DaytonaRik

Last couple of gigs were The Dead South - an eclectic Canadian bluegrass folk band at a sell out Rock City in Nottingham. A few days later I witnessed the supremely talented Phil X (lead guitarist with Bon Jovi) and his band Phil X and The Drills at the much smaller Rescue Rooms next door. An amazing gig with a guy who is not only amazingly talented but also very down to earth and fun to watch. A bargain at £13.50! It beggars belief that there are 2nd rate bands selling out Rock City main room (not The Dead South - they were excellent!) and there were less than a couple of hundred at this gig. As someone once said - never confuse ability with popularity

I work as a software support analyst for a software house specialising in transport management systems - strangely enough interfacing directly with any UK system designed by @Rich! I've been there 14 years and worked on systems from route diagramming, rolling stock maintenance and pantograph checking through to traffic management on the Western route, plus our signal control solutions and traffic movement monitoring across large parts of the UK rail network.

Yeah - that'll go horribly wrong for you...as will sending delay to the reverb sends and vice versa! Good to see that you've made a more positive start. Check out the Behringer vids - there are some good things on there re setting up you XR18 with things like monitors, FX, EQ etc

You know this X32 that you don't really have a need for...? 😉

We have a default scene which was created in a large, bright, cavernous hall with a high vaulted ceiling at the loudest monitor and FoH levels we could tolerate - the theory being that if we started a gig with the desk set for the most unfriendly conditions we could think of then we're not starting off the night fighting feedback etc. So far this approach has worked well with monitors rung out, channel EQs sorted and in reality apart from a few gain/EQ adjustments the only real change we make to each gig is the FoH EQ curve which has a significant bass boost to compensate for the bright 'setup' venue. It's worth investing some time and maybe even bringing in a local sound engineer to help steer you in the right direction. We took this approach and it saved us hours of experimentation/head scratching. He also pointed me in the direction of a few tricks that I'd quite likely never have found or thought of myself.

I didn't see this thread...and a good job as I lasted about 7 weeks before the Steinberger Spirit and a new Sennheiser EW100 G4 wireless setup found their way into my possession! Ah well..there's always next year!

I started with, and still have my XR18 although that's now relegated to a backup and a small acoustic trio desk duties. After 12-18 months I bit the bullet and upgraded to the X32 Rack. Think of it as an XR18 on steroids - 32 inputs, 8 FX slots (4 for insert type FX, 4 for traditional sends such as reverbs, delays etc), 12 Aux sends (possibly to use 14 is you only have a couple of send/return FX slots) enhanced routing options, AES50 digital stageboxes running over a single CAT5. I run an SD16 to the drum/backline and an SD8 to the FoH - wired vocal mics, wedges and main L/R from the SD8 and backline, kit mics and drum wedge from the SD16.

I'm pretty sure that at those levels of touring where the only thing you have to drag is your tired carcass from top hotel to top hotel, are flown to the city of the gig (yes, this happens. I was lucky enough to meet members of AC/DC at Manchester on their Rock or Bust tour, and during the course of the conversation I found out that the band were actually staying in London and flew into Manchester in their private Airbus) then driven to the venue, where you don't even sound check, and then return journey after the show/meet and greets etc. Surely this it's a hell of a lot easier than Joe Average's gigging experience of loading the gear into a van, driving to the venue, unpacking and setting it up, playing the gig, putting it all back into the van, driving 90 mins home then unloading it all, only to be knackered all-day Sunday before going to work on Monday morning.

I was half expecting it to Kelly Jones plus guests!

We use The Box Pro A12 Monitors which are either a clone of or the same as the Proel WA12 wedges - Not all bad - compact, portable, wooden enclosure, 12" co-ax speaker and plenty loud enough for pub gigs. I've tried to wean my band onto IEMs - vocalist said "it was like having aliens in her head!", guitarist A hated them, guitarist B likes them and wants to try them in rehearsals. Our drummer would prefer to stick to his HK Audio Power Works top as a monitor. As EBS_Freak has said - most musicians they expect miracle results with budget earphones why trying and rejecting an IEM solution. Quality in this market definitely comes at a price and it's a lot of cash for someone to take a risk on unless they're already convinced that IEMs are the way to go.

I drunkenly promised the CEO that we could get a rock band together for the Xmas party. 6 months later the band played said gig and now 3 years later three of us are in the same rock cover band. As for the OP - a lot of amazingly talented musicians out there in YD-land but I'm not worrying about it as it has no impact on me either in a positive or negative way. I turn up every 2-3 weeks at a venue, set up my gear, play a gig to a bunch of people and make them smile then go home after a great night with mates and a few beer tokens in my back pocket...it's enough for me.

I've also seen it down as 'Richlite' - resin infused paper which should last forever! I'll be happy once the dye stops coming out over my fretting hand! I think it sounds pretty good - and certainly belies it's price tag. There's a usable range of tones with the combination of the volumes and tone control for most people. Eying up a 5 stringer next Still having too much fun playing it take to some reasonable photos...tomorrow...I promise!

