chris_b

[quote name='blue' timestamp='1494555307' post='3296970'] Sound for support acts has always been a concern of mine. Maybe it's me or maybe headliners are far superior than support bands. Just seems like headliner sound is impeccable. Support acts not so much. Blue [/quote] Maybe headliners have more confidence than the supports rather than being [i]superior[/i]. If US FOH guys are the same as over here the support bands will not be given the same sound as the headline band, but I'd still insist on the stage sound being as good as you can get it. I did a festival last year, first for awhile, and fortunately the sound was pretty good. Fortunately. . . as I was depping and wasn't too familiar with the material. My main problem was the amount of room, a roaming guitarist and lack of eye contact with the drummer but, on hearing back some of the show, in spite of knowing where my short comings were, it was still seamless from an audience point of view.

It's just another gig. Do what you do and make sure your monitors are right. Have a great time.

You're looking at cutting the pie 6 ways. Good luck trying to find a bigger pie. Many gigs I play are a trio for this very reason.

IMO an electric kit is not the best way of learning drums. Play one after you've learnt but not to learn on.

Get a set of flatwounds and you'll never have to change them again.

I guess the next thing that gets readjusted down on a "cheaper" instrument, after the components and labour, is the QC the company expects of themselves and their suppliers. Yorks5stringer, you talk about 1st world problems but these companies are in 1st world competition and they have to perform, no matter what price point they are aiming for.

[quote name='IainS' timestamp='1494342964' post='3295157'] One question, though: are in-ear monitors better for your hearing (and tinnitus) than standard monitoring? My ears always ring more after I've used headphones to listen to music so I assumed in-ear monitoring would do the same. The rest of my band use in-ear so it wouldn't be a problem to switch. [/quote] The only thing that is better for your ears is turning the volume down. No matter what the source of the volume either block it out or turn it down.

I don't understand why so many players think they should get hearing protection [i]after[/i] the problems have started. That's like deciding to put your seat belt on after you've been thrown through the windscreen! I know several players who now turn up to gigs with hearing aids in, then proceed to take them out for the gig and don't use any protection while they are playing. And one of those guys has no hearing in one ear anyway. Madness. It's like playing Russian roulette with a full chamber. I've had tinnitus for over 30 years and been protecting my ears with various degrees of success for the last 25 years. I know most hearing protection isn't ideal but deal with it. However bad it's better than loosing any part of your hearing.

I know you'll get a great sound out of that rig.

If you have to tune up between numbers there is something wrong with your bass. I tune up before each set and once about half way through, when the heat has got to the strings.

I'm a fan of everything Aguilar. I've used a TH500 since they came out and now have their OB3 pre amp in a bass. I know a few guys who will put up with the excessive weight to get the great tone out of their DB cabs but I'm afraid I'm not one of them. Aguilar also went for the square format for their 212 which IMO makes it even harder to move around. A lot of players also like the sound of SL cabs with a TH500 Top quality makes I've use with my TH500 are Bergantino AE and CN cabs and Barefaced BB2 and SC cabs. As your interest has been raised, there must be some Barefaced cabs you can try in your part of the world.

Lakland bass set up with Carl Pedigo https://www.youtube.com/watch?v=cIzV9462xeE

Hamish Stuart ex AWB Carol Kaye LA sessions.

A few years ago I played the Warren Point Blues Festival in Ireland. The wind was so cold I had a T shirt, shirt, fleece and overcoat on and I was still so cold I could hardly l move my fingers. The wind chill was terrible. . . . but the sun was shining. It was the only time I've frozen and got sunburn at the same time!

Google them and you can find out their current value. I'd keep leave them to the kids for the grand kids. These might be worth something by then.

. . . . plus the great Bobby Womack

I'd be wondering why the drummer sounds so bad, playing with brushes, then I'd wonder where my invite was. Never mind I'd turn up anyway.

I loved the sound of my TH500 so much that I bought another as a backup. That was when I was using Bergantino cabs. Now I'm with Barefaced and the fantastic tone continues.

There's only one answer. Stick to what you love and suits your playing. I have never had any fear about my gear being damaged on a gig. If you're playing gigs like that I'd be more fearful for my own safety than that of a few boxes of wires. IMO Bergs are a far better cab than TC but in this "dangerous" world you seem to inhabit I'd still be as worried for those cabs. Again, if you are happy to play on a gig like you describe, your gear should be the least of your worries.

Jeff Genzler has always been a class act. His amps and cabs are some of the best. I can't believe Fender had such a brain fart when Genz arrived with the Kamen takeover and they completely failed to capitalise on the gem that had dropped into their lap!

I've done these gigs with full backline and drum kit. Nothing wrong if you've got the room. We played in the hall, back room and one house had a full sized ballroom. Then there's patios, marquees and lawns. Playing for friends and functions for customers, you adjust to the different circumstances. Then it's just another gig.

I know a fantastic bass player who was sacked by the management because he was "too ugly" and a guitarist because he was "too fat". A drummer I know has just been kicked off a tour because the band leaders son wants to play drums. Some people are the authors of their own misfortune and many are not. Just make sure your networking is good enough so that being fired doesn't matter.

Everyone gets sacked at some point. You might stand a chance if you own the van, the PA or band name. You can be best mates or the greatest bassist they've ever seen but if your face doesn't fit and someone wants you gone, there's nothing that can save you.

IMO Blondie sounded great on Later. Of course the years have forced some changes to their performances, but it's great that they are still out there playing.

What about Brighton Rock.