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mrtcat last won the day on March 15 2018

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About mrtcat

  • Birthday 17/10/1976

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    South Northants

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  1. I think that quite often the band with a bassist, where you can't really hear much other than low end mush, are more victims of the venue's acoustics than an engineer's failings. Bass can be a nightmare to mix if a room is really bad. Sadly some of the biggest venues are just appalling for bass. RHCP at the NEC was a standout gig I went to where the bass was pretty much inaudible. It also depends where you stand in the room. If it's awful when you're standing right next to the sound engineer's booth then its quite possible the venue is a bass nightmare.
  2. IMO al bands should have PLI that specifically covers the activities of the band. As soon as a band is playing in a public space then there are endless eventualitites, no matter how unlikely they may seem, that could see the band and its members liable for damage to people or property.
  3. Thing is, if you're playing around 100 gigs a year then there's little to be gained from rehearsals other than the social side. We spend hours and hours each week in a van travelling the motorways together, another few hours in a rehearsal room won't make us like each other more. As for adding new songs unrehearsed, it really depends what you're adding. If its something really complicated then yes, a rehearsal would be beneficial. If it's something well known and straightforward and you trust the rest of your band to have done their homework, then its a fun way to work.
  4. Yeah we add new stuff all the time. Essentially a version is agreed on then the singer confirms which key he wants it in and then we just discuss and bits that need agreeing (endings, which guitarist take which part, who sings what) then run it at sound check and it goes straight into the set. We get lots of requests for first dances and favourite songs from clients at the time of booking and these all have to be added.
  5. Most function bands pump out the same old shite every week. Rather than the difference being defined by ability I would suggest it is defined by approach. Most function players are more focused on it being an income provider and for that reason they look harder at efficient earning and squeezing as much income as possible from their musical ability. It doesn't make them better just different in their approach. There are tons of great musicians on the pub scene who have the chops but not the desire for function work and that's all that separates. There are however loads of pub players who would struggle with all the guff that goes with function playing (lots of travelling, early arrivals, hanging around for hours on end, awkward clients, being comfortable and competent to play songs that haven't been rehearsed live, very late nights, bridezilla, endless rigging up and tearing down, venues with appalling acoustics, ridiculous noise limiters and on and on and on). If you're a great player but want some social fun and far less of the crap then pub playing is a great way to tick those boxes.
  6. Pop rock covers band playing mostly functions. We average about 90 gigs a year. This year we will be 70% weddings, 29% Corporate and 1% pub. When looking for a band my main criteria was that it must gig at least 4 times more frequently than it rehearses. Last rehearsal we did was in 2019 so I'm very happy with a ratio of about 200 - 1.
  7. Thank you all. I'll contact both ACE and Tube Uk today. Much appreciate your suggestions.
  8. Can anyone recommend a local PA hire company in the Manchester area. We have a gig for approx 450 people and need to arrange PA and lights hire. Gig is early May. Any recommendations gratefully received.
  9. Behringer X32 rack in unmarked perfect working condition. Comes with original box. Used solely in my home studio for live streaming. I'm throwing in a rack front panel with all the connections and cables so you have the option of plugging everything in at the front which is so much easier than the rear and also a net gear router. I'll also throw in the rack for free as it's got a couple of broken catches but still does the job just fine. You don't have to take the rack, the router or the front panel but as I'm throwing them in for free there's no price reduction for not taking them. Any questions just ask. Collection only from Whittlebury, Nr Towcester in South Northants.
  10. Identical to mine which I've used for tons of function work. Absolutely love these and this colour combo is perfect.
  11. I just can't get on with Ashdown amps. I really wish I did but I just don't like the core sound and I don't like the EQ section. Pity because the customer service is excellent.
  12. Benchmarking against old trace stuff is pointless. This is a completely different amp from a completely different manufacturer. It's nice that they have said that they have tried to recreate the classic trace tone and I hope they were successful. I would probably prefer to buy an amp from a smaller company that built them in the uk purely because any issues could be resolved without involving distributors and that was a big draw for me when I bought a trace amp years ago. I still have a nice old trace head but I don't use amps live very often because silent stages suit my band so much better so I'm not in the market for a new one.
  13. I updated last night. Some nice additions including the bronze bass distortion.
  14. Definitely worth looking for the positives though. Our agents know we can work well with limiters and venue pa systems because we use an electric kit (we use one for every gig now) no backline and in ears so we pick up lots of gigs that other bands can't do. Other bands will catch up though. At the kind of mid range wedding venue these things are here to stay and we will see more and more in the future.
  15. The bride and groom will have been made aware of this from the start. Venues aren't daft. There will be a contract with this all clearly stated and there will be a huge cancellation fee if they try to pull out and use another venue.
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