Flash@TMB

It was absolutely fine, because there was good reason to use it, it was important to your sound, and you agreed that everyone else could use it too. What also made a difference was that you asked nicely as opposed to assuming some sort of entitlement (and we had the impression that even if we declined you'd say "fair enough" and get on with it). That instantly made us 100% more receptive to your needs. One of the other things that we take into account when arriving at these decisions is how much time a band is wasting. If they've already wasted 25mins farting around with a guitar pedal then we'll be less inclined to humour them as there simply isn't time. Some musicians (but not many) are under the illusion that we are somehow there to act on their every whim. In reality we are there to ensure that it sounds good for everyone, and proceeds without a hitch. One of the reasons for drafting these guidelines was to make that clear from the outset. You also have the advantage of having toured extensively, and realise that it's a team effort, whereas some people get their ideas from watching too many MTV documentaries involving superstar bands...

Worth mentioning... I NEVER operate from a static viewpoint. I'm constantly learning and evolving by listening to other people of ALL ages (after all I was sharper and had bigger balls 15 years ago). Many of the ideas implemented in the Moorings have originated externally. Later on I'm sure to tap the originator on the shoulder and say "remember that suggestion you made 9 months ago, well..." BUT should someone come in with a weak, skewed, or biased argument... I smell blood and am after them like a terrier. If uncertanty about something then I'll deliberately kickstart a debate from a polarised or controversial position (not necessarily reflective of my beliefs) in order to learn. It generates a lot more interest that way, and good ideas spring up as people struggle to breach the apparent communication gap. A lot of the negative feedback has also been incorporated into current draught, more evident by the sections that've been deleted. So if I post something with "let's discuss", or "your feedback welcomed"... I REALLY MEAN IT. Cheers! *** Ian - When I read your post it mentioned things getting silly, then raised a points that all appeared to be directed at me. However you made no mention of some more obviously silly things in the thread like my particular favourite: My original version WAS draconian... but I knew that going in softly would draw just as much flak but without the ability to negotiate down to a fair and workable position. I was hoping that, as a sound engineer you would see the direction I was heading in, and focus on that (as opposed to technical points that can be argued down to infinity). OK - that's now the case and we're certainly getting somewhere positive. My reaction was excessive but I was having my arse flamed at the time A persons mood can greatly affect how they interpret text. You & I have had this problem before. One of my goals was to open up a little debate on guitar volume. I wanted to make people think harder about the pros and cons of different sized cabs. Most people are still ignorant. In all honesty would you rather see a 100W 1x12 Marshall combo on your stage or a 400W 4x12 cab? And why? Personally I like the single speaker because I know that the mic is directly in the path of ALL the output, and there aren't another 3 speakers blaring away. It facilitates a gain setting that is less likely to pick up any lower frequencies emitting from the bass but just creeping in over the filter muddying the sound. I then see less action on the meter for that channel ref background noise. I also know that when I ask the guitarist to turn up or down that the effect on the sound is fully reflective of the signal I'm picking up. Problem is that IME none of this interests most guitar players whom I suspect (DANGER) are often as interested in the look of the backline than the actual sound. I hoped by somehow implying that 4x12s are less than optimal (and this can be argued) that some guitar players would consider the possibility that bigger does always not equate to better. I wasn't expecting the bass and drums to be such an issue because only twice in 8 months have bands requested to use their own drums, and only once has the bass amp been an issue (Real Shocks LOL!!!). Usually they are chuffed at not having to lug stuff around. That level of disruption I can handle long-term!

I heard secondhand about how a sound guy got so pissed off with a vocalist that he down modulated his vocal to the extent that most of the crowd left the STADIUM before the end of the gig. Now that's coorse! I want a modulator. Oh yes I do. Just as a deterrant...

You're catching on...

The draft has now been updated to incorporate all relevant points. Thanks to everyone that has participated thus far.

Tell me about it. Thanks for lightening this up I was starting to lose the plot. LMAO!

I don't doubt it' date=' unfortunately it never works out like that. EXACTLY GraemeC. It's a pub gig, so what's the big problem with using a house kit? OK... because the kick drum is down on the floor' date=' and the sound exits it in front of and facing away from the drummer, it can be hard for the drummer to hear the kick drum over the other instruments. That's why we route it's sound through a drum monitor. Yes it is, but are you seriously suggesting that I double mic the cabs? What was your point about it being a pub gig again? From one extreme to the other. Bands aren't paying me. So if I decided to devote more of my time to a particualr band then that's my choice.

