mrtcat

[quote name='joegarcia' post='1162623' date='Mar 15 2011, 01:01 AM']I'd definitely go for used individual mics. Do you need overheads and tom mics?[/quote] [quote name='joegarcia' post='1162625' date='Mar 15 2011, 01:03 AM']Also, what kind of music are you playing?[/quote] Ideally overheads and tom's would be good. We play old rock, new rock and everything in between. Venues are usually large pubs, halls with stages, outdoor beer fests in summer etc, marquees and even in a huge warehouse once (eq nightmare). Finding even used individuals quickly add up. Thanks for all your help guys!

[quote name='EddyGlee' post='1161827' date='Mar 14 2011, 02:50 PM']I agree with much of what Billy Sheehan says on this clip @ 2:40 mins. [/quote] You simply can't argue with Billy Sheehan on this. We all need to stop obsessing over gear and just play more!

[quote name='MuckedUpFunkies' post='1162195' date='Mar 14 2011, 07:23 PM'][url="http://cgi.ebay.co.uk/1957-Gibson-Les-Paul-Goldtop-Vintage-Guitar-/290544433437?pt=Guitar&hash=item43a5cc391d#ht_500wt_949"]http://cgi.ebay.co.uk/1957-Gibson-Les-Paul...1d#ht_500wt_949[/url] Be interesting to see what this goes for =L[/quote] Buy it, take the pup surrounds off, sell them for a profit then bin the rest of the guitar! Makes about as much sense as collecting vintage stuff to me!

Wow thanks guys. Red5 Audio does look like real good value for money and a good base to start from. Going shopping online methinks Many thanks

Hey, Can anyone recommend some live drum mics? We currently just use a kick mic (shure Beta 52A) but as the venues we play and our PA are growing we need to think about the whole kit. Ideally we would go for an off the shelf complete mic kit but as we already have a decent kick mic it seems a shame to buy a kit where a large part of the cost is going on a second kick mic. However as the current mic is mine I could use the new one for my amp to run along side my di. Does anyone currently use a cheapish kit? Our budget is about £200 so I was wondering if anyone knows of a reasonable sounding one around that price. I know it won't be as good as an expensive one but any help would be appreciated. Thanks all Tom

We went the Behringer route for amps and mixer as you can get some bargains on the bay. We have an EP2500 for subs, an EP1500 for tops and another EP1500 for monitors. All three were £310. Mixer is a 24 channel job. Not top of the range or owt but copes well with 3 x vocals, 1 x guitar, 1 x bass, kick drum, snare and overheads. £150 off the bay. We've got a few rack bits & bobs EQ's, crossover, vocal pre and a multicompressor for drums Finally speakers I built all of ours myself and if you can cope with tools you can save £1000's Subs are BFM tuba 30's which rule. Put both side by side and they'll bring the house down. Tops are BFM DR280's and they're very very good. Total spend was probably £1400 but worth every penny as we get lots of love for our big sound! I'll happily make any BFM cabs for a price as long as you first buy the plans from Bill at www.billfitzmaurice.com let me know what you want and I'll give you a price.

Got a P & a J and have to say I get heaps of positive comments about the J and some (although slightly less) with the P. Sound check and some good engineering work will make most basses sound ok tho as will technique. P lacks growl in a rock setting IMO but that's not necessarily what everyone is after. P sounds good on pop and motown. Same amp settings won't do for both tho. Age old discussion about who prefers which coming up which in my eyes shows that both instruments are good it just depends on your personal definition of good bass sound.

TM Stevens, WHAT A FRIGGIN LEGEND!!!! Great day and heding off to see Mark at Bass Direct this week to place my order for a Dingwall ABZ 5 in Honey Amberburst! Sssshhhhhhh don't tell my missus!

I see all my guitars and amps as tools. Some of those tools are a joy to play but their still tools so I use them live. They're insured so that's fine and if they get nicked I get to go shopping (guaranteed they need to be nicked from inside a secure fortress with armed security guards b4 insurance pays out). I'm not very sentimental about guitars etc even if I really enjoy playing them. I guess I'm more sentimental about the music and that can't get pinched, damaged or drenched in beer. I think it's my lack of sentimentality that stops me getting all moist about vintage gear and I totally understand that vintage stuff is a whole different ball game as that stuff is very difficult to aquire and replace. If I was into old stuff I'm sure I'd be very wary about gigging it. As Warwick stuff is not in high demand at the moment I'd be more than happy to take a $$ gigging.

