essexbasscat

Don't think I'll eeever tire of hearing that chorus, one of the soundtracks of my life. Sorry, don't have any tab for it though. Thanks for the reminder !

Aha ! thanks for the recommendations guys. More for the GAS list !

Checking out evil bay, there's a wide price range of EQ's available, so certain units may in some way, be better than others ?

HI all, the journey into the dark art of sound engineering conitinues After my recent monitors thread, the question about which 31 band graphic to aim for has come into focus. It's been said around here from time to time that tone circuits (I guess we can include the 31 band graphic in that description, as it's a tone shaper after all) alter the tone just by being in circuit. Do some graphics alter the tone at ground zero more than others ? Are some graphics more pleasing to work with than others ? smoother ? harsher ? some more user friendly than others etc ? Does anyone have any experience of working with 31 band graphics and wouldn't mind sharing their knowledge ? Thanks all

Wonder what effects box he's using ? Thanks for posting that Barrie

This kind of mental rehearsal is central to the concept of an art known as Creative Visualisation (a book was written on this topic by Shakti Gawain some time ago). Artists and performers of many different skills and sports have been doing it for centuries

Well now, well well well ......

The evolution of musical form from pre - Vivaldi to Bach and Handel is inspiring. Beethoven should be interesting !

[quote name='Lozz196' timestamp='1359765543' post='1960211'] I use these Samson BL3s: [url="http://www.gak.co.uk/en/samson-bl3-boom-stand/44855?gclid=COCF34KxlrUCFefMtAod5AsAmQ"]http://www.gak.co.uk...CFefMtAod5AsAmQ[/url] We`ve a range of different stands in each of the bands I`m in, but these ones seem the hardiest of the lot. And at under £25, a good deal too. [/quote] What are the threads like on those ? narrow ? (lots of threads per inch) or are the threads course (not many per inch) and robust ? Many of the stands I've used over time always seem to strip the narrow threads or the socket the narrow threads go into - that's always been the failure point, the rest of the stand has been ok (with the exception of friction clutches). My personal stand has wide, course threads and has lasted for nearly two decades.

The whole Ziggy Stardust LP, The first 10 mins of Quadrophenia and Dreamer by Supertramp.

Perhaps move this to the e bay section ?

[quote name='Zenitram' timestamp='1359144167' post='1950815'] If you are interested in learning the drums, and want to see how well you might get on, and have the opportunity to practise, take a kick drum, snare and hi-hat (add or exchange a ride cymbal if you're feeling jazzy), and get rid of everything else. No toms, no cymbals, just kick, hat, snare. Forget the rest. Take your sticks and start tapping out a 4/4 on the hat with your right hand, nice and steady, letting your own natural rhythm dictate the accents on the 1st and 3rd, or 2nd and 4th, as you prefer. Your left foot will have the pedal clamped shut. Keep going for as long as you like, feeling groovy. Now start easing the pedal open to hear the difference in sound, and then start thinking about opening it at the end of every bar for a beat, or opening it slightly on your accented beat, or just letting it sit somewhere where you like the chick sound you're getting. Keep grooving with just that simple 4/4 on the hats. How does it sound? Funkily in the pocket, or rigid and stiff? You don't need fancy fills to be a good drummer; you need feel. Now add in the kick pedal on whatever beat you like that feels natural and comfortable, still knocking out that 4/4 on the hi hat with your right hand. If you got rhythm, this should begin to feel pretty groovy. Any musicians around you should be wanting to play a chord or two, or even just a note or three, infectiously. Keep it simple. How does it feel? Feel good, feel tight? You're a drummer. Stiff, out of time, uncomfortable? You're still a drummer; you just need to relax. When it feels right, add the snare beat, anywhere that feels natural. Keep on at it, keep being subtle on the hi hat pedal (timing and a fluid hi hat pedal add so much groove and feeling to the simplest of beats). That's the way to test the waters on a drum kit, I would say. It's both easy and hard, at the same time. (That might all have been blindingly obvious, sorry.) [/quote] Good post

I'd agree about Yamaha instruments in general, with the exception of a few acoustic guitars I've come across with the neck set at the wrong angle. The luthier that worked on one of my Yamaha acoustics mentioned he comes across the same problem with Yamaha acoustics time and again. That said, I'm still after a Yamaha B100ii amp (hint hint)

[quote name='mcgraham' timestamp='1359020271' post='1948458'] mmm... sound source can be sound, and the singer can be happy singing along, but that doesn't mean the tonal quality is in any way good. If you sound good, it doesn't matter what mic you use the quality in the voice will be self-evident. If you don't sound good, no amount of mic technique or flattering mic is going to fix the underlying issue. +1. We often think we sound fine/awful, but in reality we are each incapable of getting a true representation of what we sound like from inside our own bodies. This is because we hear more internal resonance, experience resonance shifts that others do not, and hear things sooner than the rest of the world listening, but we also hear less of what we sound like as a complete package or inside a given space. [/quote] This sounds like wisdom gained from experience of vocal teaching. Is there a resource of this kind of knowledge that we can all access ? Hopefully some good tips would be there as well

alternatively, get a powered mixer (there's a yamaha emx 12 on e -bay for £85 at the mo) or a passive mixer + amp and buy a suitable speaker. Plug lots of things in, tailor the EQ to suit and have the possibility to record if you wish. Lots of options to play with, can be used for a living room rehearsal to many different instruments, can even gig with it if it's suitable (like the Yamaha emx 12).

