PinkMohawk

Absolutely, my mentor always preached what he called 'Democracy of sound' as his key principle (Well, that and 'bring more subs'). Effectively, making sure that everyone gets as close to the same sound as everyone else. He'd work closely with his system engineer to make sure that the sound was as even as they could get it across the room. It's easier to do in arenas and other 'empty rooms' where the band is bringing in the full rig, and things can be much more easily customised to achieve the desired results. When it comes to older venues, you're often stuck with whatever they've got installed. Shepards Bush Empire is a good example of this, they've had the same point source system for a long time now, and any band coming in isn't just going to dismantle that system to hang their own, because there just isn't anywhere to hang a line array from. You get what you get out of the system, and you just have to roll with it. That said, I do believe they're updating their system soon, in the next year or so? Not sure on the timescale.

They still do, since they have the HB Thunderbird style bass, they've got a solid looking gigbag to go with it. If you're looking for a hardcase, I think the generic ones they sell would probably work? I've got one that just fits my Grabber, though it's a tight fit, so I might be wrong on that count. Yeah, I like it, but compared to an actual RD it doesn't quite seem right to my eye, though obviously that's where they got the shape from.

Nowt wrong with Ethercon, been used for a long time in pro touring applications. As long as you're buying proper Ethercon cables, not just regular cat5 you'll be fine. If you'd like an example, basically every major tour, festival, show, what-have-you, will be running Ethercon cables from the stage to FOH. Basically no-one is using analogue snakes for those long runs anymore.

As a sound engineer myself, I feel I should defend my colleagues. I won't though, because yeah, most of them are a little too heavy handed with the low end. There is the old 'power alley' problem, where FOH tends to be situated directly central to the stage, which leads to the sound all hitting them first, ignoring reflections and the room and enabling the engineer to mix while not considering what everyone else is experiencing. Another is yes, engineers not walking the room and getting a feel for the mix that everyone else will be hearing. And of course, half of them are most of the way to deaf and can't tell that the mix is arse anyway. My goal when I'm running the board is to make sure that yes, there's plenty of bass, but even more importantly, that that bass is clear and punchy and well defined, not just a wall of mush that blows out everything else. Modern metal mixes tend to fall into that trap a lot I find, since the guitarists love to crank up the low end on their modellers with no consideration for the bassist, assuming they actually have a bassist and aren't just using a backing track for bass as is getting more and more common. That leaves us in the unfortunate situation of either the engineer being a guitarist as well, and cranking that up higher in the mix, or just not being able to cut lows enough to let the bass breathe in the mix without destroying the guitars. It's all a horrible balancing act that often leaves me wanting to chuck a glass at their heads and tell them to shove off and ruin someone else's mix.

I'm not sure where that rep comes from, as for my money, Fat Mike was always one of the more impressive punk players, with more than his fair share of intricate, complex lines. And yeah, he's singing while playing them live too, which makes it all the more impressive. I do still prefer Matt Freeman's playing, but I've never agreed with the thought that Fat Mike was lacking in terms of skill.

I mean, for the money that you were looking to pay, you were only a little ways off of a Shuker, his cheapest builds start at £1700, and you'd be getting it from a builder with a solid rep as well. Well, suppose it'll be interesting to see what happens next.

Yeah there's a lot of weirdness the more I think about it. I'd really want to take a screwdriver to one and take it apart before I agreed to pay the money for it. That second rout is right under the bridge too, right? What the hell goes there? I'm not too broken up about the lack of natural finish, though stains would be nice, and even a veneer wouldn't be much more expense. I don't know, it could be an interesting buy, but I need more details on these first.

I think, especially with a board like the Temple Audio boards and their stick on mounts, or I keep seeing ads for a small company called Boardmods, they make 3D printed replacements for the mounts that swap with the baseplate of most pedals, or for some bigger ones attach with the screws, it'll be pretty viable. Now that I think about it, Rockboard as well have their own quickswap, no velcro mounts as well, though a completely different system to Temple, and perhaps less space efficient as well.

