mike257

Always been self-managed here, have met with a few managers (some with decent track records too) and been generally unimpressed. If you've got a major on board, and the team described above, you've probably had involvement with a lawyer specialising in music - they might be a good start for recommendations. Why not get in touch with some of the other acts on your record labels roster and see if they've got any stories to share? I'd also look at bands who've followed a similar career trajectory to the one you currently find yourself on, and have had reasonable success at that level (or a push up to the next) and try to find out who they're working with - sounds like you'll have a pretty good package to present to a manager with the support you already have around you, so cast your net far and wide. Anyone reputable should happily put you in touch with acts they already represent to get a real reference on how they are to work with. Oh - and congrats on all that you've described above, sounds like your band is a great place to be right now! Good luck with the release Mike

This is my favourite wanted post in ages - good luck lads, hope you find what you're after, there's some good'uns on here!

[quote name='lobematt' post='1348809' date='Aug 23 2011, 11:01 AM']I could be interested mate! You got any demos you could send over?[/quote] Behave la, I've seen you in action I'll Facebook you sunshine!

Three hours is nuts - typical gigs for originals bands you get 15 minutes to changeover from the band before you, or half an hour on bigger support shows. I know that doesn't include any PA/Soundcheck/Lights, but each of you should be able to have your backline up individually in 15 mins no problem! I think you guys should look at what you're doing, and see which bit takes the longest and where it's going wrong. The suggestion about a marked-up drum carpet is great if your drummer is settled in his set-up. In my last band, I could put the drummers kit up/down faster than he could, so I always helped him do that before I got on with my own gear - it's worth getting your head round how his stuff goes together if he's taking the longest to set up. Even just marking up his stands with which cymbal they are for and taping the positions on for the height adjustment etc means any of you can throw them up pretty quick and he can fine tune while you do your own stuff.

Hi BC'ers, updated ad to reflect our current status: I'm moving from bass over to guitar in my new band, mainly because I'm doing the bulk of the songwriting on a six-string, so it's just a little easier that way. I'm looking for a bassist to take my place - ideally, somebody who shares my view that the kick drum is your bestest friend in the world, and that basslines should be wrapped as tightly round the drummer as possible. We're playing big loud rock tunes, that we'd like to think are catchy, hooky and memorable, whilst still being musically interesting. There's tons of melody, and we're all playing for the song, not to show off our chops. There's a few non-standard time signatures flying around, but nothing too crazy! I'm looking for somebody who can provide a real solid groove, and lock in as a tight unit with our drummer. Someone who can listen to what everybody else is playing/singing, and complement it tastefully. We're not interested in showboating and throwing solos around, and the vocal melody will be at the forefront. We try and keep the music tightly arranged so everything fits together nicely, and everyone chips in ideas for themselves and each other, so a relaxed attitude towards collaboration and creativity is crucial. We're currently a drummer and two guitarists, aged 24-28, and we're actively singer hunting too. We have a 24/7 rehearsal room in Liverpool city centre, with PA, and our own splitter van which we'd like to be putting some serious miles on as soon as possible. Nobody likes the question, but if pushed, I guess we'd say influences are stuff like: Thrice Circa Survive Biffy Clyro Minus The Bear Cave In Fighting With Wire Dub Trio Deftones Alexisonfire …and tons more. If the above sounds like you, give me a shout and we'll take it from there! Cheers, Mike

The guy I bought my Sandberg off (the most excellent Mr Cougar, who I haven't seen on here in a long time... wonder where he went?) thought the coil tap switch was the active/passive, and got a right shock when I text him to let him know I'd found the push pull pot that actually did it!

I've pimped an affinity p-special, but not done anything visual with it shirt of changing the scratchplate for a 3 ply one. Stuck a bad-ass, Wizard Thumper and 84, and new pots/tone cap in and copper shielded the cavity and it sounds and plays great. It's a great project, have fun - can't wait to see the end result

Cheers mate! Need to go pinch the multimeter from my work van before my next visit to the practice room! I'll give that a try - I couldn't come up with a logical reason for all 6 speakers to give up at once, so hopefully there's just some wiring been shaken loose by the massive riffs. Will drop back in when I've tested and let you know how it goes.

