TimR

Quick precis of Collins recently from what I gathered from various sources online. He fell off a drum riser around 2009 and had back and neck problems which lead to him turning to alcohol and pain killers. Later (too late) he was diagnosed with a broken neck but the alcohol and painkillers have damaged his liver and pancreas, together with a drop foot from the damaged neck, he has diabetes, depression and an inability to perform or enjoy performing. Very sad.

This one? I suspect they may have had trouble dealing with 2 drumkits. I've always thought Genesis suffered with not having a dedicated bass player. 2 guitarists who took it in turns playing bass. Plus a load of keyboards. Their recorded material is much better. Depends which phase of Genesis you like. Peter Gabriel Phil Collins pre 1980/83 Phil Collins post 1980/83 It started going a bit different around Duke and ABACAB.

Agreed. But also the back of the mic needs to be pointing towards the monitor as much as possible to avoid feedback, while the front is pointed away from cymbals and any other cabs. I think trying to get vocalist away from in front of cymbals and away from in front of the guitar speaker is a good aim to have to avoid bleed.

I would expect sound pressure levels behind the cab to be very odd. It's important to get the bass cab as close to the wall as possible as it reinforces volume due to boundary reflections. Maybe the positioning of the cabs needs to be looked at as well.

It'll just be drying out all the gunk (oil and dead skin) that gets trapped in the coil.

It's the same effect as boiling strings. You're just removing the skin and oils, but with the added advantage that you don't have any trapped water likely to rust the core. At 200°c I can't believe there's no effect on the metal.

At least get the cheap Elacin ear plugs.

Soundpressure level drops by 6dB for each doubling of distance. So 0m 0dB 1m 6dB 2m 12dB 4m 18dB 8m 24dB

Yes. We are all just getting older. My favourite albums were earlier. Moving Pictures, Big Money, the later ones are good but don't match them. Geddy's voice and and Alex's hands mean that its unlikely the pair of them will play again in big tours in whatever form. I suspect mentally they're never going to be in that place. They did a very good interview last year having been in mourning for a year.

In 1988 a pint had just gone over the £1 mark. It's now close or over £6 depending where you drink. Any big name charging under £60 a ticket is undervaluing themselves.

I went to see Rush on the Hold Your Fire tour in 1988. The Clockwork Angels tour in 2013 was a completely different show. 1988 was 3 guys with longish hair and some lights. 2013 it was quite a bit more. Aside from additional orchestral members the video display and lights did not compare.

If it feels too loud and you can't hear each other. Then it's too loud, regardless of what any meters say.

We have all been in bands long enough to know that human nature means you need leaders and followers and without certain leaders nothing gets done. And if certain members don't pull their weight people get upset very quickly. And that's even more true when all finances are equally split. There are then arguments about how much is put into the common band pot (taxation) and who gets benefit of the PA. Before you implement full scale communism you must first fix human nature. Good luck.

He's an amazing guy, unbelievable what he has achieved. He created the software synth that powered music in Nokia phones and more in the 90s/early 00's. Here's him talking at Sweetwater.

Not to make drums louder, but to mix them. The drummer should be playing at stage volume and let the PA lift the rest to the audience.

Unfortunately you will find that musicians will constantly complain about the levels and the mix. And it will be the PA/Soundman/other members of the band - and not what they're doing themselves. If you find a way of turning down a guitarist's stage volume, other than tilting the cab and pointing it directly at his head, let us know.

https://www.prsformusic.com/royalties/report-live-performances

I went to see Nicko Mc McBrain a few years ago at a similar type of thing. It was very good. He was promoting his signature drum kit. A few people asked him questions. The one that upset him most was "When are Iron Maiden going to get back to writing good sings like in the old days?" at which point he was about to come into the crowd and thump the guy who asked it. So I just hope that no one asks the "Are you going to tour with Alex at any point in the near future?". Aside from Alex suffering from arthritis in his hands, Geddy can't sustain his singing for long. Barbican would be my close one and its a small enough venue (under 2000 seats) to be intimate enough to be interesting and you might get a chance to talk to him.

There is productive time and non productive time. Many people would opt for sitting on the beach time, effectively writing songs that no one wants to listen to. They're being paid for by the people sitting around watching carrots grow.

Universal wage needs 2 things. 1. Productive labour. 2. Ability to reward those who work more/harder in some way. If there aren't enough people being productive, you run put of resources.

Something that requires a large amount of input and research will only ever be possible if you can recover those costs. A good recent example is the Coronavirus vaccine. If you stop companies from making money from innovation then they won't invest any time in innovation. Effectively, all the hours spent on writing songs that aren't successful have to be paid for by someone. Where does the money come from?

So if you write a song that everyone buys, you get extra?

Low pass filters on all mics. Use the AUX for monitors, not 'monitor' output which tends to be a mono of your main FOH mix. A small amount of kick and (if you have them) overheads, together with a small amount of guitar in the mains will get you a more balanced sound FOH, rather than trying to balance everything using backline. Not for boosting drum or guitar volume, just for evening out the spread, you can then have quieter on stage volume. Good luck.

PRS seem to be more concerned with getting money from venues who have background music and are playing original recordings to the public. Shops, gyms, etc. And presumably radio stations with huge reach that they can charge more for. The venue will be charged an annual fee based on type of establishment rather than for each song performed so I can't see it being cost effective for anyone to be getting setlists from bands and them retyping and submitting lists.