Jumping on the guard hate bandwagon, goddamn that thing is ugly. I'm not sure if it can be removed either, since I can't tell if the rear rout covers all of the pots, or if the pickguard is covering a top rout as well? Definitely a candidate for some arts and crafts though, cut it down to something much more pleasant to look at. Other than that, it's ticking boxes for me.

Oh absolutely, I wouldn't expect any weekender band to be paying out for a pro level desk, even the 'cheap' ones. Oohh that's rough, that'd have me sending an angry email.

That's the benefit of being able to use something like a real Avolites desk, or any of the more pro-level desks, you can select which light it is, which manufacturer, etc. And some poor sod has done all the hard work for you, the system knows how many DMX channels each fixture needs, which commands are on which line, all of that, so you only have to program what you want the lights to do, not spend hours making sure that you've adjusted the colour temperature on each fixture.

Air flow is restricted on sharp edges, might be worth getting flares on the ends of the ports to help cut down some of that noise.

Right, good point sorry, I'm a PC guy so I never considered others using it. It's what we use at Uni. No clue when it comes to freeware unfortunately, never had to go looking.

The Avolites Titan software, I think it's free, and if you get their dongle, you can use your computer as a lighting desk, with a single free universe (512 channels). With that you'd be able to set up cue stacks, program looks, stuff like that.

I had great results with both tube and solid state, so I wouldn't sweat it too much. I did run whichever guitar head I had into an 8x10 though, but still, the general point stands. Get that signal super nasty and grindy, like unusable if it wasn't for the clean side, and it'll be huge.

I dunno man, do you think you got enough?

Killer player, but yeah, he changes brands like I change socks. Got a bad habit of saying he wouldn't ever do something/like something, then later going on to do/use that thing.

It's tough to go wrong with Warman, not for the price they're selling them at. I've used their jazzbars for a while now, always sounded great through my rigs over the years.

This is the way. Two separate amps, not pushing clean and dirty out of the same speakers just makes it sound so much better.

Looks slick, I'm not normally interested in short scales like this, but something very eye catching about this one.

Mhm, it's a short step from A 432Hz is correct and 440 is evil, to flat earth, aliens building pyramids, etc. The only people I've actually heard espousing 432 are those kinds of conspiracy nuts online, and it's usually a part of how "Things are being hidden from you!!!!!" type videos where they claim that they've got the truth.

Just tune to Eb, it's always struck me as pointless, something pretentious art school types do in place of actually doing something interesting.

I've done the split pickups to different amps thing before and, contrary to basically everyone in this thread, bar a few, I love it. If you set it up right, it'll sound massive. I am one of the guys who was running the neck to a bass head and 2x15, with the bridge going to a Hiwatt solid state guitar head and my 8x10, through separate effects chains on my board as well. It gave me a lot of flexibility. And, I think the trick to not making the sounds 'disconnected' as someone mentioned, is not having the neck pickup signal be completely clean, I'd do a little dirt, sort of a Sansamp sound on that side, and the result was huge. As for the 'stage volume bad!' comments, it's really not. Can it make it a little more challenging to work the desk? Sure, but on the other side of it, us engineers are used to that. If anyone here has seen Biffy Clyro live in the last couple years, Simon Neil runs 3 separate 4x12 cabs on stage, all at full volume, pointed right at his vocal mic, and they are all pushing air multiple times during their set. Jon, their engineer, was the one who suggested they move back to actual amps rather than modelling through Kempers, because the band didn't actually like the sound of the modellers but thought it was necessary for the engineer to have no bleed on stage. Plus, those on stage amps, those are your front fills when the PA doesn't have any.

From everything I've seen, Lydon's been an insufferable arse for years, so I honestly wouldn't be surprised if the other blokes never even gave him a call about the original benefit shows, doubt he'd have been up for anything that didn't benefit him. Throwing his support, little though it may be, behind Trump and Farage really just seals the deal that Lydon needs to be put out to pasture. Frank Carter has always been a great frontman, back in the Gallows days and more recently with the Rattlesnakes, so him smashing it with Pistols isn't a surprise at all.

Yeah, back when my old band were gigging, the van was never left unattended at any point during the load-in. At least one of us with the van at all times. Of course, didn't help when the cheeky twats broke in overnight, though they didn't clear us out much either.