Japhet

I'd always read glowing reports about Eden amps but hadn't ever had the pleasure and very rarely heard one live. Eventually an older USA made WT800 came up at an affordable price so I snagged it. It needed quite a bit of sorting out but once that was done 'Oh My Lord!' what a fabulous sounding thing it is. Tone is to die for and everything is clear as a bell. It seems impossible to get a bad sound out of it (and I have tried out of curiosity). 

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Muscles - Diana Ross

Shout out to some drummers. David Garibaldi, Gavin Harrison and Dennis Chambers spring to mind as absolute monsters behind the kit.

Have been using an Ibanez Talman 4 string for a fair while now. No sign of any neck dive and the sound has bags of grunt. A few other people have played it and have been really impressed too. I also like it because I invariably end up with so little space to move in and short scale just makes it a bit easier.

Times have changed (thankfully). Back then he (and Saville) could get away with all sorts because they were surrounded by aging DJs who also groped and leered at young girls on Top of the Pops and most likely TV executives who liked a bit of workplace sexual harassment which wasn't reported. The most shocking thing about the whole celebrity paedo thing for me though was that Stoke Mandeville Hospital knew all about Saville but allowed him to carry on (and even facilitated some of his behaviour) because he raised a massive amount of money for them. That is truly grotesque.

30 minutes ago, fretmeister said:

 

this can be brilliant - doesn't have to be more though. Can back off and then come back in harder. 

A lot of drummers think dynamics are all about going louder / more complex than the normal! They need to learn that going quieter and simplifying have just as much a dramatic effect.

 

The late Vinny Paul of Pantera was fantastic at this. Sometimes the guitar and bass would stay absolutely the same through 12 bars and yet every 2 or 4 bars the feel of the tune would be completely different, even to the point that it felt like the tempo had doubled. It hadn't, it was all in the drum arrangement. He really understood how to do that and he backed off just as much as he pushed forward.

Not just drummers needing to learn that. I've always worked on the principal that if you never turn it down, you can never turn it back up again and that's a big mistake.

Deer Prudence - The Beatles

Danish Boy - Muddy Waters

Roll Over Beethoven - ELO

East River - The Brecker Brothers

30 minutes ago, EBS_freak said:

I’ve already done it. Problematic wedding venue. The band went silent stage, the audience went headphones. It’s not that strange really - silent discos have been a thing for ages.

 

Only difference really, is that you better know how to mix when everything is crystal clear!

 

here’s an example -

 

 

No surprise that I'm way behind the curve (as usual). However, that gig looks surreal (and sterile) to me. Audience didn't look too engaged in it either.

I can't help but wonder whether there will come a time when audiences too are supplied with headsets at large gigs. How surreal would that be? Huge crowd, band silence in the arena as they jump about and sing out of tune. I wonder what the reaction would be if you told potential punters that this is how a gig would work. I'd hazard a guess that many of them would be horrified and would much rather prefer the rawness of soaking up a conventional gig at normal volume.

I play in a 3 piece rock covers band and have 2 drive pedals on my board. Ampeg Scrambler as an always on for a bit of grit. I also have an EHX Battalion (maybe changing to a Joyo Orange Juice) for when the guitarist is soloing. That boosts the mids a little bit and fills the sound out a bit more without making it sound mushy.

Probably in a tiny minority here judging by some of the stuff I've read, but I've played a couple of gigs with IEMs and absolutely hated it. Just feels like you're in some sort of cocoon where you're shielded from everything apart from the band. No connection with anything else and also I found them uncomfortable and irritating. Give me an amp and a cabinet any day. 

Come On Baby Light My Fire, primarily because of the God awful intro played on what I assume was one of those plastic Bontempi keyboards. Either that or a Stylophone.

Tiger Feet - Mud

I think it's more genres of music that I can't stand. For instance, the pseudo operatic wailing of Bruce Dickinson just instantly boils my pi55. I don't mind a bit of heavy music but don't go all 'Pavarotti' on me, please.

My Favorite Things - Julie Andrews

PM'd

I Can't Gopher That - Hall & Oates

The one in our setlist I dislike at the moment is Bad Moon Rising. Not that it's a particularly bad song, but there are so many great CCR songs and everybody plays this and Proud f'ing Mary.

• Wake Up Boo! - Boo Radleys

Ava Drink On Me - AC/DC

I Feel the Earth Move - Carole King

Engineers generally like as clean a signal as possible which means pre EQ. That's all well and good until you run into a sound engineers who doesn't know what a bass should sound like.