pietruszka

[quote name='Adrenochrome' timestamp='1349880743' post='1831728'] In my current band, our 2 singer/guitarists do the Cantrell/Staley close harmonies SO well, I don't think that they realise it themselves - the overall sound can be chillingly authentic. [/quote] Have you looked at any B52's material then? Dan

For me it's the line up, and when it's right everything just clicks. Like the example I gave, we were able to do some great tracks, House Of Fun managed to capture that nutty sound brilliantly, yet we managed to make Mustang Sally sound good to. I miss playing for that lot! Dan

I see what you mean Bilbo, I suppose the point I was making was that it didn't matter on the cover in itself, it was how it sounded with those musicians in that band. Like when you find a great amp, you're happy to just play notes through it, just because it sounds good. Dan

HI! I've just played through some Madness stuff, and it got me thinking. I was in a covers band that was around briefly that did the usual load of covers, but as the band was put together by 3 of the members who were brothers, for the purpose of playing their parents 25th wedding anniversary the tracks were chosen by them. And this is the bit I'm getting at; We did a few tracks that were some of the best sounding I've ever done in a band. The line up was bass, kit, guitar 1 w/lead vox, guitar 2 w/bvox, trombone and sax (he played both tenor and alto). We did House Of Fun and Hit Me With Your Rhythm Stick, and they sounded incredible! Especially House Of Fun. Christ, even Mustang Sally Sounded great and we even pulled off You Can Call Me Al. That band was so satisfying, even though we played just covers. Has anyone else been in a band that was satisfying just from being in 'that' band? Which tracks no matter the mundanity got you smiling? Dan

Good to hear it's ok! I'm using my PA on Friday, I'm hoping I don't get any interference like I have done. FlyFisher, those items from Maplins look very worth while. I think a visit is in order! Dan

[quote name='4 Strings' timestamp='1349854295' post='1831228'] Its impossible for a promoter to drum up an audience for a band that no-one as ever heard of and is new. Venues need to make money on every evening, if you're not going to bring a load of people with you why would they put you on? If the venue gets pretty busy regardless who turns up I think you should expect £50 as a new band. If it relies on the band to bring the audience you just need to agree how many people are required before you start getting some of the action. Then make that your target for your 'launch'. If you're not going to get that number, just decide if you want to play or not. If you want to get out there and play and start building your following I believe taking the advice of a lot of the posts in this thread would count against you. [/quote] An extremely good point, however a promoter my band has played for couldn't even get a crowd at Europes largest travelling fair. Really, full car parks everywhere and there was about 10 people at the stage. Each gig we've done for him, no one has been there. And we don't even get £5 of expenses. Dan

There's a "promoter" in the north east who does this a lot, though to be fair he never usually asks this kind of stuff. His name is phil to. My band has vowed never to take another gig from him again. Dan

I personally can't help you, but I will be following this thread. My PA (RCF 310A's and a Xenyx 2442 desk) seems to pick up static noise from somewhere and goes when the RCF's are turned off then on again. I wondered if it was the electrics to. Does your amp do this anywhere else? If it's fine everywhere else I'd assume it was the venue electrics. Hopefully someone will come along and explain things! Dan

[quote name='Lozz196' timestamp='1349720050' post='1829623'] I noticed that today on my cab. It`s almost like they`re trying to jump out. [/quote] I get it with my 210 markbass cab, they do go mental! But it seems happy doing that and it makes the fretless growl like nothing else! Dan

[quote name='Doddy' timestamp='1349631130' post='1828475'] If I was detuned,then yes I would be thinking of D as being on the 6th fret,because that's where it will be and I'm thinking about the notes,not the fret number. Try playing with a keys player or a horn player(or anyone that isn't a guitarist) and referring to the notes as if you were in standard tuning. [/quote] Especially when following the keys player's left hand on something unfamiliar! Dan

[quote name='arthurhenry' timestamp='1349603421' post='1828075'] Are you saying that if tuned to D, for example, they would still refer to 3rd fret note as G rather than F? Agreed - that's annoying. Or are you saying that if tuned down a semitone, the 3rd fret Eb string should be referred to as F#? Perhaps a bit fussy and confusing! [/quote] The former! The guitarist in my band does it, she'll have a capo on the second fret and still calls the D shape chord D, even though it's now an E! Just because you're playing a D shape doesn't make it a D, still. Dan

