TimR

It was weird. AFAIK it's pretty much industry standard to have: Drums (kick,snare,hi hat, Tom's, cymbals) Bass Guitar/s Keys Brass Vocals Anyone can then quickly jump on a desk and see what's going on. I prefer to organise the vocals in the same left to right order they appear on stage. So lead vocal may not be the first one you come to if bass and guitar are also singing backing vocals.

Brewery have said they're looking for a new landlord and will reopen. If the established landlords struggled it'll be difficult to see how someone new can fill the spot. Isn't this usual tactics? fail to find someone, wait it out for 3 years, claim unviable as a pub, apply for change of use and planning permission, sell building and build retirement flats.

It's like all things, unless someone really understands why they're doing something, they don't know what they're doing. It's quicker and easier to do it yourself and have one other band member fully trained up. It's not rocket science but I know at least 3 singers who can't put up and take down a music stand. Not because they're stupid, just because they can't be bothered to learn and it's quicker for someone else to do it for them. I once had the guitarist's mate do the desk for us. I set everything up before he arrived. All the faders have the instruments labelled across the bottom on tape and that is the same always, (if we don't have a kick drum mic plugged in, the chanel stays labelled but empty etc), EQs all set as normal for the band, all AUX outs noted for monitors and effects. Next thing I know he's unplugged everything, ripped the labels off and started from scratch...

The Beta has a blue band. I think a lot of brands adopt that coding.

I don't know. I just don't feel limited or restricted as I play all kinds of genres. I guess if I was a thrash metal player I'd be stuck looking for bands. In the late 80s I played mainy thrash and listened to little else. But also played in small local amateur dramatic musicals and shows, and at jazz evenings with my dad.

I'm not sure. There are some styles I don't need to play and hence don't listen to out of choice. Reggae and anything with slap bass. I can play Reggae but it doesn't sound authentic to my ears, I have to try too hard and that's not the way to play music. I can't slap. Have tried but don't have the enthusiasm (or requirement) to practice day after day. But I guess unless someone offered me loads of money to play something I can't that's not going to change. So 'limited' is a bit of an odd description.

I'm not sure that anecdotal evidence is particularly useful as we probably all know a lot more musicians than non musicians. I was introduced to BrandX by a non musician and my cousin is into Fusion, and not musical at all.

The Feedback destroyer isn't very deep. https://www.gear4music.com/PA-DJ-and-Lighting/Behringer-FBQ2496-Feedback-Destroyer-Pro/

Just seen The Horns has closed. I played there, was a great venue, big stage, and very large building n centre of Watford so imagine their rates and electricity were huge. Sad times. https://www.thehornswatford.co.uk/

Yes. I realise that. I was commenting on how Devine approached it.

I believe everything apart from solos was scored in the Devine King project. There's lots and lots of unison and they didn't get together and rehearse. It was all single take stuff. Which pretty much shows what level of musicianship they all have.

A friend of mine was an electronics whiz and built a '16' track mixer. Although it may have been 8 or something, no EQ, everything was mic'ed up and the electronics were rotary dials, all housed in a biscuit tin. All recorded live, in mono, and sounded pretty good. I bounced the tape into a WAV file on my PC a few years ago with the intention to try and master it. About 1987.

It's not really Scott Devine's project. It's Simon King and some monster players. If I understand correctly Scott felt very out of his depth when he received the scores. I assume the Devine King label is marketing. Scott is a master marketing. I think it's superb. It's Fusion and you need to immerse yourself in it and be comfortable with changing meters and odd tinesignatiues.

Does he have a headset mic? Get the mic right up to his lips and won't pick up any drums then. And it doesn't have such a bad a look as closed headphones.

I have a beringer feedback destroyer. I think they're only really any good for killing specific frequencies. It'll struggle with general rumble and back feed of instruments, they're not designed for that. A drummer singing who isn't empathetic with his playing is your issue. If the band can't control their on stage volume, you're in the wrong band.

It's why I want someone local. It's such a small job I don't really want someone who is going to travel miles. Must be someone who can pop in on their way home. Previously the guy has done it inside an hour and charged less than £50.

I'm trying to find a local PAT for a few lights and an amp. Googling for a local electrician is a bloody nightmare.

In the old days you'd read one of 2 or 3 books that told you pretty much everything you knew. Then there were a few magazines. A lot less conflicting information. They were written by people who had been there and done it. Lots of Internet advice is second hand knowledge, half learned, a lot of it people have spent money on gear and are then emotionally invested in it 'being good' otherwise they have to admit they've spent unwisely. Then there's advertising - just because something appears a lot, it doesn't mean it is good, probably just means they have a good advertising budget, or effective media team. I think if a group is annoying you, I feel some posters here seem to get a biased view of how much other people post in off topic, and often that's probably because they have common interest in the same subjects as those posters. It's not common for everyone to post in every topic, but if you keep coming across the same posters posting in the same topic as you, it can feel like that a bit. But then ask yourself - if that's my view of them...? Maybe visiting groups regularly or having 'all' notifications on is a distraction and it's the other things in life that are actually winding you up, and this is just one more thing troubling an already irritated mind.

I don't. It's the sound engineers job to reproduce what you sound like on stage. As per another thread, your band needs to keep their onstage volumes down to start with. That gives the engineer something to work with. The only thing I ask for is a bit more/less (bass, guitar, vocal etc) in my monitor to suit. The only time I've ever spoken to an engineer while a band was playing was to tell him he'd lost his bass guitar feed. He shrugged and pointed to the chanel fader and so I told him to PFL the chanel in his cans. After which he sent his assistant rushing off to the stage to work out what had happened to the cable. 😆 You can't determine the quality of the sound engineer, often they are just engineers, not producers.

Its just people either being too lazy, unable to use Google, or too busy. There are a lot of people who just don't have the skills to limit their search to keywords, or even work out what keywords to use. And to be honest, the more people like that there are around, the more likely a lot of us, with good IT skills are going to stay in high paid jobs. Plus it's better to strike up a conversation with someone about the merits of a bit of gear than it is to Google lots of reviews and comments on other forums etc. You don't have to answer or even read every post and/or comment.

It's a high pass filter with full range sent to the 10" speakers, they will have no effect on the crossover frequency.

It has a 3.5khz crossover.

Assuming you're going to build 4 cabinets. 3 for 10" speakers and one for the amp. What about the horn? Put it in one of the cabs? At least you have the option of putting it all back in place. Try and get the Theile and Small characteristics and there was a program called winISD that would show you plots depending on cab dimensions. Don't know if it still exists.

She has been ill lately. That may have been one reason not to have a fully rehearsed band up and running. Dancers can learn their stuff in seconds and from recorded music. Having a band recording music and then sending it to dancers seems to be quite a lot of work.