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scalpy

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About scalpy

  • Birthday February 26

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    Herefordshire

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Total Watts

  1. Finally made the move to in ears and had a few months to get used to it. Generic shure model, as recommended by Cory Wong! They have to be in exactly right to be their most effective and I can’t smile as the bottom end disappears completely! But will eventually get some proper molded jobs now I’ve discovered how much I like playing this way. The pre has been in action for about half that time, but as a long time Markbass user it seemed a good choice (I shopped blind- or is that deaf?) and it has quite a pronounced character but I’ve dialled my perception in now and really like it. There was a debacle involving empty delivery boxes from the retailer etc but I’ll save that for another thread. I’ve just finished a run of show gigs under ‘normal circumstances’, amps and cabs and tinnitus, and have to say I’m another in-ear convert.
  2. What does she want to learn for? If she’s writing/ playing in original bands then she can tune it whatever way she likes. If she’s looking at reading gigs and covers (I’m thinking your standard pub/ function repertoire) then you’re going to give her a major headache, even if it’s not insurmountable.
  3. I’d also be interested, my long serving Markbass is not in the rudest of health as well.
  4. This particular gig it was bottles of champagne. The guitarist was constantly moving them away from his floor mounted Kemper and off the subs. We all made the move to in-ears not so long ago but the singers have been on them for over a year- we’ve definitely noticed that the stage invasions and littering have increased with the lack of psychological boundary. We thought that the lack of monitors posed less of a hazard for punters but actually the singers have had more people piling into them and their iPad, it’s daft how these things work out.
  5. Punters on stage is recurring issue for us, as is using the stage edge as a bin.
  6. Funnily enough this was a young farmers style gig- basically that community. So technically a private event booked by joe public so no venue insurance (in all likelihood I imagine) and no team dedicated to cleaning or security. We’ve done several for this set and every time something has wrong footed us, the only time we’ve had stuff nicked for example or been expected to play much louder than we have the capacity for. This is despite my wife being the former county administrator for the YFC and running their chairman’s events each year and the like. All the above advice has been very helpful though, thank you all, we shall look at how address these issues and navigate who has the responsibility etc. Looking at Dads picture of a stage above in the thread I’d be worried about the lack of rails around the three sides, but it may have been still in construction.
  7. To be honest I've not thought of a function/party band like ours using a barrier. Another thing to negotiate!
  8. The lights were on a tripod. Initially I thought it was the legs of those that tripped the guy up but several people who saw it more directly said he was just blind drunk and managed it all by himself. The PA arrangement is a one by ten sub that has two 8 by 3 columns plugged into it- an in-line array. They are light and compact so have a small footprint- hence a degree of instability.
  9. You're absolutely right and we're going to have to discuss how to tackle this in the future. We already ask for adequate power supply for example. The underlying issue if you pardon the pun was the ground the marquee was put up on- a farm in rural Herefordshire is never going to be billiard table smooth. The tent itself and the flooring was from a decent company. I don't know where the culpability would lie, so maybe another excuse to purchase the big FBT rig with giant subs I'm after- you'd have to be The Rock to tip those over.
  10. This topic often comes up on here so I thought I’d share an anecdote from one of this weekends gigs. Marquee gig, black tie event-so everyone thought they were better than everyone else, but the lining for the floor was not very level. Consequently the dance floor wasn’t either, which got wet with lots of spilt drinks and our PA columns, a HK elements in line set up, are a bit wobbly. We’ve had people swing from them like a strip club before so we looked at how to minimise the risk. Putting boards underneath them made them more wobbly if you stepped on them, and right out at the edges of the tent the ground was even more uneven. In a lose lose situation we decided to make them as obvious as possible by putting our lighting stands by them (on tripods), the same set up either side and hope for the best. We were on late and doing three sets, so by the time we got to our third set the crowd were plastered, trying to get onstage with us, drink was all over the dance floor and they were requesting any song they could think of, to be played at maximum volume whilst we grabbed a drink. My wife and I were just minding the stage when one gentlemen managed to lose his balance. The sequence of events was roughly- he falls into the edge of the stage of his own volition, keyboard with laptop goes over plus microphone, he puts his arm out and rolls off the stage into the PA column, toppling it and the lighting stand. Five minutes before the lighting stand would’ve sliced somebodies head open- it’s on of those bars with 4 LED digital par cans on. Somehow no one was hurt and nothing was broken but we would’ve had a very challenging situation on our hands if an accident had have happened. We will be be upping our cover, fastidiously updating our player list and checking renewal dates in the future- that was a seriously close call.
  11. I had that on VHS as a teenager in the early 90s, but there’s something about that exact tempo, sound and performance on 99 that just gets me.
  12. Not a live video sorry, never found one that has the same atmosphere but this is what Duck was talking about when he said he had a band powerful enough to turn goat’s pi55 into gasoline.
  13. Not trombone but trumpet, so an extremely tenuous similarity to Macca’s early career. The ox was a French horn player, so there’s a long tradition of b(r)assists.
  14. Sire V7 for me. I have two American G&Ls I have huge sentimental attachment to for various reasons and I prefer playing massively over the Marcus Miller. I don’t like the weight, the neck finish, the floppy B string, the colour (blood orange- seemed like a good idea at the time) the knobs and definitely not the tuners. But for some reason I’m happy playing it, it sounds brilliant, I’m not worried about it picking up dings etc and it’s good fun, somehow. Plus when the G&Ls get an outing it’s a luxury.
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