Other Whitesnake versions are available...thankfully! I play the lines from Live in London as played by Marco Mendoza

Update!!! There really should be a better manual, or at least a section covering the DB bridge. There’s a 1.5mm hex grub screw accessed via a port on the E-side edge of the DB bridge which is tightened to hold the knurled D-tune adjuster thumbscrew in place and prevent accidental adjustment when not under tension but no mention of this anywhere. I spotted it quite by chance and happened to have a 1.5mm hex key to hand. Additionally,, the fingerboard is made of “engineered hardwood” and the dye is leeching a little...I suspect that given the amount I sweat when I gig that the excess will soon be washed away!!! 🤣 Better photos tomorrow...I’ve been to busy having fun playing it tonight!

As mentioned in my "anticipated arrival" thread - I have the need to for a bass that takes less stage space than a Thunderbird, particularly in smaller venues where there can be 4 of us across the front of the 'stage' with both guitarists' pedal boards in situ, a vocalist and myself singing backing vox so the Steinberger XT-2DB was the obvious choice really, especially as it added the option of the Db bridge. Out of the box impressions are good - weightier than I had anticipated it is certainly substantial despite it's diminutive stature. The neck profile is nice and slim - very similar to my Thunderbird if a little chunkier in the hand but not uncomfortably so. The Db lever isn't too obtrusive when palm-muting but you do know that it's there. Volume and tone knobs are smooth and crackle free, no sharp edges to any frets and although the action is a little high this is the work of minutes to resolve. The gloss black finish is deep and flawless Overall impressions are very positive, and given that you can get these for less than £300 they really are a bit of a steal if you can get on with the visuals. Not sure how that's going to work in a rock band...guess we'll find out on Sat night!

I use the generic velcro double sided stuff on a roll from Amazon. Just tie the wraps back around the cable near to an XLR plug to keep track of them, and then you have the wrap ready at the end of the gig 😉

Pretty much my band my rules but that said none of us want to play the super obvious cheesy dad rock/over played stuff so although we play tracks by AC/DC, G 'n' R, Bon Jovi etc we play If You Want Blood not Highway To Hell or Whole Lotta Rosie, You Could Be Mine not Sweet Child o zzzzzzzz, Sleep When I'm Dead not Living On A Prayer. We also drag up some great covers such as Thunder's version of Play That Funky Music, Gotthards take on Hush, The Atari'c cover of Boys of Summer, Nickelback's Saturday Night's Alright and so on. HAving a female vocalist means we can chuck in tracks by P!nk, Republica and Hole too. We stay within the rock genre, but really try to avoid too many over played tracks and definitely avoid the 'dad rock' label at all costs

Always good to see some love for the Thunderbird. "The Gibson Thunderbird is the crazy drunk chick you won’t bring home to meet your mama. She’s wild, she’s the sexiest thing ever, she doesn’t do anything all that great, she’s fragile or broken, and she’s very expensive. She’s a one trick pony in a bad, bad way, and has a nasty attitude (like showing up at the prom in a leather jacket). She won’t balance, won’t intonate, and is big and clumsy—the bass equivalent of a blown Chevelle. All that said, no other bass has the tone, sexiness, or attitude of a T-Bird" Kevin Borden - Premier Guitar Magazine

Now I’m a lover of my Thunderbirds...they are “me” in both appearance and tone but fitting a 5 piece rock band into some venues can be challenging and the T’bird doesn’t help matters so I’ve picked myself up one these for those more spacially challenging gigs! As well as that, next year will see me playing a few gigs alongside a couple of acoustic guitars for an “unplugged-esque” acoustic rock thing and this might be less visually imposing! Reports and photos when it arrives

Around a dozen and absolutely intentionally - we all have jobs, other interests, some have families. This project was always going to play 10-15 gigs a year and that's what we make sure happens.

Definitely the case with this band - a fine set of lads and a lass...not so much with some of the bands I've previously been a part of.

I think my pre-gig prep is quick because of the post-gig prep I do - over a few days after a gig I always recoil the cables in the XLR and power cable trunks, print off fresh set lists, load the mixer with a patch for the next venue if one exists or if not a blank venue patch, clean basses, change batteries in IEMs/wireless packs/mics etc. It's as much about this as it is is preparing on the day of the gig. I know that if I grab a given case, box, etc its contents are correct and ready to rock, but I don't want to spend all gig-day sorted things out in a rush that could have done been at my leisure a few days before.

Pack Van Drive to Gig There you go!

Would that be Frank Knight? If so then he's a top bloke and a great voice. I met him backstage at an AC/DC gig a few years ago along with his wife - we were both guests of Chris - and I knew that he had also guested with Accept and I think Krokus at that time.

Despite fearing the worst all day - one band member is notorious for leaving sarcastic messages regarding sound etc - last night's gig was an absolute belter from the word go. A really good crowd that ebbed flowed through the night but a solid core of die-hard rock fans remained throughout and grew steadily. Punters dancing on tables, beer everywhere, near disasters with beer, monitors and people falling over - just what a rock pub gig should be! Got home with a massive grin on my face and looking forward to doing it all again this Friday