mrtcat

My daughter is only six weeks old but I'm gonna get her drums as soon as she is old enough. How cool would it be to have a drummer that I can ground or put on the naughty step when she starts being a pain at gigs or rehearsals?

[quote name='JTUK' timestamp='1407144475' post='2517641'] Be careful which ART's you get and what for. I think some ART's are ideal for monitoring as they can be very pokey and directional... which is exactly what you want for monitors, IMO... but FOH they are waaay too spikey and harsh and just plain uncomfortable to listen to for long if they are blasting at you. At first, you think this is a good thing as they cut thru glass, but they are also very wearinfg and you just want to escape them... [/quote] +1 for this. For foh I'd recommend the rcfs with the 2inch tweeters (322,325,422,425,722 etc etc) as they are way smoother. They are considerably more expensive but worth every penny.

[quote name='Lozz196' timestamp='1407091103' post='2517252'] Seeing as a Peavey 410 is over 100lbs, this seriously must weigh the same as The Moon. If he sells it it could cause an inbalance in The Earths gravity. [/quote] Don't worry about it. That'll never sell.

For blues I'd go with the hartke. Just pray it doesn't go wrong because a more retarded company for repairs I've never known.

Buy Rcf gear with confidence. Their gear is built for gigging. I too was disappointed with the dxr10s. It's a shame that they don't make a dsr110 as the dsr112s are a whole different kettle of fish and I was really impressed with them.

Forget the idea with the rack eq. Either save on for the head you want or for the pre / power amp combination. Seems to me like an ampeg sound is what you want so a sansamp pedal or even the bargain Behringer bdi21 and any decent powered head should do it and that would give you a good sound to pass to an engineer at bigger gigs.

Any suggestions for getting a similar result from a drummer who is unbearably loud?

I'm a joiner carpenter and I never do any work for free for anyone except my close family. I have absolutely no problem with anyone asking me to work for free as long as they don't mind when I say no.

Just an average weds gig with my big hair 80's metal band down in Winchester. Good crowd in a good bar. Oh yeah we had Steve White and Woody from Bastille on drums for a couple of songs.......as you do.

AH600 if you're interested? It can be rack mounted with a little tweak if needed. There is a gear wanted section in the marketplace that you'd be better off posting this in tho.

10s are better for monitoring IMO as you want lots of middle to get the vocals to really cut through on stage. Most 10s are stronger in the mid range. We generally cut a lot of low end from monitors as it tends to muddy things on stage a little and you can crank the speakers a bit more then.

Hot wedding nr Andover. Hard floors, glass walls and high ceiling made it tricky. What made it worse is that our drummer is a bell end and, despite being asked repeatedly, wouldn't play quieter than "stadium volume". He's gonna be a goner at the rate he's going. He's good and he knows it but he has the brain capacity of a five year old child.

Big TE fan here. The old amps were pretty loud. From experience I think a lot of older cabs were far more efficient at converting the watts to volume. I have a TE AH600 now and it's not as stupidly loud as I recall them being in the 90's but think it's more to do with the modern cabs I use. The combos go for peanuts now because they're heavy but other than weight I still really rate them.

I'd look for a powered pair of Rcf art 322s or 325s. Great all rounders with smooth top end and good reliability. Don't bother with the 312s, 315s, 412s etc as the 1 inch tweeters are poor. A pair of 322a's went for well under £400 on ebay recently.

[quote name='icastle' timestamp='1404328232' post='2491676'] My covers band have a very simple way of deciding on material. We leave any pretence of 'artistic integrity' at the door and play the stuff people ask for and dance to. If that means 'Mustang Sally' and 'Johnny Be Good' then so be it, our diary is bulging all the way up to NYE and we're already taking bookings for 2015. [/quote] +1 for us too.

[quote name='ironside1966' timestamp='1404260504' post='2490976'] I have nothing against the song or anybody playing old music but there seems to be a lot of covers bands playing the same songs. Be the best, be different, or just be the cheapest but don’t be like all the others. [/quote] Whole new argument right there. To me the song selections say more about the punters than the band. I played in a band that did brilliant covers of some really different songs and despite a brilliant front man and some great players we were always faced with punters asking for the usual covers classics and venue owners who were reluctant to book us. my current bands opt for doing our best with well known stuff (black velvet included) and we are far busier now.

I like it too. It's a nice song with a solid bass part that, in the right setting, people seem to really enjoy. For me the only measure of a good song is if people enjoy it and with this one they generally do.

If they have all the ability in the world it doesnt count for jack unless they're a team player. Our drummer has the full shebang except for wanting to be part of a team. He never wants to rehearse, never wants to record, never wants to go for a beer (I can live with that bit) and usually buggers off as soon as he has his kit in the car. It makes us feel like we're a burden on his life. We get well paid so the rest of us would like to see more enthusiasm.

Get it fixed. Terrific little amps the series 6 stuff. You'll always get trace elliot haters but many people still love them for a good reason. I think the weight thing is nonsense unless you're medically unfit to carry anything or just a total wuss. We all benefit from a little exercise and with a little eq knowhow trave stuff sounds great. Plus you've had it this long it's family now.