peteb

Does anybody actually bi-amp any more? How very 80s...! Actually, when I used to sort of bi-amp (back in the 80s), I used a pre-amp into a PA power amp, with one side going into a 410 and the other into a 215. Sounded great, but totally impractical when I ended up in a band without a van and roadies! A very different looking set-up to yours!

Just pulled the trigger on the Zoom! I don't suppose that anyone knows if it is compatible with a tripod with a universal 1/4 Inch screw thread?

In practical terms, he is quite correct. All the bands I am in tune 'down one' i.e. we detune to half a step down, but we don't say that we are playing Whole Lotta Love in the key of Eb. However, technically that is exactly what we are doing!

What's the bass??

Exactly! I have an MXR M87 and it's on all the time - low ratio, quick attack & quick release. I just forget it's there, but I know that it helps different types of playing sit in the mix for the reasons you have said.

That sounds interesting, probably just what I need. I can't really justify the expense of going down the GoPro route, so this looks like it might be a more cost-effective option. I have friends who use GoPros to put on drones and take aerial photos or to film their diving exploits! I'm not doing anything that adventurous, just for uploading (mainly) band stuff to social media. The thing is, and I can't emphasise this strongly enough, at my age I just haven't got the patience for learn anything overly technical! It has to be used friendly and easy to retrieve files from the unit and save them onto a laptop, so that I can upload them onto social media. Thanks and I shall investigate further.

That looks interesting. I wouldn't mind something for posting odd bits of soundchecks or whatever on Facebook, or possibly YouTube. I have toyed with the idea of getting a GoPro, but they're not cheap and I'm worried that it might stretch my limited IT capabilities / patience. Would this be more suitable / easier to use?

Like it or not, hardly any bands that do anything are proper democracies. Sometimes they may have democratic elements, where everybody gets a voice, but when comes down to it there is a leader (or maybe a couple of leaders) who get the final say. I'm afraid that music is undemocratic by nature...

I imagine that being mistaken for Lennox Lewis could have its advantages - unlikely to get hassled by aggressive idiots for a start...!

You must be somewhat younger than me! At one time, my rig was a 410, an ace but but really heavy Yamaha 215 loaded with JBLs and an 8u rack containing a separate preamp & a PA power amp! That wasn't particularly unusual at the time. My current 410 is much lighter than its counterpart of 30 years ago. Let's be honest, there is always a compromise when using lightweight gear. I've never found a Class D amp that I'm happy with and I prefer the sound of ceramic to neo speakers, even though the neo 212 that I usually take out these days does sound pretty good (but not quite as good as the ceramic 410).

It's not just the number of gigs, but the distance you're driving and consequently the time you get back home. Until recently, I was using a Mesa amp in a 4u rack and a 410 with ceramic speakers. It sounded great and wasn't really that heavy compared to the 810s and other amps we used to shlump about a bit ago. These days I've got a Handbox R-400 (I just can't get on with Class D amps) and a 212 with neo speakers, which is a bit easier at the end of the night (I know that some people here who will think that this is still heavier than they would be prepared to take out). I'm not really doing that many more gigs these days than I was, but they tend to be further away and the band is more spread out, so it's not as if there is anyone to help at 2:00 am to unload the car. Funnily enough, I recently did a local gig at a venue run by a coupe of mates of mine - one a guitar player I've played in many bands with and the other a former pro bass player who's toured with a couple of big(ish) names. They were both amazed at how small the rig was that I turned up with and the bass player was saying that he would have to think about putting together a more transportable rig (he's still using a rack and two 410s). Now what I'm using isn't that small compared to what some others are going out with. It goes to show that while smaller rigs are the fashion on here, there are still plenty of guys going out with old school 412s or 410s (or even 810s) every time they play a larger venue.

I will just leave this here

https://www.google.co.uk/

But the thing is, we're all just song and dance people. Whether you like it or not, you are in the entertainment business and if someone has enjoyed the show, then meeting and briefly talking to you afterwards adds another dimension for many punters. If you sign (and hopefully sell) something, then that is just a memento of a good night. Of course, you aren't actually famous and whether they still cherish the signature a few weeks later is another thing. But that's not really the point, it's more about the moment... The only problem is if you sign a few autographs and start thinking you're in the Rolling Stones! We've all seen that happen and it's never a good thing (even if you happen to actually be in the Rolling Stones)...

These days only occasionally, as well as the odd request for a selfie. Back in the 80s - many, many times! It occasionally amuses me to think that somewhere there is a woman in her mid 50s going through a shoebox of souvenirs when she's moving house, wondering why on earth she asked for my autograph and trying to remember who the hell I am...!

So why post on this thread?

Oh yes, the operation that caused him to start singing like Vince Neil* and speaking like Roger Moore playing Widow Twanky**! It also caused them to stop production of the 1987 album with just the vocals to do, Sykes to suggest that they get another singer in to finish the album, Coverdale to fire Sykes for even thinking of that and then to supposedly lock himself in a car to stop Sykes from beating him up...!! *** * OK, a slight exaggeration ** Not much of an exaggeration *** All 'allegedly'

I'm afraid that I am a fount of knowledge / trivia about 70s blues rock...!

Remember that Coverdale got his initial break because Blackmore wanted a singer like Paul Rodgers, but when they asked Rodgers he turned them down as he had just started Bad Company. Coverdale (completely unknown outside the North East at the time) sent in a tape where they thought that his singing had a PR like quality, so he got the audition and then the DP gig!

Queen of Hearts from Northwinds - a bit different from DP, but a nod to the blues rock of early Whitesnake (but a bit more subtle)...

I don't think that anyone is disputing that. Rodgers is one of the last of the great rock singers from the 70s / 80s who is still at something like the top of their game (or near enough at least). Coverdale has sounded pretty awful for years, especially towards the end of a long tour. His voice has long gone. However, Coverdale had a 'purple' patch (if you will excuse the pun) from Come Taste the Band, to Northwinds, up to around Come an' Get It. In that period, he was as good (or better) than anyone. It's unfortunate that the stuff he had his biggest hits with was when he started singing in a slightly different register, IMO losing the quality that made his voice so great in the first place.

It's a really good album with a few great songs (Queen of Hearts / Only My Soul, etc). Micky Moody on guitar and co-writing and the great Alan Spenner on bass. Well worth a listen...

Remember, Coverversion got the DP gig because Paul Rodgers (who Blackmore originally wanted) wasn't available! If you listen to Northwinds, (DC's second solo album), he just has this great blue-eyed soul voice, but could also belt it out as well! The vocal performance on that album is as good as I've heard (in that milieu at least). The pairing of DC and Glenn Hughes in DP worked really well, and was even better with the addition of Tommy Bolin on CTTB.

Yea, I think that Coverdale from the late DP era, solo albums & early Whitesnake was right up there with Rodgers. Actually, he might possibly be my favourite singer (from that era at least).

I always had a soft spot for Knocking at Your Back Door, despite it having some the dumbest lyrics I've ever heard (even by Ian Gillan's very high standards - so bad it's brilliant).