My Peavey MK IV head is ridiculously loud through some GS112's. I easily matched a DJ's low frequency output when we shared a gig, while not pushing my volume control above 3 1/2. THe secret is to read the instruction manual, which recommends setting the final output volume on full and adjusting the gain to suit. Check out the Peavey Mk III + IV appreciation thread around here.

Same reading with a micrometer every time for me, also with my cast digital calipers. I always measure at a place where the string isn't played, either past the nut or before the bridge.

Check flea bay for the advanced fret levelling system. Superb piece of kit Same supplier also sells a number of very handy tools

The strats and teles are a longer scale than the GIbsons. Some people recommend thinner strings for the Fender type guitars as a result i.e. 10's for the gibsons and 9's for the fenders. Always stuck with 10's on the fenders personally. Strats and les pauls are very different instruments to play, they always inspire me in very different directions. Of course there's the humbucker - gibson / single coil - fender differences. The fender roadworn 58 tele's have the chunkier neck profile typical of the age. Supposed to sound and play very sweet too (I'll get one myself at some point ) Check out the classic vibe strats and teles - very very nice indeed. My go - to guitar is a classic vibe strat at the mo. THe Westfield les pauls are extraordinarily good, even more so considering they're really really cheap. I'm setting one up now and it's lovely, honestly. Don't forget to check out the Gretsch electromatic 5345's (I own one and love it to bits) - they're another kettle of fish altogether and a great antidote to the fender / gibson choice. Why not just keep trying them all ? it's fun !!!!!!!!

[size=4][font=Arial][color=#000000]What an illuminating thread this has turned out to be. [/color][/font] [font=Arial][color=#000000]I’m convinced by the conversation between EBS Freak and Monkeyman about the popularity and usefulness of digital desks for the professionals. As a beginner though, my confidence heads for door at the thought of using one in real time on a gig. Too many open manhole covers. One for the future perhaps…[ /color][/font] [font=Arial][color=#000000] Flyfisher +. Monkeyman – thanks for your recommendations for a mixer with enough pre fade outs. The Allen and Heath mixwizard is now on the wants list. From the sounds of it, that desk will be good enough for anything I’m likely to do for a while. [/color][/font] [font=Arial][color=#000000] Anyone selling a used Wz3 out there ? [/color][/font] [font=Arial][color=#000000]For me, one of the more important concepts that has emerged from this discussion is the importance of monitors in the overall context of the PA. In my current band, they’re almost regarded as an afterthought. [/color][/font] [font=Arial][color=#000000]When I’ve worked with good monitors in the past, I was always impressed by the confidence they inspire not only in my performance, but in the performance of the band as a whole. Now l regard monitors as being at least as important as front of house. [/color][/font] [font=Arial][color=#000000]The idea of powered monitors is appealing. As others have said, the internal amp is matched to the speaker characteristics, which contributes to a better sound overall. [/color][/font] [font=Arial][color=#000000]As this topic progressed, I had the idea of buying a set of FOH speakers for my first, smaller rig and using them as monitors as I upgrade the FOH. [/color][/font] [font=Arial][color=#000000]However, I’ve come to realise that may not be such a good idea, as I’ve read FOH units ideally disperse the sound over a broad area for good coverage ? do most people agree with this ?[/color][/font] [font=Arial][color=#000000]If this is the case, FOH speakers may not be directional enough to avoid overspill on stage. [/color][/font] [font=Arial][color=#000000] As for FOH, the idea of a built - in amp for a sub sounds great, along with active tops. [/color][/font] [font=Arial][color=#000000] thanks for all the help, especially to Bertbass, EBS freak, Monkeyman, Flyfisher, PhilStarr, Truckstop, Deepbass. Also thanks to Owen for the kind offer. [/color][/font] [font=Arial][color=#000000] More to come[/color][/font][/size]

[quote name='4-string-thing' timestamp='1357670742' post='1926448'] Hmmm... I didn't mention thay they are part of a 9 piece Lynyrd Skynyrd tribute band, who don't get many gigs, so I am wondering how committed they are? I get the impression this band is a side project and won't be their main focus. The songs listed were just for the audition, so maybe they picked easy songs to help me out? It does leave me wondering just what the rest of the set list would be like though! I'm sure Mustang Sally and Too Hot To Handle will be in there somewhere.... As for needing the money, in my experience, pub gigs only just about cover costs and almost always leave me wondering why I did it! Mind you, the last band did take the mick a bit, using my PA and lights, expecting me to arrive 2 hours before them, setting it all up, packing it all away etc etc... Then expecting the money to be split equally between the six of us. Maybe thats why I have become a bit disillusioned? [/quote] Nine piece band ? sounds like a great networking opportunity there, some of the nine are bound to be playing with other setups (especially as that band isn't busy). It may lead to other things ?

[quote name='VTypeV4' timestamp='1357669299' post='1926419'] I understand one is cardioid pickup pattern whereas the other is hyper/super (or whatever!) cardioid.. I used an 87A once and didn't much like it for stage/groups work. Personally I'd pick a 57A everytime for voice.. [/quote] Could you expand a bit around your impressions of the beta 87 please ? do you remember which aspects didn't appeal ?