Norris

Digitising music inherently introduces noise as music volume is quantised (or rounded to the nearest 'step'). However the biggest impact imho is the compression 'war' where every producer tries to get their track to stand out and sound powerful. This is easily noticed in shouty TV adverts that sound so much louder than the program you've just been watching. It has the effect of squeezing all of the 'air' out of a recording

There is one particular Gorillaz track that sets our dog barking. She usually only barks at the sound of the window cleaner's aluminium ladders. There's nothing remotely like ladders that any of us humans can hear. And yes I quite often hear people calling me when listening to music

We had to use a dep drummer last week (admittedly a bit easier than a dep guitarist). It meant ditching the unusual stuff and coming up with a mutual list of songs that we all knew i.e. standards, that would fit the occasion. It might be a bit much to expect a deputy to learn your entire set list for the sake of two or three gigs a year. Depends on who you find and if they are keen/have the time/have the ability to learn songs quickly.

I used a small Carlton suit case. It took about 20 years to fall apart. Very tough if you don't need a proper full-on flight case. I replaced it with a Maplin style case which is tough enough for local gigging

Anyway, which music stand is best for metal?

Hope this works from my phone. See attached photo for the only 'stand' that should be used - my guitarist in action Edit: That's probably a Manic Street Preachers song btw, the lyrics of which are completely un-memorisable! Oh, and the usual imho, amiley face disclaimers apply

We had Deacon Blue as our Xmas party entertainment (I work for Next - big party!). I was standing in front of the desk for the four or five songs I could bear. The bass player may as well have stayed at home - and the guitarist for that matter. Kick, kick, kick was all you could hear at the bottom end. Drums dead loud, quite a bit of backing track and the vocals. Everything else might have been muted for all I know

Luckily our guitarist/singer has the gift of the gab and audience interaction is a large part of the performance. In fact he'd probably like me to break a string to make a 'feature' of it! Whether you take a spare depends on the gig. A corporate function or originals band are a world away from a night of banter at the Dog and Duck. I have had equipment fail at gigs, the worst being a speaker coil going on my 1x15 combo. We've always coped, in that case by going through the PA.

What's the best atmospheric conditions for metal?

Funk and soul can be a bit tricky to get the timing, and hence the feel right. You need a good drummer for that. I quite enjoy a bit of walking bass, but then I learnt a lot of scales, arpeggios and cadences as a kid on various instruments. The one style I can't do is slap - I like a bit of Level 42 but never felt the desire to do it myself (heard too many music shop slapathons as a young newbie probably - it leaves me cold)

[quote name='MiltyG565' timestamp='1418379014' post='2629649'] Right after a gig might not be the best time for either party to discuss dates. [/quote] It depends on the landlord. Sometimes they will bring the diary over with the cash at the end of the night. Usually it's a follow up phone call though.

Generally it's how Milty describes above. Sometimes it might be as we're packing up, more likely a quiet evening during the following week. Our guitarist tends to do most of the bookings as he has the busiest multi-band diary. We get quite a few enquiries through our Facebook page so will often negotiate through there

My guitarist/main vox brings a carton of pineapple juice when his voice is a bit dodgy. I don't know if it really helps, but he keeps sipping it all night and has always got through the gig.

Funnily enough I mentioned this thread in the office earlier today (I'm a mild-mannered computer programmer by day) and a chap said that while working for IBM research in the 50s/60s, Benoit Mandelbrot (of fractal fame) did some research into this very issue. Apparently his conclusions were that orange was the best colour. In the GHz range that mainframes shunt data around, the electromagnetic absorption of different pigments is significant to electrical interference. So IBM mainframes have orange cables. Apparently. I've not managed to corroborate this online, but I doubt it would have much of an effect in the KHz audio range regardless.

For a proper empirical result you would need to test several cables of each colour. The quality of the soldering is more likely to be a factor. And include a placebo - a length of garden hose should do the trick

There might be some truth to it. My voice always sounds terrible. I think it's my red mic lead at fault

[quote name='skej21' timestamp='1418200105' post='2627806'] Too much technical lingo in here. Can you please just tell me which colour is best for metal? [/quote] Black. Every time

Are all of the cables you tested of the same specification? The colour of the outer sleeve should make no difference whatsoever - it is an insulator and plays no part in the electrical connection. If it's the wires inside that are green, yes that would make a difference as it means the copper has got damp and oxidised. ... token sensible reply

I'll quote the famous Beatles track - "I Wanna Fold Your Stand"

Always a spare set of strings, very rarely a spare bass. If my amp packs up I can quickly DI out of my GT6B multi effects pedal

Some carols

We never use a music stand. It looks unprofessional imho. However we occasionally gaffer tape the words to something for new songs with tricky lyrics. The guitarist uses his home made colander-based contraption for comedic effect. I'll see if I can find a photo

I wouldn't mind as long as he doesn't expect a cut of the wages

Right hand damping with the plucking fingers would be my choice. You could try left hand thumb over the top Edit: You could also try using one or more of your spare left hand fingers to damp (a couple of fingers will avoid unwanted harmonics)

Our guitarist does it for a living, so his main 'name' band takes priority as that's his main earner. However they tend to do a couple of 4-6 week tours a year with a smattering of other gigs in between. That leaves plenty of weekends free for our covera pub band. We've rarely had any clashes. Then he is in another covers band that pick up the weekends we don't do, plus a bit of dep'ing now and again. It works out well (and I get the occasional weekend to put my feet up) but good communication and synchronised diaries are essential