate to the Helix and I would be an even happier chap. Until that happens I'll make do without. I've realised for quite a long time that playing live is not about trying to exactly replicate the sound of the band in the studio.

My girlfriend managed to name ten bass players well within 5 minutes and without needing to include me. Some (mostly from 90s nu-metal bands) were people I didn't know my name and had to check to make sure they actually were bass players!