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goblin

⭐Supporting Member⭐
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Everything posted by goblin

  1. I have mine set up twice a year, £65 for the works doesn't sound too bad!
  2. Function work here in the NW I can get anywhere between £150 and £250. Theatre tour I'm on gets me £200 a gig, and when I'm doing recording sessions, I charge £45 an hour to be pair in a minimum of two hour increments, so if I turn up and box off a session in half an hour (which I've done), I'll walk away with £90 still. Other dep work, I pick and choose determined by whether I'm available, and what the fee is. I don't go letting people down for the sake of an extra £50 either. My reputation's more important than £50 ultimately... I run a PA rig too, so depending on the band and such, I get extra for PA too. With one of the function bands they'll pay me an extra £150 just to bring the PA along, and they'll cover expenses and such on top, but on the flip side of that I did PA hire for a local festival this weekend and got a really good fee for the day, and one of the party bands I'm with closed the night... but to make the budget work, I had to do the gig at a lower fee to keep the musicians reasonably well paid, but the way I look at it is that I had to hire a Sprinter anyway for the initial PA job, and I had space to stick the bass rig in. I was mixing from iPad all day so I can keep the desk and amp rack well out of the way of drunk punters, and I don't mind taking an extra £100 to play a fun set at the end too.
  3. A friend of mine's done something similar, but they're called Juan Direction... you can imagine!
  4. I love it to be honest, people ask me if I ever get bored. But it's a stonkingly good show (even though I'm probably a tad biased) - www.facebook.com/faithgmlegacy But every now and again I play with numerous function bands, I get to play with some other tributes too, festival season is always fun. Then on top of that I've got my studio session work. I've done acoustic duo before, can't remember my last duo gig which is a shame because I really enjoy them! Just boils down to time really.
  5. Easy one for me - George Michael / Wham (I tour with a GM tribute theatre show) That said, that's the main gig, but since I still play with loads of others, "Bit of everything" is the easiest answer!
  6. I don't think there's such thing as too good to be used. It's made for a purpose ultimately. Now, there's different gear that I would take to different gigs. But, I've got a brand new (well it was in October when I got it) Aguilar rig, and I've got an Alpher in the process of being built at the moment. That'll be my touring setup, both are pieces of incredible gear so they'll be used to their true purpose. However, I probably wouldn't take them down to a local pub gig. I'd take my Jazz Elite or the P for gigs like that.
  7. Not necessarily, I set the amp appropriately, and then the sound engineer seems to have minimal fuss with it. Also another way to look at it (this is playing big gigs not pubs by the way - note that's nothing against pub players, just putting into context), is that I have the gig I have because of how I play and how I sound, my bass and amp both contribute to that sound. Why send a pre signal to allow someone to much it up? I don't have £3k worth of rig to give me a bit of rumble on stage...
  8. I understand that people don't like post EQ, but the way I look at it (I also engineer too), is that as far as I'm concerned, I use the gear I use to help create / add to my sound. My job as a sound engineer is to make it louder but also make it fit the mix too, so I prefer post EQ as that's been set how the bassist likes it. The engineer on the tour I'm on understands that, and is more than happy for me to send a post EQ send, and he loves the sound he's getting and barely has to touch it. That, in my eyes is how it should be done. I've had an engineer absolutely ruined my bass tone, I had various people say "you've normally got a gorgeous tone, but it was just muddy, what's happened?" And I saw what EQ had been done and all questions were immediately answered. Not cool.
  9. You'll often find with PA that your bass sound is very different to your amp sound, it's because different speakers and desks have different sounds. I run my cab with the tweeter about half, in ears out sounds incredible, but recently I've been listening closely and the monitor sound is a lot less nice than the amp sound. In the same way, the front of house sound is different. On the basis that, cab is a 4x10, I've got Ultimate Ears UE11 in ears with 4 drivers I think they are, maybe more... And our touring PA rig is 4x18 / 4x12, so naturally everything sounds different. If you can, from your amp, send a post EQ send from your amp to the PA. I always do, as it gives me a lot more control of how MY sound is, I've sent pre before and had sound engineers absolutely muller my sound... that said, I'd had that with post as well - it all depends on the engineer, though in this instance you won't be affected by the looks of things. With that in mind, spend some time listening to your amp, then putting it in the PA, and just keep tweaking until your ears tell you it's right... and then save it on the desk.
  10. Sold a case to Ian, speedy payment, nae' fuss. Top marks!
  11. Playing at the Etihad Statium back in December - definitely the coldest I've been on stage. The hottest? There're several, recently was probably on Saturday at a theatre in Royal Leamington Spa, it was bloody hot that day. Even just getting gear from the car to the loading dock was hard enough. Just after sound check, we piled into the pub for some cold soft drinks, before the gig, me and the drummer sat in our dressing room in our underwear... After the gig, I had to peel my jeans off. Was bloody boiling.
  12. Yes, as long as it's got 5 strings as my gig requires it, and I'd need to drop some sort of pre amp in it, again because the gig requires versatility. I was always taught to make sure I can make any instrument sound plausible at the very least, as bad technique etc will show up even more on a top end bass than a bottom of the range bass. Okay, I was a tad spoiled as my first gig bass was a Wal (my old man is also a bassist), so I learnt very quickly about technique and such. The main bass (well until today), was a Warwick Infinity NT5, with a Jazz Elite V as backup. I'm waiting for my custom build to be completed to the Jazz will become my main, and the backup is going to be a Squier. I have no issues or concerns with that at all. I'll make sure it's well setup, I'm borrowing it so won't be able to drop a pre in it, but it'll at least get me through to the end of the gig if anything was to happen to my main bass.
