TimR

Right. I'm going to have a good listen to Initial Success. I loved that album and my mum really disapproved of it. So think the 55 year old version of the 14 year old me would really like to see what was so bad about it. In any case it'll be research as to whether he employed the same musicians. 😆

That's good. Really good. AI needs to check my Strava.

Written by BA Robertson and none of them played the instruments.

My money is on the bass player being Alan Jones. Wonder who the musicians actually were.

I don't think music venues are particularly viable in cities like London and NYC. Especially for new original artists. The old Pay To Play system has pretty much been run out of town. If I had a venue in the city I would be charging admission and put on high quality professional bands. People have less money and are choosing where to spend it carefully. I went to see a friend's band in Portland Square last month. I suspect they hired the venue at a loss. Better than pay to play, as you take risk but also no one is skimming off the bottom and hiding the door from you.

Overrated: Heft. Underrated: Thump. YMMV.

https://www.bbc.co.uk/news/newsbeat-66993297 Are the BBC reading Basschat?

It's easy to forget that turning on a tap to have clean water isn't normal to a huge number of people.

Needs more dogs and shotguns.

How to Dismantle an Atomic Bomb was a great album. The only U2 album I bought.

I've not used this particular mixer but the manual refers to 2 modes. FOH mode in which case the 6 outputs are G1 - G4, L and R. And Mix mode in which case the 6 outputs are Aux 1 - 6. That implies to me you can have L&R for front of house and 1-4 for monitors. Or 1-6 for monitors. In which case you're using it as a monitor mixer and need another mixer to deal with FOH. Anyway, it's Allen and Heath, that's a high end mixer as already pointed out nearly £1600 new and with 14+ channels a tad overkill for a pub band. Most pub bands are going to be using a Soundcraft Spirit at most expensive or behringer/Yammah equivalent.

We are taking about a pub band. So 2 aux and 2 mains is pretty much all you'll ever need. Anything else is people being premadonnas.

Looks to me that aux 5/6 can either be linked to the mains or the groups. But not both and there is no 5/6 output.

That's still a 4:2. If you're using the 2 as mains, it's 4 aux.

You'll be hard pushed to find a practical live analogue mixer with more than 4 AUX outs. I had a mixer many years ago that had 2 pre fade and 2 post fade aux, but in those days only used the 2 pre fade for monitors.

It shows that it's just an advanced Google user. Copying what's been done before and changing bits it. You've got Summer of 69, Summer Nights, Summertime and probably some other stuff I don't recognise. Anything conscious or with real world experience would realise that it looks obviously copied. However, some bands have got away with reproducing entire songs from history and passing them off as their own. 😆

There's a whole dedicated thread to pedal boards.

https://www.thomann.de/gb/rolls_pm_50s.htm?glp=1&gclid=CjwKCAjw9-6oBhBaEiwAHv1QvDDWDiEebifCWyBcFU6YK_3mYp-g-zurYd0t0X9lIqp6EvYB6Yy_2BoCVmQQAvD_BwE

Looks like it will do what you want.

I suspect its very good as a tool to get creative juices flowing. In the same way as a drum loop can prompt a bass line. David Bowie used to write random words on bits of paper and pick them out of a 'hat'.

Until AI becomes self conscious and understands emotions you won't get words that connect on an emotional level. That's probably what's missing from a lot of pop music at the moment. Or is probably present but it just doesn't match with the emotions of a bunch of old guys living in the past.

Guy Pratt played the original bass line, but can't remember playing it. But you probably knew that.

I frequently use two systems. 1. Self operated band PA. This normally just has vocals. Although I'm wrestling with the PA owner who insists on just giving whatever is FOH mix which occasionally will have a bit of drums and guitar. This is only because he doesn't understand how to use his mixer and won't let anyone show him. Work in progress... 2. Large PA with operator, festivals etc. I've been using provided backline more and more with a DI to the desk. In this case usually the backline is tiny and the Bass is put into the 'fairly large' monitors. So I'll have guitar and vocals as well. This is my preffered method as it means stage volume is loud but not overpowering (and i just turn up with a bass guitar). As opposed to trying to get the backline to do the stage work or struggling with load ins and band swaps. Not had any issues as Bill describes as the sound man sorts that out so no idea what magic he is doing.

I think getting stage volumes to manageable levels first would be your main aim. One monitor shared by lead and backing. Learn what works in lots of different stage environments. Particularly as you may work on sound check and get everything really good by the end of one gig and then you will have to do it all again at the next venue due to different acoustics. Spending money on additional gear will just complicate the number of knobs to twiddle and may never solve the problem. Being able to EQ monitors separately to FOH and control the level from the desk is pretty much a requirement. How you do that, even if its just a 7 band stand alone EQ is another matter.

I think the issue is only having 3 Aux sends and rapidly running out of sub mix availability. ie send for drummer IEM, lead vocal's monitor and backing vocal's monitor. I would just concentrate on getting everyone to turn down and not worry too much about loads of sub mixes. That problem may* just go away with a reduction in stage volume. *It definitely will IMO.