mike257

I've got one of the Stagg 6 way stands that folds into a suitcase-type affair. Owned and gigged with it pretty intensively for ten years now, still as solid as day one. £45 well spent. I recently got one of the "Chord" seven way stands for £25 on eBay to leave set up at home. I'm a little less impressed with this. It takes bit more fiddling to make my guitars and basses sit steady on it and I've had to put them all on an angle to stop them swaying. Does the job ok for light use in my music room at home but I could see it doing my head in if I used it heavily or gigged it.

I think With Teeth is a good "gateway" album to NIN. It was recorded after a long hiatus and with Trent Reznor clean of drugs and drink, by all accounts a sharp contrast to the sessions for some of the earlier material. Its a lot more concise, focused and song-driven than previous stuff but still contains all the elements that make them (well, him!) such an enticing prospect - the mix of melody and aggression, of electronics and live playing - its their 'pop' record in the sense that it condenses a lot of the hallmarks of their sound into a set of tight, well arranged songs with all the fat trimmed off. Oh, and it's Dave f***in' Grohl too. Because why the hell not?

[quote name='Delberthot' timestamp='1379888554' post='2217988'] I've owned nearly every model of cab that Trace Elliot ever made, probably about 20-30 4x10"s, 2x15"s, 4x12"s, 1x15"s, 2x10"s, 4x5"s, maybe 30 amps. However, I've used the same Brooklyn Gear strap with every single one of them [/quote] You're supposed to just stand them on the stage behind you, you know.

I'm another one - think we had a similar thread a couple of years ago and there turned out to be tons of us. Pretty much the only things I do left handed are writing and drumming (like Dad3353 I have to set my kit up lefty style, although I can make a half-passable effort on a righty kit)

[quote name='PaulWarning' timestamp='1378767736' post='2204590'] I think it's important to try and put a show on, there's nothing worse than a band that look like they've just walked of a building site, looking like they'd rather be somewhere else, if the band don't look like they're enjoying it how do you expect the crowd too? [/quote] Definitely agree - always went all out with the enthusiasm on stage with my originals bands. I try to do the same with the function band - I've seen too many wedding/covers bands going through the motions or staying static and 'just' playing. The singer and I still play them like we're playing a rock show (and I'm slowly dragging the rest of the band along with us!) but it seems to make a difference. People comment on our energy and enthusiasm as much as the performance and being more visual definitely helps to engage with any audience. As wisely stated above, its not just about being a whirling dervish, but if you look like you're having a damn good time up there, its more likely the crowd will loosen up and do the same!

I've depped for them before with no rehearsal, played a solid gig and was offered the full time spot in the band off the back of it. I'd said a firm yes to the gig. The only bit I hadn't committed too was rehearsing. They mentioned coming to a rehearsal "if you're free" which I said I'd do my best to be nearer to the date. Just thought it was poor form to agree it and then pull out, and initially with no explanation. I've done plenty of deps with minimal or no rehearsal, as I'm sure many guys on here do, so didn't think it was a big issue when I've played with the band before and its a pretty standard set of indie/rock covers all done as the original versions. Flyfisher, you're right, personal circumstances are just that - they've got no bearing on one's ability to turn up and do their job. Probably coming across as being a bigger deal than it is but just thought it wasn't the decent thing to do and was pretty ticked off. Can appreciate peoples viewpoints who don't agree, everyone works in different ways, but if I'd booked and confirmed a dep who I had worked with before I wouldn't pull the rug out because they couldn't instantly commit a rehearsal date when its debatable that one is even required.

Felt like venting - a guy I worked with before I left the day job and went full time muso booked me a couple of days ago to dep for his covers band in October. The last dep I did for them I learned 2x60s on the day, nailed the gig with no rehearsal (or soundcheck) and was offered the full time spot in the band but had to decline due to other commitments. Told him I'm not sure when/if I'd be able to practice with them as my son is due to be born in the next week or two but said I'd try and squeeze one in. Got a text today saying "Your services won't be required, but cheers anyway and we'll keep you in mind in future". I know his regular player is out with his other band that night so I politely enquired what was up and apparently their old bassist "wanted to do it and knows the songs" and he thought he was doing me a favour with the baby being due. Am I wrong to be well pissed off? It wasn't even a great payer but I knocked back another booking yesterday because I had these guys in the diary. Once the baby gets here I need all the work I can get because the missus is only on maternity pay. The old bassist who is now doing it is the guy they wanted me to replace and was, by their account, unreliable and not much cop as a player. How anyone thinks taking a gig off a guy whose sole income is music at time when they're about to have an extra child to provide for is "probably better for you" is just beyond me. Properly annoyed!

I'm a bassist who also does tons of gigs on guitar (like Nige, I believe) and also a sound engineer. Am I supposed to be a highly strung, laid-back, shy and retiring spotlight grabbing egomaniac who thinks everyone only wants to hear the kick drum? [quote name='lojo' timestamp='1378389891' post='2199556'] You should see the parallel topic on trianglechat [/quote] They think we're all squares.

