EBS_freak

You rotter, you.

I watched his youtube video earlier. That was a long video to regurgitate the same as what the hosting company put out!

Indeed - you got to start somewhere! In a modelling world, if you get it right, then assuming you are playing with moderately consistent gigging volumes, then your desk is EQing to primarily cater for the room. Of course, if you have the ability to tweak these sounds in a band context, you are making the sound guys life that bit easier (assuming you have a good ear that is!)

Brilliant - good to see you round these parts again

To our American friends. Buckfast is banned in the US. Apparently mixing large amounts of caffeine with wine is not good for keeping the peace.

Oh crumbs. Looks as bad as my neck of the woods. All I can say is, thank the heavens it's Little.

Surely the Scots have their own category?!

Yet more unwanted noise to mess with the mix.

I'm not sure that you would have dug on the offerings of ART and co from back in the 80s...

Skanks post reminded me of this blinder - https://www.iwm.org.uk/history/tips-for-american-servicemen-in-britain-during-the-second-world-war

and chicken that smells of swimming pools.

Why? Have Meg and Harry boarded a plane?

Bostin' ta.

Am I only person that is disappointed that proper fish and chips aren't served up in newspaper? I wonder if we can reinstate it now we are out of Europe? Oh, and to our American counterparts - yes, we do eat food that looks like that it has been consumed previously.

Listen, I'm from Wolverhampton. I know my place in society.

Helix Stomp - £429 RCF 735 or 745 - £719 or £1045 vs. SVT/CL or SVT/VR - £1919 or £1549 Ampeg 810 - £990/£1139 Actually, the Kemper option looks pretty cheap in comparison. In fact, you could buy a pair of RCF tops, a Helix, and onstage RCF for a comparable price to just the SVT - if you didn't want to go IEM. And your band would sound heaps better for it.

Roughly the same as in green shield stamps.

No scouser robs on their own doorstep it would seem. They all hop over to Manchester.

I'm offended by this picture. It's Pound sterling on these shores.

Hence my compromise bit. It's like all those folk that want an in and out mic on their kick drum. Just get the sound of the click and gate to a sine wave if you want that low end (without all the shyte lower frequencies that are a nightmare and picked up by that mic)

Indeed. Apologies, I usually don't refer to engineers in a gendered way. Funnily enough, a couple of really decent engineers I know are female. And they stand for zero sht.

A Helix Stomp, really? And there's loads of pubs bands backlines resemble those found at Wembley!

OK, its for a predominantly vocal performance - but its perfect in showing that he's earning his money there. I'm guessing that talent are all on headset mics, so no artist control of mic technique. They care about singing - the rest, the reverb, EQ, delays are all under this man's control. Every line, for every performer, making sure every piece of diction is perfectly reproduced. What I do know though... is that I can guarantee that nobody in the audience appreciates that work that he has been doing all night.

All these people that are looking for consistent tone and using fx by the way, something like a Kemper should be top of your hit list. The DI out of those gives everything - even a split on stage and foh feed if neccesary.

Its a good attitude. If you give a sound guy a feed they don't like and they tell you, it's because they are working in both yours and theirs best interest. If the mix sounds cack, everybody will look at the sound guy. The sound guy can't hold up a big banner and say, "the bass players feed resembles seven shades of sh 1 t". Chances are, if you have somebody who is on the ball, if there's a song where you're bass needs over drive, they'll drive it. I remember going to see a Floyd tribute and I knew one of the singers in the band. She was saying how the band were concerned cos it was a big show and they had a stand in sound engineer. Turned out this guy was the biggest Floyd nut and was getting all the delays, drives and riding the faders all night like an absolute boss. I think there's a big misconception about sound guys - there's good ones... and terrible ones. Let me find an example of how hard proper sound guys work on a desk.