  13. I'll be one of them, and I can't say I'm struggling financially either. I don't take it for granted, but my gigs more than cover every bill from car finance to rent etc, with good overheads. Work for me is basically gigs, which my main gig commitment is touring with a big theatre show, but I still dep for various other bands be it for functions, festivals, pubs and such. I also do paid studio sessions too every now and again, so that goes towards.
  14. Full time pro here - can safely say I'm in that elite club of people who look forwards to a Monday!
  15. I'll see if I can dig some out from when I built the board. Can't take any now as it's back up at my lockup, and filthy so wouldn't photograph well!
  16. Also, everyone should invest in a roll of ProGaff - you can tape leads down with it and it doesn't leave awful residue. Comes in numerous colours! Lots of flight cases on the tour, all of mine have a white strip of tape on, with my name and what each case is for. Same with the guitar stands, plus, strip round the bottom of the legs, show up under minimal light so you don't trip over them!
  17. Some of my favourite hacks: On my pedalboard, my IEM receiver is on there (got a Cioks DC10 so plenty of power!), and my pack is always in my bits box. Hey presto, instant monitoring wherever I go. On the sides of the pedalboard, one side has a PowerCon and a jack output socket hardwired to the Cioks and the output of the pedals, and I've got a 6m loom in proper sheathing and heatshrinked at the ends - one simple coil end of the gig, also neat and tidy on stage. Other side has jack in and XLR in, jack goes to signal chain, XLR wired to the IEM receiver - keeps everything neat on stage. Entire board is self contained too! Not done it yet but will be, each side of the board has a spare space on the plate for another socket, so another input is going with the inputs, and an XLR out on the output side too - under the board I'm installing a slimline DI box - acoustic bass goes into one side, signal to PA the other back down the send loom - neat and tidy on stage, everything contained. On tour, I carry microporous tape everywhere in the bits box, and another in my clothes case - tape my IEM buds cable to my back with plenty of slack - stops it sliding down my back and pulling, and also makes changing basses much quicker and easier. Silent jack on the acoustic bass - means I can plug and unplug it as I wish on stage without relying on sound engineer to mute / unmute. At home, I've got a compartment of my wardrobe (big IKEA Pax system) where my tour gear all goes when I'm at home. Basses in the bottom (double and a single Harvest bag), stand up next to each other and a perfect fit. Cases go on the shelves above - neat and tidy!
  18. EBS OctaBass black label, works perfectly though tatty to look at. Comes with original box and paperwork. Now Sold Untitled by Dave Butterworth, on Flickr Untitled by Dave Butterworth, on Flickr
  19. It's been up here once or twice before testing the water, but having ordered a new custom bass, this one is definitely, definitely on the market now. I'll be sad to see it go, but needs must! The bass in hand is a 2006 Warwick Infinity NT5, in a gloss finish. Condition wise, I'm going to say 9 out of 10, if you've seen my feedback, you'll probably know that I tend to underestimate a bit as I'd rather have a buyer 100% happy with what they get. But ultimately, it's a working bass and it has worked for it's living, so there are a couple of marks on there, but all very minor as I still baby my gear! The most superficial, is some very minor buckle rash on the back, and it has a slight mark just below the bridge too (that's too hard to photograph). Other than that, the bass is pretty much immaculate. Woods wise, the body is chambered Ovangkol wings, with a AAAA birds eye Maple cap, and birds eye Maple thru-neck, which is 7 piece, with Wenge accents. The fretboard, unlike usual Warwicks, is actually ebony. The bass start life as a fretless, and at some point before I bought it, was professionally converted to a fretted bass. To be honest, I didn't know it had been done, and being very picky with how my instruments play, there are no tell tales to say it was fretless. But, the ebony 'board makes it sound better than any other Warwick / Infinity I've played, that, and it's a very robust wood, with robust stainless steel frets, which have got no wear too. They're also much easier to keep clean, because as nice as the bell brass Warwick frets are, they rapidly go dull with use. The finish on the bass is a 2 pack clear lacquer. I had this done at the end of 2015 by Brian Eastwood guitars (if you haven't heard of them, I highly suggest checking them out. It wasn't a cheap job, but it's not a cheap bass). This was purely done to protect the wood, as being a players' bass, I wanted to protect the longevity of the instrument, and pale woods are noted for not looking great after a while if untreated. Whilst it was in, I also had them remove Warwick's laughable excuse for a barrel jack, notorious for failure (it's had 4 replacements in my time with it!), and a Neutrik locking jack was properly fitted in it's place. This has been absolutely flawless since, and this bass has been played a lot! Also, the plastic Just - A - Nut was replaced with a brass Just - A - Nut III, that and Warwick 5s are noted for being a bit tight on the bridges for B and E strings. The bridge has been properly filed during a setup to allow wider strings to fit with ease (I wasn't giving on Elixirs that easily!) As I've already said, the bass has worked for a living and I've described it as accurately as possible, but I've made sure it's stayed in fine fettle, receiving a full setup every six months without fail. It's always been transported in good cases too, and has never been dropped. Included in the sale is the original service pack it came with, and it'll be in the Warwick issue flight case too. I'll be sad to see it go, but needs must now. I'm asking for £2000, which considering the new price of these is very fair, and also taking into account the work it has had done. I'm based in North Manchester, but with being on the road, chances are I can bring it somewhere or meet part way. Failing that, I'm willing to package it up and ship it, fully insured to the value of the bass. That can be negotiated Strictly no trades on this one, cash is king! I do have some sound clips available of it too. Any questions, just feel free to ask! Untitled by Dave Butterworth, on Flickr Untitled by Dave Butterworth, on Flickr Untitled by Dave Butterworth, on Flickr Untitled by Dave Butterworth, on Flickr
  20. I'm sure Alex told me about that one
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