mike257

It depends on context and what you're doing with it. In the whole rig, having a great amp makes more difference than a great bass, but most of my gigs are with PA support with bass DId and the bass amp essentially acting as a personal monitor for me, so the bass itself has more impact on the sonics out front.

[quote name='JTUK' timestamp='1477481256' post='3162478'] Generally I would be thinking I'd advise the client on the best course which is to do it our way. So altho budget is a BIG consideration, playing what the punters wants to hear is not. The reason we'd be having the conversation with the client is because they want what we do so they don't get to call the set. If they want that, get someone else. If the band wanted to money that badly, they may need to consider throwing in a few numbers but mostly they don't. Yes, this does cost gigs. [/quote] The client has usually booked the Motown band because they want to hear reasonably faithful renditions of classic pop songs that they know and love. We have some really great singers we use who have brilliant energy and stage presence and know how to whip the crowd up. If the client can't afford for us to bring the keys player, horn section and extra singers, we can still do the gig with guitar, bass, drums and two singers. We all prefer to at least have live keys and sax, and the gigs with three singers and three piece horn section are the most fun. We aren't setting their budget though. If we couldn't scale the gig to cater to it, we'd have a lot less work in the book. When I say "playing what the punters want to hear", I certain don't mean they pick and choose the set list, but every function band is providing a service and doing a job. You are there to fill the dancefloor and entertain the guests, not to serve yourself. The OP was talking about a working function band and in my experience the use of tracks to fill out additional keys, horns, electronics etc is not at all uncommon. Your situation is different JT - you aren't depending on this, so you are free to insist on your particularly specific criteria to play a gig, but for working pros it's a different game. I'd suggest that in this case, whilst it might be a new experience for the OP, I'd go in to it with an open mind and give it a go. If done properly it can result in a massive, slick and professional sound.

The Motown band I play with use tracks - it means we can go out as anything from a five piece to a ten piece and still play the same set - I'd prefer to always have at least six or seven of us, but if the client doesn't have the budget for that, would you rather stick by your "artistic integrity" of your working covers band (a concept I struggle to understand - you're playing what punters want to hear and are there to do a job, its not your magnum opus you're creating) but not be able to afford to fill your fridge that week? I'd rather stick the horns on playback for the night and pay the bills, if that's quite alright with you lot?

An excellent bass player friend of mine (who I believe is a member on here) does a lot of their gigs these days, think he's one of two guys that they use regularly, so he'll be well versed in knocking this stuff out!

Does that mean I can have the ADAT card for 75p to go in my 01V?

[quote name='TimR' timestamp='1474967385' post='3141819'] I've played gigs where fights have broken out, people have been accused of stealing the charity box, drunk 50+ women have gone topless, etc. [/quote] I must be doing something wrong, I've never even had one woman go topless at a gig, never mind that many!

I have a JM4 and don't find this issue - have you tried using just the neck pickup? Gives me a great big chunky bottom!

Funk Brothers, anyone? Huge amounts of Motown stuff done with two drummers. Ain't No Mountain High Enough being a cracking example.

I got the Android phone app when it was on sale for 10p. Worth having as a quick "cheat sheet" when I get songs landed on me at dep gigs etc, but it does just seem to aggregate user submitted content from tab sites, which is of extremely varied quality.

I've had utterly horrendous show-stopping connection issues with the on-board Wi-Fi on the Ui16, to the point that I won't use it without an external router. Aside from that "minor" issue, the interface and feature set are great.

Another advantage with the Behringer is its not platform-dependent. If one day, Apple drop an update on your iPad that knackers compatibility with the Mackie app then you're stuffed as there's no other control option. The Behringer (and Soundcraft Ui series) can be used with iOS, Android, Mac and PC so are a bit more future-proof and give you more options for how to work with them.

I'd run a million miles from Thumps, never heard anyone with anything good to say about them. I've had good results with Thomann's own brand Achat Pro line, but the current exchange rates have dented their price advantage.

