Phil Starr

I won't be the only on to have picked this up but there's an interesting bit of research on his remarkable voice. The easy read is http://consequenceofsound.net/2016/04/new-scientific-study-confirms-the-audience-freddie-mercury-had-an-unparalleled-singing-voice/ and if you want it from the horses mouth http://www.tandfonline.com/doi/full/10.3109/14015439.2016.1156737 good luck with this one if you aren't a scientist Apparently he was a natural baritone singing in a higher range and had unusual use of his ventricular folds in the voicebox. the authors neither confirm nor deny his ability to sing over four octaves, Wish I could manage two. Fascinating.

[quote name='Kevin Dean' timestamp='1461188501' post='3032368'] I haven't seen EV mentioned & I've just ordered spme of there speakers ..I hope I haven't made a huge mistake . [/quote] They are good speakers if you got them at a decent price. I did a shoot out a couple of years back and they were more articulate than the JBL's, warmer and more 'natural sounding' (struggling for the right words there) than the Yamahas. The RCF's however give a lot more detail in the vocals and are freer of resonances especially the ones with the larger horn drivers, but at a higher price than the others. I've heard a lot of local bands using EV's to good effect.

Stop worrying about impedance. Because of the way we perceive sound the extra 200W only give you a barely noticeable increase in sound level. Technical explanation here https://www.ultimate-guitar.com/columns/gear_maintenance/making_it_loud.html Choose on the basis of sound and practicality

Sad but true most bands don't notice the bass player until they are gone. Your job as they will see it is to keep it simple and tight. All they are looking for is Will the new guy work at it (25/30 songs says yes) Does he have the pro attitude and gear (take all you'd need at a gig and your best bass, spare in the car)? Will he fit in with the band or cause a lot of strife? how quickly can we get gigging with him? If you can play 25 of their songs then it isn't going to take you long to learn the extra 5. Play like the original but erring on the side of simplicity. Make sure you listen to them, smile a lot and relax. If you've got the gig you'll all relax forget it's an audition and just play music. You'll just be musicians having fun and their bassist headache will be over. In half an hour you'll only get to play four of five songs. They may choose them or you might have to suggest some, be prepared either way. Good Luck let us know

Depends upon what you mean by paying well. It's mainly small country pubs and £200-250 is the going rate unless you get functions. Skidder has pointed you in the right direction. Lemonrock covers pretty much all the venues round here and contact details are on the site.

I find it hard to believe a simple drop would create enough acceleration to o that much damage. I suspect the speaker might have been loose inside the van.That would make it the responsibility of the courier. Unless it was damaged before it left. Write to the courier. Point out that the cab was undamaged so the packaging was adequate. The damage was clearly caused by a violent deceleration. Tell them that you intention is to repair the item and then bill them for the repair via the small claims court if necessary.

There's a local covers band (Blue Arse Fly) who have gone down this route, electronic kit, no backline, musicians with IEM's. I think they had some vocal monitors turned down low but that may be a false memory. Behind the stage you could clearly hear the tapping of the sticks on the rubber pads and a bit of vocals acoustically, out front it sounded like most of us probably sound. Quite enjoyed them. I'd find the atmosphere a bit odd but I wonder if you get used to it.

[quote name='chris_b' timestamp='1460798544' post='3028795'] Obviously it's not illegal to send the pot around or for the pub to say "it's for the band", and then keep it. We've had that happen in the past. Currently all the gigs that put the jug around give us the money. There are no "rules", so there is nothing you can do except cross the gig off your list. If it's a good gig I'd still do it. [/quote] It's in France so who knows but in the UK it's illegal, actually fraud. Of course nobody can actually afford to enforce the law though there have been cases where restaurant owners have been prosecuted for not passing tips on to staff. I'm with the OP though, you get to a point where dealing with dodgy dishonest B*******s just leaves such a nasty taste that life is too short to put up with it.

[quote name='Gottastopbuyinggear' timestamp='1460119139' post='3022765'] Looking forward to making some more progress, but work and other things have a habit of getting in the way so I'm not sure when I'll get the chance which is a bit frustrating. [/quote] That's why I don't have a full set of instructions written up yet.

