TimR

It's not really Scott Devine's project. It's Simon King and some monster players. If I understand correctly Scott felt very out of his depth when he received the scores. I assume the Devine King label is marketing. Scott is a master marketing. I think it's superb. It's Fusion and you need to immerse yourself in it and be comfortable with changing meters and odd tinesignatiues.

Does he have a headset mic? Get the mic right up to his lips and won't pick up any drums then. And it doesn't have such a bad a look as closed headphones.

I have a beringer feedback destroyer. I think they're only really any good for killing specific frequencies. It'll struggle with general rumble and back feed of instruments, they're not designed for that. A drummer singing who isn't empathetic with his playing is your issue. If the band can't control their on stage volume, you're in the wrong band.

It's why I want someone local. It's such a small job I don't really want someone who is going to travel miles. Must be someone who can pop in on their way home. Previously the guy has done it inside an hour and charged less than £50.

I'm trying to find a local PAT for a few lights and an amp. Googling for a local electrician is a bloody nightmare.

In the old days you'd read one of 2 or 3 books that told you pretty much everything you knew. Then there were a few magazines. A lot less conflicting information. They were written by people who had been there and done it. Lots of Internet advice is second hand knowledge, half learned, a lot of it people have spent money on gear and are then emotionally invested in it 'being good' otherwise they have to admit they've spent unwisely. Then there's advertising - just because something appears a lot, it doesn't mean it is good, probably just means they have a good advertising budget, or effective media team. I think if a group is annoying you, I feel some posters here seem to get a biased view of how much other people post in off topic, and often that's probably because they have common interest in the same subjects as those posters. It's not common for everyone to post in every topic, but if you keep coming across the same posters posting in the same topic as you, it can feel like that a bit. But then ask yourself - if that's my view of them...? Maybe visiting groups regularly or having 'all' notifications on is a distraction and it's the other things in life that are actually winding you up, and this is just one more thing troubling an already irritated mind.

I don't. It's the sound engineers job to reproduce what you sound like on stage. As per another thread, your band needs to keep their onstage volumes down to start with. That gives the engineer something to work with. The only thing I ask for is a bit more/less (bass, guitar, vocal etc) in my monitor to suit. The only time I've ever spoken to an engineer while a band was playing was to tell him he'd lost his bass guitar feed. He shrugged and pointed to the chanel fader and so I told him to PFL the chanel in his cans. After which he sent his assistant rushing off to the stage to work out what had happened to the cable. 😆 You can't determine the quality of the sound engineer, often they are just engineers, not producers.

Its just people either being too lazy, unable to use Google, or too busy. There are a lot of people who just don't have the skills to limit their search to keywords, or even work out what keywords to use. And to be honest, the more people like that there are around, the more likely a lot of us, with good IT skills are going to stay in high paid jobs. Plus it's better to strike up a conversation with someone about the merits of a bit of gear than it is to Google lots of reviews and comments on other forums etc. You don't have to answer or even read every post and/or comment.

It's a high pass filter with full range sent to the 10" speakers, they will have no effect on the crossover frequency.

It has a 3.5khz crossover.

Assuming you're going to build 4 cabinets. 3 for 10" speakers and one for the amp. What about the horn? Put it in one of the cabs? At least you have the option of putting it all back in place. Try and get the Theile and Small characteristics and there was a program called winISD that would show you plots depending on cab dimensions. Don't know if it still exists.

She has been ill lately. That may have been one reason not to have a fully rehearsed band up and running. Dancers can learn their stuff in seconds and from recorded music. Having a band recording music and then sending it to dancers seems to be quite a lot of work.

I used to spend a long time messing with EQ before the gig and the fiddling during the gig. Until I realised that unless the stage is suspended and there's loads of boom due to the space under the floor being coupled to the bass cab, there was no real point. Let the gear sound as 'transparent' as possible. Maybe it's just a confidence/experience thing. It goes along with your bedroom tone won't sound like your band rehearsal tone which won't sound like your live sound. Listen to any well known band live and they won't have the same sound as they have on their recordings. Close maybe but it will be a live sound.

I see this a lot and wonder whether they actually expect us to bring people with us from miles away or whether they are expecting us to drum up a local following. Depending on the size of a village (we have 1500 households) this is a pretty tough thing to do without help from the actual pub. And again that's my earlier point of chatting to the landlord/lady and getting them onside. If they are interested in attracting people to their pub then they should be telling everyone local that there is a great band on this weekend. Does having an avaerage band every Friday or Saturday actually work for small pubs in small villages. Would a high quality band every payday weekend work better? Having said that we once played a gig in a town and the place was rammed, several people came up to us afterwards and said they don't normally come in to that pub because the bands aren't very good, but heard us playing and had to come in. I'm not sure we are any better than most bands, just maybe our choice of songs is not standards. We play tunes mainly from the last 20 years with a few classic 99s tracks.

To confuse things further generally a "9v" PP3 is around 7.6v

Ah ok. I misunderstood, I thought you were converting all your flats to sharps because you didn't like flats. 😆 You only get bbs and ##s. And it's not jazz, it's just normal theory.

We can just about manage with 2, it's like herding cats as it is.

Not knowing the difference between a Gb and an F# can really play havoc with band communication. I was once trying to teach a guitarist a tune and when I said play Gb he just looked at me blankly. That was in a heavy rock trio.

We have 2 separate what'sapp chats. One for general chatter, setting up gigs, arranging practices and choosing new tunes. The other just has details of gigs we are playing. This means no searching in the main chat and we can delete past gig messages. It stays very clean and empty except for upcoming gigs.

I think these odd keys are really used when transposing or modulating within a piece. If you're playing in a flat key and modulate to a key that would contain sharps it can be difficult to switch mid tune.

You can't write it unless you have each note named individually. See my reply above.

If you are playing a tyne in F major, the notes are. F G A Bb C D E F Not F G A A# C D E F When scoring the former you just put a b on the stave at the start on the B line and everyone knows to flatten the B everytime you play it. In the latter case, you'd put no #s or bs on the stave and everytime you wanted to play an A# you'd have to add a # to that note. The peice would be extremely cluttered and horrendous to read. So there's a reason to have bs, it's not pretentious bellshill.

He's probably a mod and Ska fan, or his locals are. We also have an issue that the Locals seem to run the local pub. I go in, and I'll talk to the locals but they're not people I'd spend time with otherwise. The problem is they bring a lot of money in but they also make the place seem unfriendly for others. Just makes the place like a private members club.

Never underestimate the power of chat. If you turn up and say you're the band where do you want us and then practically ignore the landlord you just won't be on their radar. You'll just be the band they booked last week. Some people just have the gift of talking to people and making them their friend. Arrive, introduce yourself by name, find out their name. Ask how business is, strike up a conversation. Literally get to know them and make them your friend. Then talk to them in the break and then again after you've played. My local landlady seems to only book the acts she can relate to on a personal level, it's certainly not due to their musicianship, and when the artist turns up they spend a long time chatting to her before they start playing. Artists who don't do the chat don't seem to get booked again. And that's pretty how 80% of any jobs go, when everyones CV is the same, you get the job in the interview because you get along on that personal level.