EBS_freak

To our American friends. Buckfast is banned in the US. Apparently mixing large amounts of caffeine with wine is not good for keeping the peace.

Oh crumbs. Looks as bad as my neck of the woods. All I can say is, thank the heavens it's Little.

Surely the Scots have their own category?!

Yet more unwanted noise to mess with the mix.

I'm not sure that you would have dug on the offerings of ART and co from back in the 80s...

Skanks post reminded me of this blinder - https://www.iwm.org.uk/history/tips-for-american-servicemen-in-britain-during-the-second-world-war

and chicken that smells of swimming pools.

Why? Have Meg and Harry boarded a plane?

Bostin' ta.

Am I only person that is disappointed that proper fish and chips aren't served up in newspaper? I wonder if we can reinstate it now we are out of Europe? Oh, and to our American counterparts - yes, we do eat food that looks like that it has been consumed previously.

Listen, I'm from Wolverhampton. I know my place in society.

Helix Stomp - £429 RCF 735 or 745 - £719 or £1045 vs. SVT/CL or SVT/VR - £1919 or £1549 Ampeg 810 - £990/£1139 Actually, the Kemper option looks pretty cheap in comparison. In fact, you could buy a pair of RCF tops, a Helix, and onstage RCF for a comparable price to just the SVT - if you didn't want to go IEM. And your band would sound heaps better for it.

Roughly the same as in green shield stamps.

No scouser robs on their own doorstep it would seem. They all hop over to Manchester.

I'm offended by this picture. It's Pound sterling on these shores.

Hence my compromise bit. It's like all those folk that want an in and out mic on their kick drum. Just get the sound of the click and gate to a sine wave if you want that low end (without all the shyte lower frequencies that are a nightmare and picked up by that mic)

Indeed. Apologies, I usually don't refer to engineers in a gendered way. Funnily enough, a couple of really decent engineers I know are female. And they stand for zero sht.

A Helix Stomp, really? And there's loads of pubs bands backlines resemble those found at Wembley!

OK, its for a predominantly vocal performance - but its perfect in showing that he's earning his money there. I'm guessing that talent are all on headset mics, so no artist control of mic technique. They care about singing - the rest, the reverb, EQ, delays are all under this man's control. Every line, for every performer, making sure every piece of diction is perfectly reproduced. What I do know though... is that I can guarantee that nobody in the audience appreciates that work that he has been doing all night.

All these people that are looking for consistent tone and using fx by the way, something like a Kemper should be top of your hit list. The DI out of those gives everything - even a split on stage and foh feed if neccesary.

Its a good attitude. If you give a sound guy a feed they don't like and they tell you, it's because they are working in both yours and theirs best interest. If the mix sounds cack, everybody will look at the sound guy. The sound guy can't hold up a big banner and say, "the bass players feed resembles seven shades of sh 1 t". Chances are, if you have somebody who is on the ball, if there's a song where you're bass needs over drive, they'll drive it. I remember going to see a Floyd tribute and I knew one of the singers in the band. She was saying how the band were concerned cos it was a big show and they had a stand in sound engineer. Turned out this guy was the biggest Floyd nut and was getting all the delays, drives and riding the faders all night like an absolute boss. I think there's a big misconception about sound guys - there's good ones... and terrible ones. Let me find an example of how hard proper sound guys work on a desk.

Birmingham

Not to the same extent because the key frequencies from the sound of a guitar sit within the frequency range that is more sensitive to the human ear - and the nuances in guitar tone are more immediately apparent. The bass is additionally, more of a supporting instrument, so again, it comes down to the compromises that you may want to make in a live situation to benefit the sound of the whole band. Again, I'm never surprised by the amount of bands out there with players who only care about their individual sounds as opposed to the band sound. A lot of the time, bands could sound much better if they played at lower volumes, with the PA doing the lifting... and with sensible backline (if used) that doesn't over power the PA. As a side note, I always surprise drummers when I say that the best sounding kits are the smallest. With smaller shells, the kit sounds tighter, theres less overtones and unwanted sympathetic resonance going on... and with the processing of modern desks, outboard/plugins, you can make a cocktail kit sound massive. If you do need a heavily processed sound from your bass amp, I would take a DI pre the bass amp and run an emulation at the desk that recreates what the bass amp is doing. Or ditch the bass amp completely (or at least just leave it their for stage decoration) and have it all modelled and fed back to the player via monitor or IEM. Or if the amp absolutely had to be in play, remove it off the stage and mic it in a separate room (or an iso box if a room wasn't available). When micing up something like a fridge, the speaker speaker is close miced anyway, so the sound of the cab is lost anyway. So a smaller wattage amp that grinds like you want but at a lesser volume, into a single 1 or 2x10, from a mic output point of view, would be comparable... certainly enough for live use.

You better play alongside the sound guy as he/she can put a pitch shift or delay on your channel and make you sound like a right wally. A band's biggest ally is the sound guy, unless there's a monitor engineer... and then it's them. Your job? To play for the audience and play your instrument to the highest ability that you can in the situation that you are in. Their job? To work with the player to deliver the best sound to the venue for the audience to hear. Who's the person that sits in the middle and is the key link between you and your audiences ears? Yeah, your best friend.

Which is why touring bands of note use their own sound man - and the bass players rig comprises of both of what is on stage and off it. With modern tech, you can get any bass sound you want and take away a lot of the problems that come with traditional amps - it's just that there's a few dinosaurs out there that are still stuck in the mindset of yesteryear. That's OK - but that in itself is compromising one of two things, the player, or the audience, or both. They'll always be the people that want tubes. That want mics. That want wedges to put their feet on. But it's all a compromise. Again, player, or audience. Choose one, or compromise.