Like the OP, I find personal connections are usually the best way to find like-minded musos, but if you're going down the online adverts route, joinmyband.co.uk and Gumtree have always got the biggest response for me. Have to switch your chancer filter on full, as is normal when you're advertising for band members, but they seem to be a lot more active than any of the other sites I've tried.

Hey guys, Mid rehearsal this week, my SVT610HLF conked out, there was nothing coming out at all until I turned up the tweeter (which is usually all the way down) - the tweeter still seems to be working fine but the drivers aren't doing anything. Checked my head with another cab to be certain of course I've popped the board out the back and am going to give all the components a test as soon as I have time, but if anybody has got any prior experience of this and can suggest a likely cause, go for it Cheers, Mike

[quote name='Dropzone' post='1318479' date='Jul 27 2011, 05:42 PM']This one is not so daft. Potentially I have got 16 channels to simultaneously record, however I want to use the desk to record rehearsals as well as focused recording efforts. What would you recommend I assign the channels to to achieve both. My thinking is Ch1. Vox left / centre for rehearsing Ch2 Vox right Ch3 Backing Vox Ch4 Guitar left / centre for rehearsing Ch 5 Guitar right Ch 6 Bass Ch 7 drums (electronic kit) not sure what to do about a proper recording yet but that is a bridge a way away yet. Any comments more than welcome. Thanks Mike[/quote] If you're going to be regularly recording the same set up, then it's well worth making a template in Cubase (check the manual or have a quick Google) with the track names, preferred inputs etc all set up. That way, everything is ready and routed to the right place when you fire it up. You've given two channels each for guitar and vox - do you have two lead vocals/two guitars or are you planning to record in stereo? As the guys above have said, a single vocal only requires one mono channel, and a guitar amp the same (unless you have a stereo or multi-amp setup, or are experimenting with using multiple mics). If you are tracking an electronic drum kit, I would at least use two channels and take a stereo output from the drum module. Many drum modules have seperate outputs that can be assigned to individual drums - if you can use this you'll have even more control at the mix. Seems like you have plenty of spare channels, so if the outputs are available it's worth making use of them. To get even more flexibility with the drum sounds (although this is a little more complicated if you're new to using recording software) you could record the MIDI output from the electronic kit - apologies if I'm telling you stuff you already know, but if you're not sure on it, the MIDI data doesn't contain any sound, it's just a series of messages that record what note has been played, when, and how long for - once this is in your computer, you can assign any sound you like to these notes. Recording the MIDI data from the kit means you can use any of the myriad free or commercially available drum sample sets or virtual instruments to get the perfect sound for your mix. This will probably be more realistic than the samples built in to your electronic kit. Hope this helps! Mike

You don't use a case at all? You almost sound proud of it too. Mr T would undoubtedly pity you.

The way the laws around it work, if you write the lyrics to a song, and I write the music, we each own half of both. It does all come down to the band politics, I've seen many bands credit it as 'songs by [i]x[/i], music by [i]band name[/i]'. A band my friend plays for credit the writing 50/50 to the lead guitarist and the singer and everyone else's input gets classed as 'arranging'.

I have an Affinity P-Special (P/J pickups, J neck) that was my first bass, about 13/14 years old now. The neck is great, so I replaced the bridge with a BadAss, the pickups with Wizards, and the pots/tone cap/jack socket with better quality bits. It plays and sounds great, and holds its own against my other basses well enough. If you can get your hands on a nice playing one, it's a good starter bass and a great platform for customisation. I'll never part with mine!

I'd say you should go for it and get stuck in - it'll help your writing, and anything that gives you a better understanding of how the whole band works together is worth doing. I started on guitar, but moved quickly to bass - came back to my guitar playing much later on but it's now my main 'writing' instrument. Although some of my writing comes from basslines, I find it far more natural to flesh out a song from the 6 string, then build the rhythm section up behind it. Learning some rudimentary drumming skills is a worthwhile investment of time too - the more you can put yourself into the heads/shoes of your bandmates, the better you can approach writing and arranging together, and the easier it becomes to create complementary parts.

Good luck mate!