PaulWarning

[quote name='EBS_freak' timestamp='1477134641' post='3160040'] The kick drum underpins the music [/quote]no it doesn't a bass guitar does, a loud kick drum invades my frequency space, nothing worse than an overly loud kick drum IMO of course

our old guitarist was always tuning up, I think it was his way of saying "I didn't play a bum note I'm out of tune" yeah right! I play acoustic at open mic and never tune up apart from the start, mind you I haven't changed the strings in a year, hate new strings., If a bass is a bit out of tune nobody will notice anyway, well I don't

surely if you're using an unmiced drum kit, which we do (trust me it's loud enough for a pub gig) you need a backline loud enough so you and the drummer can hear what's going off (assuming no IEM) which, will be loud enough for the rest of the room as is the unmiced drum kit, if you see what I'm getting at, we take about 40 minutes to set up and at the end of the gig we're away in about 20 minutes which for me is a big plus There's also the aesthetics to consider, having a big backine is more Rock and Roll IMO of course

[quote name='machinehead' timestamp='1476973254' post='3158929'] After reading this thread I've just booked my appointment for a test, hopefully leading to having a moulded set made. I've used the Christmas tree ones for years but never got used to them so often haven't bothered putting them in or wear only one. Not good. With the big six - oooh coming next May and over 40 years working in loud environments it's a wonder I've any hearing left. time for action at last. Thanks to all who contributed to this thread. Frank. [/quote]not sure why you don't get on with the 'christmas tree' ones, I forget they're in, a word of caution amongst all this love for ACS's I've never really got on with mine, I feel very detached from the music, so much so that I wear just one, the side with the drummer and tinnitus (not unrelated I suspect), I wear a 'christmas tree' one in the other, which I suppose proves they don't block out as much as the ACS's

I'll believe when I see it, I seem to remember he was due to release a new album about 20 years ago till the studio burnt down destroying all the masters, allegedly. It's still a mystery to me how such a cantankerous, nasty piece of work could make such perfect rock and roll records, but it shows in spite of what he says he's still in love with his music. I saw him about 25 years ago, front row seats and it was one of those shows where I got exactly what I was expecting, right down to the white crimplene flares, marvellous.

there's also the way manufacturers measure watts, my Trace Elliot 200 watt SS head (at 4 ohms) is as loud if not louder than my Rumble 500 watt, and yes I use the same speaker cab it's been on here before but worth another look [media]http://www.youtube.com/watch?v=fI6YbqrRK3g[/media]

you can exchange them for free, I changed to 10's because they were cutting too much out, but I'm a bit deaf anyway

[quote name='paul_5' timestamp='1476433296' post='3154178'] I've played Butlins at Skeggy a couple of times... [url="http://s1221.photobucket.com/user/paul_510/media/5614aed0-8ea4-e018_zpskxqluli1.jpg.html"][/url] [/quote]if you think that about Skeggy you should visit Ingoldmells, makes Skegness look posh

[quote name='Huge Hands' timestamp='1476432744' post='3154169'] They are not the greatest payers, so whether you get a good sound person can be a bit of a lottery. I tend to loo [/quote]you're not wrong there, the main acts last weekend, From the Jam, Tom Robinson, Stranglers had a great sound, (I'm assuming they had their own sound guys)but some of the others had the appalling boomy prominent bass drum to contend with, which made it sound very muddy indeed

[quote name='Lozz196' timestamp='1476385816' post='3153915'] We played at the punk weekend last Friday at Butlins in Skegness. Was a great gig. [/quote]really I was there, I know I should probably know, but what's your band called?