There's a few reasons for battening all round. It increases the glue area, actually it doubles it increasing the strength and reducing the chance of failure. It also braces all the panels, effectively supporting them further in towards their centres and helps with panel resonance. Mainly though for a home builder it means you can screw your cab together which holds it whilst the glue sets. This makes it a whole lot easier if you don't have a set of clamps to hand. Drill out the battens and screw them on from inside, make sure the screws are short enough that they don't penetrate through the cab walls. I mark out all the panels before starting. Screw and glue all the battens on first then make a sleeve of the top bottom and sides. and sides. If you slide the back and the baffle in whilst the glue is drying they will hold the cab square until the glue is set. Then you can glue in the back. I fix the baffle with screws and a gasket. If you can't get the baffle out then screw something into the bit you will cut out for the speaker and pull on that, obviously not a problem if you have done the cutout first. Good luck, I hope you like it.

I used to build PA systems in the early 70's. The problem then was lack of volume and that dominated everything. Backline had to often do the job of the PA and reach the back of the room. Early solid state amps struggled for power, the early WEM amps wouldn't really do 100W and the HH amps only gave a lttle more (I'll see your 2N3055 and raise it a 2N3773 Dad ) Valve amps were heavy and expensive. Speaker drive units were low powered due to the materials they were made of and burnt out frequently. As a consequence speakers for PA were huge with a lot of drive units and a lot of complex horns around. The sound quality of live bands was frankly fairly iffy most of the time as few people could afford enough gear to do much better and 'engineers' were making it up as they went along. We didn't care though, it was our music and no-one had done it before so we didn't know any better, and it was louder than any music that we had ever heard. So the reason we use more powerful amps is two fold. It's cheaper and so we can afford it and it makes more sense to ditch the huge, hyper efficient speakers and carry something manageable in terms of size and weight.

Lemonrock is worth checking depending upon where you are in the country. It's a subscription based site for pub bands mainly, though free to gig goers. Not so many ads as the above but they are pretty much all from gigging musicians/bands so a lot fewer dreamers to sift through. Open mics and music shops always worth a trawl. I find JMB quite useful but word your ad carefully. As soon as you put the words 'gigging cover band' in you'll sift out the youngsters looking to form a first band, the dreamers who've written 200 great songs 'looking to put an album together' and those just looking for someone to jam with.

[quote name='Fonkbass' timestamp='1459550859' post='3017702'] Ok, i see your point on the Fane's, do you think the Beyma's would suit the Simplexx 212 design? [/quote] Stevie's right, or you could copy the design for the 1x12 we've been working on. If you wanted a 2x12 it wouldn't take a minute for one of us to re calculate the porting for a 2x12 twice the volume of the 1x12.

[quote name='Fonkbass' timestamp='1459446806' post='3016729'] Thanks Passwind, i'm beginning to realize this fact....i also had a look at Bill F's Simplexx 212, at least a choice of drivers is offered. I like the look of the Fane 12 500LF....I wonder if they will work with the Simplexx I've had Fane in the past and like the sound of them. [/quote] The Fane Sovereign range aren't great for bass guitar on their own, they are designed to be the bottom end of a PA speaker really. The response is usually flat and rolls off fairly low down. If you were going to use them in a multiway design then they might sound fine. Generally anything labelled LF won't be too good for bass on their own as they are designed for LF only.

Confession, I bought mine from Lidl, if the Aldi one is the same then the arbor (bit in the middle) is standard and you'll be able to buy any number of cutters that fit, should you later need a different size. Good spot Stevie.

Go for it, there's a lot of great music there to play and far too many people competing over earlier decades which have ever reducing audiences.

If you like the rig then buy another cab, it'll make a real difference to the sound which doubling the amp output won't equal. If that isn't enough then a Thumpinator or another HPF will limit the subsonic bass and clean up your sound much better than just backing the bass off a couple of clicks and will achieve that without affecting your sound.

30mm, I haven't looked it up but the cone will travel something like 14mm, you'll want some sort of grille to protect the cone and that will need some clearance so the cone doesn't hit. Most grilles end up with dents or a sag, so make that generous then you'll probably want the cabinet sides extending beyond the grille to protect it, maybe another 10mm. 30mm is a minimum in a practical cab that is going to be chucked in the back of a van. IME It'd be better if you did want it less to simply reduce the depth of the sides which would make the cab slightly (probably insignificantly) easier to carry. I mount all my speakers from the front, and simply run a gasket of draught proofing foam stuck to the baffle if there isn't a gasket on the speaker.

Maybe if I make it to the Festival this year!

