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goblin

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About goblin

  • Birthday 16/04/1992

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  1. I moved in with my girlfriend for isolation. She works in legal and is just working from home 9-5, whereas I've only got little bits of work as gigging is my main income, though my local pub I'm entertainment manager for so we're all behind the scenes sorting out live streams to put on our page to still entertain the masses and help our acts out a bit. So far I've fully cleaned and detailed (extreme cleaning / polishing) her stepdad's car, and the next one on the list is her mum's car. We've got our exercise in as well as she lives pretty much on a greenbelt, so ten minute walk out of the door and we're in the countryside. Same with where I live to be fair! Other than that, not much has really happened. She's looking at me enviously whilst I'm still in a dressing gown in bed on my laptop whilst she's taking business calls
  2. I'm a musician full time, and I'm the events manager for a local venue on the side. I'm also a sound engineer, and make bespoke instrument cables. You can imagine how today has been for me!
  3. That's me also and definitely f***ed then
  4. I lost over £1k of work on Friday, and another £1k went in a single message today too. It's not looking good, most of my gigs are to sizeable crowds and music is my full time occupation. To say I've had it is potentially an understatement.
  5. Ideally want to sell this complete, but can split if the money’s right. The head is an Acoustic Model 126, sounds great, works as it should. Had it checked over and serviced a couple of years ago, has worked without issue since. Good condition for its age, though the case lacks a handle. They’re easy enough to sort, I just never got round to it. The cab is a 406, 2x15 4 Ohm cab. Shifts some serious air and isn’t actually too impractical. Has two heavy duty kick back wheels on it, with decent handles at the top, so very easy to transport. Even stairs and getting it into cars has been pretty easy. Very good condition, with only a few age related marks. Comes with what seems to be (I think) it’s original vinyl cover. If not, it suits the period and it isn’t in a bad state. I’m after £500 for the complete rig, naturally collection only from Rochdale / Barnsley, but I go all over the place with gigs so there’s a chance I could also meet with it. Untitled by Dave Butterworth, on Flickr Untitled by Dave Butterworth, on Flickr Untitled by Dave Butterworth, on Flickr Untitled by Dave Butterworth, on Flickr Untitled by Dave Butterworth, on Flickr Untitled by Dave Butterworth, on Flickr
  6. As it says on the tin really, it’s a clean boost pedal and a very good one at that. Has a 3 band EQ and gain pot on it. Given the manufacture, it’s beautifully made and very solid. It runs off battery or a standard 9v power supply, I've always had it powered by my isolated pedalboard supply with zero issues, and it's been properly secured to the pedalboard, which the velcro is still on the bottom of the pedal, and said board has been transported in a flight case or Mono pedal board case - so it's been looked after! I can’t remember the last time I used it and it’s taking up space on the board, also comes in it’s original box. Condition I’d give it 9/10 as the paint on the foot switch is a tad worn on the edges from when it’s been used. £120 ONO Posted Untitled by Dave Butterworth, on Flickr Untitled by Dave Butterworth, on Flickr Untitled by Dave Butterworth, on Flickr
  7. This hits the nail on the head perfectly. I've played basses with ramps, and without (never owned one with a ramp)... I've never had such an issue playing lightly without one. Personally, I think they're just an excuse for laziness / poor technique.
  8. goblin

    New bass week!

    Yeah that's the one, the crazy burl is another option on top of that. I think the best way to have an Alpher is just have all the options. Go as wild as you can haha.
  9. goblin

    New bass week!

    Oops, I didn't quote BrianJW's post. I've only just seen it. Cheers bud, it's a lovely bass!
  10. goblin

    New bass week!

    It looks nice... but why post it on my thread?
  11. Looks stunning that Kev! I was lucky enough to see this one the first time they created it, and also post refinish / pre rebuild as mine's recently been in for a service (it may look really pretty, but I work it damn hard!). Photos really do not do this bass justice, as I think any crazyburl bass. I've had someone tell me mine looks like it's faded in the past... it definitely hasn't faded, and like I said, it's worked hard since she landed with me in March so I see a lot of it! So, some thoughts on the Alpher now it's settled in? Well, the bass still leaves me speechless. Even as my daily driver, I've had moments of "Oh I should maybe take the Jazz to this gig because I don't want to risk marking it" and such... But I just can't bring myself to not take it out. The only time I left it at home was when I was playing at Glasto this year - given that I was staying the entire weekend, I didn't fancy leaving it unattended in a camper van for a good while, and the Jazz came back covered in suncream, so no damage done there! I need to give a shout out to the guys who make it, Chris and Al. They REALLY know their stuff and the attention to detail is on another level. You could talk for hours with them about finishes, construction, electronics and come away with something new, and all this is applied to the basses too. The customer service is just as high as well. I had an issue with two of my Aguilar pickup covers splitting. Mentioned it in passing to Chris, and before I knew it, he'd got two new ones ordered and got the bass in ASAP. I asked him to put some new strings (which I provided) on it, and came away with no charge for the setup. Can't fault that! Build process, whilst being built I was kept very well informed with progress, and lots of pics too. It's always great to see it being crafted and pieced together, as you can really see what goes into it. So, yes, they're expensive... but as a working pro who's had all sorts, is it worth it? Absolutely!
  12. As they say, turnover is vanity, profit is sanity! The problem I'm seeing with it being seen as a good way to get experience blah blah blah... I've done a music degree, I've been gigging for a living for around 6 years now... not once have I ever thought "damn, I wish I'd done that gig for the exposure". I just can't see how anyone in the right mind would see this as beneficial for their career. That, and they're saying professional standard etc. I've found that people fresh out of college generally speaking aren't of a professional standard. Hard truth, but that's only the start. It's like passing your driving test. Yeah, you can do this, that and the other. It's only when you're out in the real world doing it, you then develop properly.
  13. When I'm on ears (which is most of the time), I send a DI from the amp head (post EQ) to the engineer, sometimes the cab gets a mic as well. And then I get full control of my mix via iPad (Allen & Heath) for the most part, or when on festival gigs there's normally a monitor engineer to take care of me. As for whether I have the cab or not, depends on how much space we've got on stage. I'm used to big stages, but sometimes we get a small one and it can be overkill. The key is decent in ears I find. I use Ultimate Ears UE11 and they've been incredible, though there are loads of equally good and possibly better ones out there too, just depends what you want to spend really. PA placement determines if I have the cab on me or not, as I do like the feeling of the vibrations. If the PA stacks are on stage, I'm quite happy to just go with in ears. I'm pretty close normally as I go far stage right, but that also means my cab and laptop (runs bass synth sounds) can be to my right in the wings should I desire such as bigger stages, or when we're in venues and there's inhouse PA which don't give as much back through the stage. When I'm not using the cab, the engineer's drive rack is usually next to where my cab goes, so I still take the amp head and laptop, and sit it on top of that. Works well! As for haptic monitoring, I'm yet to find one I like. I've tried the Porter and Davies platform, and throne too, and it just doesn't feel very real to me.
  14. If you break your 1+2+3+4+ up again (think half and half again), so it's 1ee +a 2ee +a 3ee +a 4ee +a, your first note comes on the ee of the 1, the fill goes over two bars, and then everything comes back in on the nose of the 1 third bar. Never failed me or tripped a drummer up yet
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