[quote name='BigRedX' timestamp='1475778477' post='3148747'] Having been an enthusiastic home recordist since the 70s when it was considerably harder to do that it is now, I would like to offer the following advice: It's never been easier or cheaper to make your own recordings at home - all you need to get you started is a computer (nearly everyone has one of those), some software (it's far cheaper now than it has ever been and Reaper is essentially free) and some means of getting audio into your computer (an audio interface and some microphones). However despite the initial investment being low, if you get into it, you'll soon find yourself wanting or needing to spend more on all sorts of add on from 3rd-party plug-ins or a better interface/microphones/monitor speakers. And if you thought to bass playing was a potential bottomless money pit, then think again because it's completely insignificant compared to what you can spend on even a modest home studio set up. In my case having got some very reasonable results with hardly any gear (and certainly nothing that could really have been considered "professional" standard at the time), I came into some money in the early 90s and went out and bought myself a decent home studio set up based around an 8-track recorder and a load of outboard hardware effects and instruments. Over the next ten years I spent several tens of thousands of pounds upgrading and expanding this to a computer based digital system and a load of plug-in instruments and effects. And I made some pretty good recordings along the way. Quite a few of them got released on CDs - some that I financed myself and some that were paid for by various small record companies. However despite the fact that my recordings were sounding better than ever, they still didn't have that certain magic that recordings by my favourite signed artists did. I don't think the source material was at fault. There were certainly plenty of music industry people who seemed to like the songs that my bands were producing for them to want to get involved, it just seemed to me that there was something lacking with the recordings themselves. When I joined The Terrortones and we came to record our first single there was never any question that we would do it ourselves. We wanted to play live and all my recordings since the early 80s had been done by building the performances one or two instruments at a time. I didn't have either space or the microphones to record a real drum kit. So we booked a local studio that had a sufficiently large live room to comfortably get the whole band in and went to record there. That was certainly an ear and eye opener! The audio engineer got excellent results very quickly and everything was sounding fantastic almost straight away, and certainly far better than I had ever achieved at home, and that was before we started mixing the tracks properly. The whole process including mixing and mastering 3 songs took about 24 hours, spread over 4 days. It was a massive change from my previous recording experience with my last band where I had spent well over a year working almost every evening on tracks for an album in my home studio; and in the end all I had to show for it was three quarters of the album done but not sounding as good as I wanted it to, and the rest unfinished recordings that would remain that way since the band had split. In hind-sight based on my experiences recording with The Terrortones, I can't help but think that all the money I had spent on home recording equipment might have been better put to use hiring a decent studio and a name producer for a few weeks. At the end of it I would have had a finished album recorded and there is a good chance that I would also have had enough money left over to press up our own CD, if none of the people who had shown and interest in the band had come through. After all that, it's not to say that you won't turn out to be a fantastic engineer and producer once you figure out how to make the equipment work. However IME just because you are a decent musician doesn't automatically mean that you can make decent recordings. And sometime the presence of an impartial person at the recording/mixing session can be exactly what you need. However I've sold nearly all my home recording gear, and I'm unlikely to be using what I have left for anything more than getting my ideas in a form where I can play them to the rest of my band to show them how I envisage the songs I am writing turning out. [/quote]my thoughts too, it really doesn't cost that much to go into a good local studio and get good results, they know what they're doing after years of experience

with the best mastering in the world you can't polish a turd, with our last CD I actually preferred the non mastered version, had more heft edit, not saying yours is a bad recording btw, but we've fallen into that trap before

the guy who plays Macca in the Bootleg Beatles taught himself to play lefthanded after years of playing right handed, that's dedication, respect.

the bass on the intro to Another Girl Another Planet never sounds right to me, so I do it how I think it should be

[quote name='Cato' timestamp='1475445213' post='3146026'] Maybe it goes back to when you first start playing? You concentrate on your dominant hand just hitting the strings and making a rhythm while the other one slowly and awkwardly frets the strings, probably not at the same time. As you progress both hands become more and more dextrous in the roles you initially assigned to them? [/quote]this, IMO anyway, I'm a lefty, if I was starting from scratch now I would learn the 'right' way , maybe the reason so many lefty's play right handed is because when they first started someone lent them an instrument which would have been right handed, probably, or maybe they had the foresight to know the agro they would get later trying to get left handed instruments, I didn't

one of the few advantages with being cack handed, I've been asked and when I say "you're left handed too then" they scratch their heads and wander off

I often wonder about the benefits of stereo, ok with headphones on you can hear it, but how many of us sit down and listen in the right position between the speakers? I know I don't, I usually have music on while I'm doing something else, even in the car there's that much background noise fidelity goes out of the (car) window

[quote name='tedmanzie' timestamp='1475307752' post='3144863'] Get the Mono, it's brilliant. If you're a completist get both. Has anyone bought the new album as mentioned in the thread title? I hear that it's also excellent - remastered live at Hollywood bowl. [/quote]it's on Spotify, worth a listen but only a few times before the screaming gets very annoying, it's hard to believe they couldn't hear what they were playing, some bands don't sound that good with IEM

[quote name='discreet' timestamp='1475250503' post='3144465'] You're probably right- another one here who didn't read the manual... [/quote]there's no mention of it in the 'manual' not in my single scrap of paper anyway. Chromatic, of course

[quote name='discreet' timestamp='1475246999' post='3144424'] Cello, Guitar, Bass, Violin and Ukulele? I think the number relates to which string is being tuned. [/quote]right, seems to make sense, the numbers don't appear on the C (cello) setting though, I was tuning my guitar last night before an open mic didn't notice I was on V setting it tuned all the strings apart from the B string very confusing at the time, the C G work ok, something to be aware of though

am I being really thick here but what do the small letters mean under the string note, C, G, B, V, and U that appear when you press the on off button and numbers appear next to the string note when G B V U are selected?

[quote name='Hobbayne' timestamp='1475230757' post='3144176'] Have a listen to these excerpts of the stereo/mono versions [media]http://www.youtube.com/watch?v=CtVF4zl_N0U[/media] [/quote]just listened through headphones, the mono versions sound better to me, more heft , not a big fan of Pepper myself, the reprise is my favourite track

my parents refused to buy me a guitar, just a passing fad they said, you'll never learn to play it, I eventually bought my own in my twenties and did learn to play it before moving on to bass, who knows what would have happened if I'd had their support in my teens?

I'm generally happy with my standard, I can play the stuff I want too, sometimes I have to cheat (try playing Babylons Burning using all downstrokes with a pick!) but hey, I can probably play stuff that other people can't, but there's the rub you only doubt yourself when you can't play something when you can you tend to assume everybody can