I didn't use the rear supports, to be honest its not massively heavy in the grand scheme of things, but at one point I put a small piece of fairly rigid packing foam in the gap between the bottom of the amp and the base of the case. It was only big enough to give a bit of support at the back, didn't impede airflow anywhere. If its a sturdy case with decent solid mounting strips up front it'll probably be fine.

Getting your face about is a good suggestion - the big difference I find playing covers from originals is that you don't mix with other bands in the same way as you're generally the only band on the bill. Networking doesn't happen so naturally. Something I could probably do with doing more of. I get as much work doing sound and driving/teching as I do playing - diversity is good if you're wanting to make a serious swing at full time musical life.

[quote name='stingrayPete1977' timestamp='1377354826' post='2186646'] Had this last year at a summer fete, drummer has nothing maybe not even sticks from memory, our drummer is a lefty and had only a cocktail kit which he said wasn't up to the task of what stuff they did, our drummer hadn't even been asked in advance to share a kit, they eventually decided to go on anyway, nirvana covers easily played on a 3 piece kit! [/quote] We used to call them "sticks and a smile" bands, because that was all they turned up with. Seen plenty of them!

Any decent rack case - its only 2u high - I kept it in a 6u case with a wireless, rack tuner and power distributor for a while, then downsized to a 2u when I eventually got tired of the lifting! If you're doing a lot of gigging is get a "proper" flight case rather than the moulded plastic ones that Gator and the like deal in. You'd get a proper roadworthy one used from here, eBay or elsewhere for the same price or less as a brand new rubbish plastic one!

The Thumper and 84 in my trusty old Squier certainly won't be going anywhere. Hope he enjoys a well earned retirement!

+1 for just taping off the unused ends, you never know when you might need them!

I've used cable ties before now, board was a large piece of ply so just drilled a hole either side of where the pedal would sit and looped a tie through (or joined a couple together for the larger pedals). Bit fiddly to set up and not the most practical if you're regularly shuffling them around but they won't go anywhere once you've done it!

Martin at Owen Electronics in Manchester is my go-to for pedal repairs that I can't manage myself. Very knowledgeable, does great work and is reasonably priced too. His own pedals he designs ans builds are brilliant by all accounts too (I can't afford one though!)

Not that unusual - Six is easily my favourite. There's so much going on and so many clever touches in the arrangement and the production, although it does meander at times and I can see why people might not prefer it. Almost bought Paul Draper's Les Paul he recorded Attack Of.... with last year but the deal never came off. Did look like it had been in the wars!

Probably the only person who could get away with working with Manowar AND Peppa Pig! What a guy.

The first time I ever encountered one was as a sound engineer for a blues rock band doing pubs and clubs. I was still setting the PA up when the un-miced snare drum tripped it. The landlord happily obliged with providing extra sockets. I've never come across one that won't trip with a band of reasonabke volume, but more often than not the venue staff are aware and understanding. Its not uncommon to be told "plug in to those sockets over there, but I didn't tell you that".

I air drum/table drum/steering wheel drum constantly, it's a compulsion. Drives the family nuts, but focuses me on rhythm and has made me a better drummer (and all round musician, hopefully) for doing it. The missus will often pull me up before I've even realised I'm playing along. I upset the kids even more today when they were playing Guitar Hero and I was sat behind them on the sofa with a Telecaster playing along to all the songs!

Billy Corgan of Smashing Pumpkins is another one who uses an off-the-shelf sig model, apparently he was pretty hands on in the development of it. Used it for about half of the recent gig I saw and the majority of the previous one and according to a 'rig rundown' video I watched it's the standard factory model. Never seen the Biffy guys with their Squiers in anything other than Photoshopped-looking promo pictures though. No sign of the Hayden amps Simon Neil "endorses" either, apart from a couple of 4x12 cabs with the Hayden logo that are no doubt part of the package keeping James Johnston in giant Ashdown rigs!

Also, if feedback is an issue now, better gear won't make it disappear, but it'll hopefully give you more chance of dealing with it effectively. Where are your mics in relation to your speakers? Has your PA got a basic graphic EQ on board?

Because the bass player always gets lumbered with the stuff that requires a bit of nous to sort out! Got an idea what your budget is? How much are you looking to put through the PA? If you're just wanting to get the vocals across more clearly than your current rig, you'll get away with something smaller but if you're wanting to put drums/bass through then you'll want subwoofers as well as tops. Also need to budget for the necessary mics, cables and stands etc, which adds up really quickly and will cost more than you're expecting! Lots of people knock the Behringer stuff but if you're looking for cheap and cheerful it'll do the job for you. Plenty bands/venues out there using their stuff.

[quote name='MoJoKe' timestamp='1373747822' post='2141286'] Unless being dumb, I cannot find an O1V96 (even on Yam website? I'm probably gonna get tol not to be foolish now!) with more than 12 pre's? if I could I would agree, about perfect... [/quote] Sorry, you're right, I was being a divvy. It has 16 channels but the last four are line inputs - the old 01V that I own had two stereo channels so only 14 faders to mix from. If you've got any line level sources or external mic pres you can still make use of the four line channels to get your full 16.