soundian

What time?

The drunkrer the bettrer.

Try having 90 pissed people in your bedroom and see how long that takes to clean.

Suits me but some people have to work late on a Saturday night.

Gain structure. Basically speaking, your gain amplifies the input signal to the electronics in the amplifier. The volume determines how loud this will be after all this electric trickery. If you have the gain set high you're asking the electronics to work past their designed specifications, resulting in unwanted noise. It all depends on the guitar too. Ones mans nice distortion is another mans piercing feedback. I doubt if the PA was to blame although putting guitar through monitors can sometimes exacerbate any existing problem.

Wed 5th is by far the best for me although I'll have to dress a bit smarter than usual to avoid being thrown on a bonfire on the way into town.

Should be good for me.

I'm in Glasgow Thursday, obviously Tues, Fri and Sat are no good for Drakes. A week Sunday/ Monday I'm not sure. Zombie should have licked a couple of wastelanders into shape by Sunday night though.

When would be this week hopefully. I seem to have an unprecedented 4 days off in a row, starting on Sunday. Beer being no 1 on the list I can only assume means it's got the casting vote. It'll probably turn out that way anyway.

True diversity UHF with a balanced output. Anything less is a toy.

Condensers do need an external power source. Budget models usually have a battery compartment, medium range require phantom and the big boys have their own power supplies. Condensers typically have lower SPL (sound pressure level) handling ability. Check before sticking them in a kick drum or in front of a bass cab.

As far as dynamic mics go, SM58s are still standard for vocals (cos they can take a lot of abuse), SM 57s for guitar, snare, most brass. The only real problems with dynamic mics are: the bass proximity effect (more than an inch or two away and the bottom end practically disappears), and the lack of sensitivity to high frequencies (typically not much after 15KHz). It all depends on what you need the mics for. If you're recording then invest in a decent large diaphragm condenser. If it's for live work, your own vocal mics are all you really need (unless you require a lot of DIs). This is mostly for hygiene prurposes (you never know who's been spitting in the mic before you and germs do love the hot, humid atmosphere of gigs), but some vocalists benefit from having a particular type of mic. And I would suggest a national company to buy something like mics. You won't need technical backup, which buyiing locally normally assures you but large companies don't, and it'll be significantly cheaper cos they can buy in bulk.

What if the best song of the year happens to be a 'grower' instead of one you instantly like. Or even worse, what if there's a song out there you instantly like and then discover, after several listens, that it's an irritating pile of dog-doo. We may need counselling after this. The responsibility is great.

But surely we'd get a more balanced opinion on those colours if these people were invited. Tom and Craig, as far as I know, have no strong feelings on any particular colour.

Re: ambient room mike And that's coming from the man who is corruption personified. Anyway, I wouldn't want DLMFS to win, can you imagine the smugness that would radiate off the stage as they gave each other awards. I'm thinking more along the lines of: Best acoustic act: Bonesaw Best punk act: Marie Thain You get the idea.

Nearly every one of the cancellations are due to the bands pulling out for various reasons. Because Kef does a lot of bands who have just started to get decent press, the whole tour can sometimes fall down because a couple of promoters elsewhere get cold feet and pull the gig. Aberdeen, being a bit off the beaten track, is almost always the first to get cut after that to save money. Most of these bands are based in Southern England and a trek up to Aberdeen is costly in both time and fuel.

What about me, you know I hate all bands equally. Except those I hate more than others.

It's a good job I turned down your kind offer to do the gig, cos I too feel like death warmed up. James WBL hasn't been near me either, there must be some other plague carrier. You'd better get your Lemsip in before I buy up all the stock in Aberdeen cos bed's not an option for me.

How poncy do you wanna get. 1) Basic standby. SM 57 in front of speaker, nearer the edge for more treble. Nearer middle etc. They have to be close cos their dynamic and have a bass proximity effect. Using condensers, especially large diaphragm ones, will generally give better results and can be positioned further away. 2) Use more than one amp/speaker and mic up all of them. Mix as required. 3) Use ambient mics some distance away and mix in with 1) or 2) The sound you're looking for will be what comes out of the amp initially, then you can fuck with it. If it doesn't sound good out of the amp, don't bother putting a mic near it. Shit in, shit out.

That's a Dsus2. Very common chord, play about with it a D and Dsus4 and you'll be surprised the number of songs you'll recognise.

How can you play cricket, you're a small plastic box. Oh, I see now.

Del, it's Estonian Folk Limericks I do. Wouldn't have a clue about all that Latvian nonsense. My preferred backing tape would be a recital, by Kenneth Williams if you can find a good medium, of all threads entitled 'Best band/musician in Aberdeen'. I think the rythmic flow and repetitiveness of these will provide a hypnotic ambience to layer the limericks onto: like an artist using a palette knife.

I'm sure you could use it that way but 'your chops' is definitely technique. As I said before it comes from the way a wind player used their tongue,lips,teeth and cheeks to produce a note. Chop is another word for jaw and is normally used as a plural. 'I'll smack you in the chops'. Only read this bit if you're an insomniac! Chap also means jaw but it also means 'an opening or fissure in the flesh or skin'. I wonder if there's a connection.

I'll have to take your word for that then. Why is the tension so low on the second (standard hat) pedal though (especially since it's open)? I have to assume my assumption about the different tuning of the two kicks is right, cos I can't see any other reason for it.

I agree, but I'd like to hear a computer do a convincing 80bpm song. Horses for courses, use the best tool for the job. Note to drummers: I did NOT just call you tools, before I get any abusive pms