Oh Joy! I'm going tomorrow. Gonna take my plugs. I kinda see slapping in music shops and shows the equivalent of going to the motor show in an old ford escort with a big spoiler and one of those shade banners across the top of the windscreen with "Kev" and "Sharron" written on it. In a handful of songs it fits well but by christ it don't impress me. Maybe we should start a forum based "Slap Is Crap" action group and start shaming these twangers into hiding? EDIT: As someone who plays slap in 4-5 songs maybe I should change that to "Slap Is Crap - when used as a vehicle for self promotion"

I'd only want someone to comment on a recording that i'd posted if they felt they really wanted to and not because they feel obliged. Positive or negative I don't care but don't feel obliged to review my stuff if you have no real opinion you'd like to share. I found silddx's thread about his East pre really interesting as I'm keen on getting one and appreciate the info and sound clips to boot. I didn't really feel the idea of the thread was to comment of the technique tho but all sounded good to me.

As someone who's been here I would defo suggest meeting the band (away from the rehearsal room as guitarists simply can't not play when there's an amp and axe within arms reach) and 1. Let them know what you're thinking 2. Ask anyone if they think they're not up to it or can't commit to it 3. Tell them that excuses will no longer cut it 4. Set some deadlines (i.e set a date and go book a gig for that date) Communication in bands has suffered since the arrival of emails and you really can't beat a positive but frank face to face discussion. Also people tend to take it more seriously if there is a structured plan in place as there's less room for people to stall. If someone is holding the band back give them the option to sort it out or leave.

At the risk of starting uproar I was totally nonplussed when I finally got hold of a Warwick Streamer stage one. Build quality was incredible but the praise ends there. Neck was too fat, it needed waxing regularly to keep the wood looking healthy but worst of all the volume across the strings was pants. Our local luthier, who has done some sublime setups for me, said he thought it was poor too. Maybe a duffer but I'd dreamed of buying one since I was 15 and it was a real let down.

Welcome! Small world - played a wedding at Eynsham Hall once. I'm in the less celubrious part of the shire - the town that never wakes - Bicester!

I do a little teaching for holiday spending cash. I have a few cards in the local music shop but plug my services at our gigs as does our drummer and guitard. We made some cheap business cards on the PC that we can hand out. We seem to do well and it helps that people see you play first before asking you to teach them. It's funny how many times kids call saying "dad saw you play last week and said you do lessons?". Remember to self assess tho as you'll be publicly advertising that you take money to teach. It's remarkable how many strings / guitars / amps you go thru when teaching tho - it's no wonder there's so little taxable profit!

I don't have a major problem with people who don't know basic theory as long as they make an effort to get up to speed and don't start slowing everything down. I have played with some guys who knew no theory at all but could really hold their own and when a problem arose they took it upon themselves to learn a bit of basic stuff. I've also played with people who refuse to learn anything and that never cuts it long term. I personally think everyone needs some basics under their belt but beyond that it depends on what you want to achieve. I know enough to allow me to communicate and vary stuff. Players like doddy probably have forgotten more than I'll ever know but they are pro muso's and their livelihood depends on it. I'd be sacked before the end of the first song if I tried to cut it in their capacity but I play an O'Neils gig several times a month and earn good pocket money with my limited theory knowledge.

Could go either way but until you meet him I'd keep your options open. He could turn out to be a real asset with his history. Maybe offer him a trial period if you're worried about his cockiness.

[quote name='Ou7shined' post='1147265' date='Mar 2 2011, 03:47 PM']In the rectory? [/quote] lol

Hey Silddx, really pleased to hear you love your new improved tone. Would you say the John East pre-amp was the main reason for the improvement? I've got a US75 and love it to bits but am sorely tempted by an East pre. How difficult is it to fit? Edit: OMG just realised John East's place is less than 200yds from my house in oxfordshire - surely it's a sign!!!

Reminds me of some chap that came to look at a jazz I was selling last year. He came in, bashed the hell out of it and then decided he was really after a ray. Took plenty of restraint not to insert the aforementioned jazz where the pope don't rollerskate!

I like the national bass strike idea but not convinced the guitards or singers would even notice

Sharp exit for you and the drummer with an invitation for the guitards to come as long as they quit whining about drum volume would be my solution. A bass / drum partnership will not struggle to attract guitars and vox if you're tight already. Good luck - it'll work out for the best!

My best mate is an engineer. He's done some really big name hard rock / metal bands in the last 5 yrs and has a great reputation in the industry and is flat out 365 days a year. To my ear he destroys the bass every time and he firmly believes it should present but barely noticeable. He always puts really heavy strings on the basses he's recording as he says it needs to be a dull low sound that sits at the back of the mix. I would never let him record me cos as a bass player i hate his approach and I can hardly ever pick out the bass on his stuff. Lots of the younger engineers seem to go this way especially with rock and metal. Might be worth seeing what your engineers philosophy is?