[quote name='Beer of the Bass' timestamp='1459420936' post='3016324'] I'm still keeping the SM212 in mind as a possible option for my DIY cabs (which have Eminence Betas currently), but I'd want to spend some more time with the Betas before deciding if actually have a need to change. If I end up in a louder band some time, that might tip the balance... [/quote] Honestly I don't think the SM212 would be an upgrade, just different. The efficiency is roughly the same. The SM212 has a better xmax so will handle deep bass at higher power before farting out but the Beta isn't bad at that. At the other end the Beta has a nicely shaped upper mid peak and the SM212 a flatter response and slightly better top but I'd be reluctant to call one 'better' in that respect, just different. The extra Xmax and the cast chassis of the SM212 edged it for me at the time but I'd happily see people use the Beta. If curiosity overcomes you I suggest you try just one of the SM212's

[quote name='Chienmortbb' timestamp='1459352767' post='3015714'] Once we have the design sorted and drawn with instructions, are we going to do a group buy on the drivers? [/quote]I suppose there is no harm in asking Blue Aran or LMC audio if there is enough interest. Interestingly enough I've changed the amp I gig with from my Hartke 3500 to a LM Tube 500. I was using a 15" Deltalite with the Hartke but the Beyma sounds better with the LM Tube. I suppose that means I'm interested in a couple more myself. Anyone else interested?

I braced the rear panel, which is the biggest, with a couple of offcuts of the 3/4" ply glued along the longest length of the panel roughly 1/5th of the width in from each edge. This is the panel most likely to vibrate badly and the vane bracing just stiffens it up a little, it's fairly hard in such a small cab to brace it meaningfully front to back. I'm going to brace the side panels with a couple of broomhandle/dowels, just glued in place, again you could use off cuts of the ply, I have a lot of timber around so the dowel is to hand for me. There isn't too much flexibility in positioning the braces here either as they'll have to be clear of the speaker and the ports. The whole point of the 3/4 (18mm) ply was to reduce the need for pracing and to keep it really simple. The unbraced panels are really fairly dead with the exception of the rear panel. The material I use for a gasket to seal the baffle is the closed foam sold by all the DIY chains for sealing windows and doors against drafts. I always leave my baffles just screwed in place so I can get access to the inside should I need it, much easier than access through the speaker cutout.

1. Don't Panic, it may settle down, gigging all weekend knackers us all, well me anyway. 2. See a doctor, don't look for medical advice on the internet. Ask your GP for referral to a specialist, GPs won't have any special training in this area, keep on until you reach a specialist. Tell your doctors you are a professional musician even if you are only semi-pro. 3. Stop doing whatever gave you White Finger. 4. Nothing wrong with a pick. What goes on in your head is every bit as important to the music as what goes on with your fingers. Good luck and keep on playing!

Seriously, if you couldn't hear the drummer then within a few years your hearing is going to be so shot you soon won't be able hear anything, even when the music stops. Having volume wars is just ultimately stupid. If you can't hear the drums then you are up at about 110dB. That's going to cause irreversible hearing loss in minutes. http://dangerousdecibels.org/education/information-center/decibel-exposure-time-guidelines/ In addition you'll have a c**p vocal sound because all that noise will be bleeding through your vocal mics. You guys need to talk, preferably before you lose any more midrange and high frequencies from your hearing!

What do you want out of music? It takes all sorts in this funny old world. I love performing, happy to have a hobby that pays but I just love an audience, musically I'm just a tart, I'd play anything pretty much for a decent audience. For other people it's about the money and yet others it can be about the music or sometimes just about mastering a skill. One of my best friends spends hours on his guitar perfecting music he will never play in front of another soul and he thinks I'm crazy playing Mustang Sally! There's nothing wrong in going for what you want, if anything the crime is not finding what you want. Recognise reality but within that enjoy what you do and look out for opportunities when they come along. For me those realities are that covers are more likely to bring you paid gigs than original songs, no band will give you everything you want from music and you will never find another musician who will share your musical ambitions exactly. Almost no-one ever 'makes it' in music and scratching a living is hard and you'll have to make more compromises if you do want a living from music. So, don't expect any single project to give you ultimate fulfillment. One band might give you the joy of live performance in front of an enthusiastic audience, another the challenge of composition and a third the chance to play the music you love. Stop worrying about the things you aren't getting out of a project and enjoy what you can. Move on when you are no longer enjoying a project and think of your music as a journey, there's things you want to see and do, but you won't be able to do them all at once.