[quote name='Doddy' timestamp='1349532558' post='1827454'] The function bands I play with always play it in Eb.We have keys and horns though-all the bands that I've played it in E with have been guitar bands. With regards to drop tuning,I generally don't do it (despite having a D-tuner on my Jazz) and have never had any need to-even with guitarists that do. If you want to detune,that's fine-the only thing that bothers me is when people detune and refer to the notes incorrectly (the same with capos). [/quote] Ah yes! Guitar bands, I will definitely go with you on that. And your point on defining and referring to the notes incorrectly is very true, and it boils my fluids dry! Dan

I don't refuse to play in drop tuning, but theres only the rare occasion that calls for it. Even then it's only drop tuning. In the function band we play Superstition, who doesn't?! And we play it in E, not Eb for sheer ease, I would imagine pretty much everyone will to. Standard tuning has served me well so far, and I would happily detune if needed. Dan

[quote name='Lozz196' timestamp='1349519474' post='1827244'] Sorry Dan, without sounding rotten, you ain`t getting it back . It`s an amazing cab, real nice low-end, but without that boom/flub that some cabs emit. I don`t know why it took me so long to go down the Markbass route, as every time I heard someone use it, I loved the sound. Just glad I finally have. [/quote] Hahaha!!! I'm just happy it's getting used on a regular basis again. My dad always loved that cab to, as you say it's that very defined, clear lows that he and I took a shining to. Dan

It's not a music autobiog, but this should make for an excellent read; http://www.bbc.co.uk/news/entertainment-arts-19817072 I'd be happy to read all about his cartoon voice overs to be honest with you! Dan

Im already playing that night, otherwise I would have loved to have helped you! Dan

Yep, a Mark Bass cab fan here to. Just as Lozz says, the 410's are insane, they're really nice and punchy and clear to. In fact, Lozz has my old 410HR. And in the fashion of sod's law, I could have done with it the other night! I play through a Mark Bass 210P and it's great, really nice sound and does the job really well, they sound amazing when they're really cranked! Though the drivers move like nothing else, but they seem happy when they do! Dan

[quote name='pete.young' timestamp='1349284028' post='1824311'] I enjoyed Nile Rodgers book a great deal - if you haven't read it and are going to be laid up for a while longer, PM your address and I'll post it to you. [/quote] Yes! Excellent book! Dan

Yeah this topic has been done, but cant come to any harm can it! I'll stick with my choice of Mark White, from the Spin Doctors. And I keep forgetting his name but the bloke in Costello's Attractions. Phil France from the Cinematic Orchestra is a great player to listen to. Dan

Thanks for the heads up! Horace Panter's Ska'd for life is a great read, you should get a copy of that. By no means a challenging read but still rather enjoyable! He talks through his time with The Specials, also he talks a lot about the gigs they did and the social/racial problems that were going on at the time. Definitely worth while. Dan

[quote name='Adrenochrome' timestamp='1348835712' post='1818869'] You should have confiscated it [/quote] Exactly! Or done the ol' "oh, these aren't very good, worth maybe £50? I tell you what, seeing as it's you, I'll give you £65". Dan

Or a piano. Dan

[quote name='gapiro' timestamp='1348873644' post='1819493'] What you need to do, is put it at an angle so that it isn't pointing straight into the hole then you can get a nicer sound without the air going straight onto the mic (like blowing) Hard to explain, but hopefully makes sense. Of course, really you want two mics, one at the back one at the front. [/quote] Brilliant! I'll be recording in the next couple of weeks, ill give that a shot. A good friend who plays cajon a lot has had good results from putting the mic inside, but if this gets better results! I'll post the recorded piece up when it's done. Dan

You do have to hit them quite centre to get a thud out of them. You can get deeper ones as it were, I've seen ones that are primarily used for hip hop type stuff which are way deeper. Dan

Our drummer uses one, and another friend plays them often. Great little things and apparently sound best when mic'd with an SM58. Have a play with a few and what you like best, from what I've seen they start from about £70 and go way upwards, so you should have plenty of choice. Dan