I was always proud of our two-Punto pack. Two 4x12s and heads, Trace 4x10 combo and 1x15 cab, 88 note keyboard, sampler, three pedalboards, full cased up drum kit and all the guitars and associated spaff. Oh, and four band members! Them two little cars took a beating!

You're doing well with the bargain Yammy finds mate! I've just booked a few days in with Adlib next week out doing monitors on a Profile. Been doing loads of gigs on my own gear lately, looking forward to getting back on the big boy toys!

Didn't see the recent shows that sound like they were a solo-fest, but I worked on a few shows of his previous UK run which were a more band-based thing, with a great singer, killer band, and Vic in the bassist role rather than as a soloist. I was blown away, the performance from the whole band was incredible. The virtuoso stuff is not to my taste but the guy knows how to play with other musicians and he's as good sitting back on a groove as he is tearing it up. Incredible gig and also one of the nicest groups of people I've had the pleasure of working with.

The step daughters are both fans so I've seen them live a bunch of times and they've always been fantastic. Good musicianship, energetic performance and songs stacked with hooks. Don't forsee much of a future for them though. With only two full time band members left, I think it's "inevitable solo career" time for Hayley Williams.

Been doing it with Spotify for a few years now. Whilst it's not got the features of "proper" DJ software, it's plenty for basic needs. I've got a template playlist that I use as a starting point and a shedload of playlists of extra stuff by genre/era all stored offline. You can set a crossfade time so there's no awkward silence between tracks and can insert songs by adding them to the play queue without leaving your current playlist, so you can drop a request in then allow it to pick up where it left off. I sometimes think I'd like something more feature-rich for it, but ultimately it's an endlessly large catalogue of music for a minimal monthly outlay, and simple as you like to use. Of course, the T&Cs state that it's not to be used for public performance, but that's a whole different conversation!

I make my living from playing, sound teching and other live production-related things, in varying degrees depending on what's around at the time! I'd guess that makes me a pro, although that's judged more from the invoices in the bank than my playing chops for sure!

[quote name='EBS_freak' timestamp='1469030578' post='3095230'] Unless they are the support act, naturally [/quote] Oh, of course. When the support act are on, I strike all of the d&b wedges and replace them with dB ones too.

[quote name='EBS_freak' timestamp='1469025116' post='3095188'] Going from what I've read on here, a few of the "Tone Purists" that say you won't get the sound of their "tone" would probably turn their nose up at you. You are correct though - that's the way to do it. [/quote] I've certainly had no complaints from any of my regular bands once they've heard it thundering through a large rig, but its always easier with people who realise you're all working together and that us sound guys aren't trying to stitch them up for our own nefarious tone-ruining goals.

I didn't get a notification of your reply, sorry mate! You can get them by saving direct to a USB drive from the X32, or from the PC/Mac editor. No facility to export them from the iPad app. Drop them to mail(at)weareboom.co.uk and I'll have a look!

When mixing a band I often use a DI inserted before any pedals to send a completely clean sound to the desk in combination with a mic on the cab. This means I can process and blend the two signals to get a big fat bottom end from the DI and all the grind, dirt and clank of the mids and high end from the mic. Works a treat.

Do bloody tons of gigs on X32s. If you save your show file and email it to me I'll happily have a quick look at how its configured and send it back with any changes I think it needs to make it work.

Very happy Sandberg owner here. Neck on my JM4 is fast and comfortable to get around. Killed my bass GAS and broke my "Stingrays for life" stance I'd previously held.

Believe there's some free training on the new A&H D-Live coming up over at Wigwam in Manchester - I'm not free on the dates I saw listed but thought it was worth a heads up to interested parties in this thread. Seems to be where all the audio geeks on BC are convening EDIT: And Adlib are doing a Digico S21 day at Tour Supply, just behind Manc Apollo, too. Always on a day I'm bloody working!