All Activity

I thought about doing that too, Si. You can have that effect on people. 💋

Not a true analog split but I use this in a couple of bands. Only works on Behringer or Midas kit with the Ultranet system though. I have it set so that each output is a copy of the corresponding channel input immediately after the gain control - which you need to remember not to mess with, but thankfully the sound tech can’t either! It’s in the bottom rack space here, connected to to my XR18 via a single ethernet cable: And here’s a handy video from Scott Uhl, who I’ve found to be a great resource on all things wireless:

Now, I totally get that. The hardest part for a band is to find the right members, I think. If they join you and don't go prepared to rehearsals, then they are not a good fit, that's all. I endured a few bands when starting out, trying to make every situation work. Eventually I realised that learning when to quit a band was a very useful and powerful tool. I think it extends to choosing your bandmates: if somebody is unreliable, I will not have them around, full stop, and replace them with somebody else who is reliable. If I didn't, I'd probably be typing lots of posts in the Daily Annoyances thread 😄

I kind of see both sides of the pay for free argument. It’s worth noting though that Glastonbury keeps going due to the vast array of volunteers, from security, medical, cleaning, maintenance etc. Artists always used to get free entry and camping and a 40 minute set seem like far less hassle than cleaning up afterwards or herding in a couple of hundred thousand revellers.

I'd keep the finish as is and get a white scratch plate. That would look sweet! 😍

I don't fully get the question. They're adults: they manage themselves. They know what the expectations are, how often we're aiming to play, how much time they are likely to need and what sort of availability, etc etc. If that works for them, then they make it work. Motivation? They have to like playing with the band, that's all it takes really. There's one guy in particular playing with us, trumpet, who makes a lot more money with other gigs than with us, but still plays most of our gigs. He just likes to do it, so he makes it happen. If somebody is a problem with their level of commitment or creating scheduling issues, then THEY are not motivated enough for that particular band. It's not down to me to change their mind.

....I'd also let her know in no uncertain terms that, having first spoken to your solicitor, you will within the bounds of the law name and shame on social media

Ah, yes. . . . C3 (not split) and 2 Leslie cabs!!! Thank god for Nord.

Please don't discuss or agree to any reduction. Add expenses plus a grief fee on top when you take her to SCC. Chancers like her bank on bands being afraid to pursue them so give her a good kicking (in court, obvs). Good luck.

Indeed. With regards to deps... I was with an originals band for just over 10 years, we didn't use deps for that one. The chemistry among us was a big part of the band (which varied between 6-9 members). Sometimes we'd play with one or two members missing, which was not ideal but it still worked as long as the "core 5" were there. But for most other bands there would be someone who could step in if needed. Deps are very useful not just to book gigs when someone is not available, but as insurance against illness, for example. At the moment I only play with 2 bands, plus dep with others occasionally. The main band has a number of deps, for everything except main vocals (we're a 6 piece). They've become part of the band, they just don't play as much as the designated main player.

We did actually get loads of bookings that referenced seeing her on our Instagram so it can pay off if you're selective. I did struggle to get the strap over her for those wondering..

Gigged it Sunday, the set required the drummist to hear pretty much every word of the singer, and it worked rather nicely 👍

I'd argue that it was precisely being in multiple bands in different styles that helped me "learn to learn" songs quickly. The only bands I need to spend more time with are the ones playing originals, because the creative process just needs attention unless you just want to play root 8ths. I think that when things don't work is not so much because you're in one or three bands, but because someone is just not being responsible about it and those are trouble regardless how many bands they're in. Committing to a gig and later coming with "oh, I didn't realise that blah blah..." is not going to happen often, it's a 'sackable offence' as far as I am concerned. You just need to find people with your same outlook, like with anything else, really.

Trouble coming there... Grooves are a bit too deep really - they should be only 1/2 the depth of the string gauge. But you can get away with deeper ones like this. Bigger problem is that the edges of the string notches are probably too sharp, so they're catching on the windings. The string should glide cleanly through the notch as you bring up to tension. Advice here: Bass on its back. De-tension one string and lift out of its notch. With a fine, round file (or fine sandpaper wrapped round a nail...) just round off the bottom of the groove at front and back of the notch. Just a fraction of a mm. Then get a soft pencil and a pen-knife, and scrape a bit of graphite dust into the groove. Now put your string back and tune up again, gently. The E string is a lost cause sadly - it might snap when you do this, but it might not .. though that unwinding is only gonna get worse if you don't. The notches look OK width wise, but they could be a tad tight. That'll exacerbate the problem. If the strings are a tight fit you really ought to get some files or dremel-bits (ideally the right diameter for each notch) and gently widen them so the strings fit perfectly with no binding. You're welcome.

Interesting, mine is more of a pink noise. But I have hyperacusis too, so maybe not exactly tinnitus.

Nothing wrong with taking the odd freebie if its going to pay dividends down the line, we once took a freebie playing for Katie price just because we wanted to see how big they are irl 🫡

More Correctly .... Its Helos from Bath,Manchester & Battersea 🙃

Those big amps and speakers are tough, but a complete Hammond with Leslie is even worse. An ex-friend of mine had such a set during one tour. After that tour I have not spoken to him. And I will never speak again.

If you're in a pro touring busy band that pays your bills, sure. Otherwise... why? I mean, there's nothing wrong with a single band if that's what you want, but it's far from being the only way to do things. I've played in multiple bands for as long as I remember, plus I'm in the dep rota for others. I get to play different styles, originals and covers, and with different people, which is useful besides the obvious networking effect.

Yes we've done that at our previous gigs, but certain sound guys want full control on their own equipment etc

I had it for decades. It gets worse during crazy windy weather, or before sudden heat/cold waves - and now we have wind and an incoming heat wave. Not ideal 👂