Here's my response to the various points that have been raised. The house kit IS left permanently setup on the stage, and we do start with the same basic EQ, gate, and compression settings for it each time, although these are continually refined, and the gates and compressors are often adjusted to suit a particular drummer. The more we refine it, the less it seems to need tweaked. It typically takes at least 2 hours to dismantle the house kit, assemble the bands kit, then after the gig dismantle the bands kit and reassemble the house kit. On top of that it takes at least another hour to EQ in an acceptable sound... although the drummer invariably spends a further hour tuning the kit. So this would incurr an additional 4 hours unpaid work for me every week with zero benefit. In the event I agree to undertake this, it should be considered a bonus NOT an entitlement. Given that we typically have 4 bands playing each gig, then 3 of those bands will be unable to use their own kits anyway, so why not all 4? Why should one drummer receive special treatment? The house kit is only likely to sound better because we've had the opportunity to refine the EQ settings for that particular kit over a period of months. It's difficult for a drummer to hear the kick drum because it's down on the floor and the sound exits the front of the kick drum which faces away from the drummer. That's why we route the kick drum sound to the drummer through a drum monitor that incorporates a subwoofer. *** The bass from the bass bins easily overpowers the bass from the bass amp. Only the people sited close to the stage front are likely to discern any sound emitting directly from the bass amp. In the event that someone brought along an amp with a unique sound that they believed was essential to their performance then we could use it in place of the house amp provided it had a DI output. This all depends on whether we have amplt time to swap it all around... see below. *** We're happy for someone to drag a 4x12 onto stage as is, and we'll get an OK sound from it. BUT a 1x12 will sound better in absolute terms (non subjective terms). That's just physics. Dual and quad speaker cabs have phasing issues. More importantly the instrument mic should only be pointed at a single speaker. The best results are obtained by turning the output up quite high on that speaker, facilitating less gain on the mic to obtain the desired signal, and therefore less bleed from other sources (since less gain means reduced sensitivity) resulting in a higher signal to noise ratio. This is nothing new. It's no big deal. *** With 4 bands in 3 hours we're tight on time to switch over the backline. In the event that a bands sound requires certain equipment, then we endeavor to accomodate it, although that may mean reducing the performance time allocated to that band. Bands usually think to contact us in advance to discuss their requirements, and we figure out how to work around everything. Were the bar ever to host a relatively 'big name' act, then different rules would apply. Having said that the various signed touring bands that we have hosted have been 'low mantenance' and a joy to work with. *** I didn't mention any issues with Saxophones electric or otherwise. *** It's amusing that someone would object to letting another musician plug into their amp, yet expect the bar to hand over the controls to a very expensive rig that they haven't been trained to operate!!! There's no way we are going back to the 'good old days' of pub rock, although those that no longer get paid hundreds of pounds to play in the bar would undoubtedly be in favour of that. Gone are the days of covers bands dragging in huge backlines with vocal rigs, spending all afternoon driving everyone mad setting it up, then charging us 200-300 quid to play in front of the dozen mates and hangers-on that are left in the bar (who probably saw them the previous night at the bar next door), demanding free drinks, and taking till 5am to pack up their gear. Yeah - I can see why we've managed to piss those people off LOL!!!

There's no point the HD's never show up.

Well that was a fair old jam we got going last Sunday (5th Sept). This things really taken off... at last. I'm going to start using a notepad to keep track of who wants to go up. Either that or print out forms like: Vocals. _______ Drums. _______ Guitar1 _______ Guitar2 _______ Bass.... _______ Keys.... _______ Tunes planning to play (if nothing in particular just state jam in whatever key). And then wait till each form is filled out with at least 1 guitar, bass, and drums then enter it into the queue for some stage time. Any other suggestions?

OK time for another refresh - suggestions please?

It's going fine now. We have all the technical problems sorted out. It's just a matter of building up a loyal following like we've done with the Sunday Jam. Alien was really good!

The purpose of this information is to ensure that gigs are rewarding for bands, their fans, The Moorings Bar, and our customers. We host gigs because we love live music. However the extra costs involved in doing so more than chew up any increase in sales, something that is probably true for most venues. Please appreciate that we are effectively working for free, and would appreciate a reasonably smooth ride Instruments & Equipment All the larger pieces of equipment should be delivered to the bar no later than 7.30pm. Bands should unload all their instruments and equipment into our cellar on arrival, until such time it is required on stage. Bands do not get access the stage until the sound engineer is ready for them. All equipment should be removed from stage between bands and returned to the cellar, otherwise the stage becomes crowded, and equipment may be damaged or go missing. The house has instuments available in case of any malfunctions including broken strings. Please take time to tune a house guitar in advance, so that it is ready should you break a string mid-performance. We will change broken strings during your performance and (try to) retune your guitar accordingly. Performance Times Bands are typically allocated a 1 hour slot that is inclusive of all setup and pack away time. There is no requirement for a soundcheck but we do perform a quick line & level check just prior to each performance. The exception is where the band has an item of equipment that's likely to prove problematic - under those circumstances please contact us in advance to discuss. Performances usually start between 8pm and 9pm depending on the number of bands. Live music must cease by 0045am, and power to the stage is cut at 0100. Backline Bands are urged to contact me in advance in order to discuss the rest of their backline requirements, OTHERWISE THE FOLLOWING DEFAULTS WILL APPLY: Bands are expected to use the house drum kit, because there is insufficient time to dismantle and erect drumkits between performances. Bands are also expected to use the house Ampeg bass amp and 4x10" cab, this has a valve preamp stage meaning that we get valve sound through our DI. If there is a powerful reason for using your own bass amp, then please contact me to discuss this in advance of the gig. Bands are encouraged to use the house Marshall 4x12" angle cabs which are routed through Marshall Powerbrakes. Swapping elements of the backline between performances reduces the actual time available for performing. Drums The house kit is maintained in good working order, regularily treated to new skins, and benefits from a weekly tune up. Every gig we further refine how the house it's sound is processed through our PA so we tend to get a better sound from the house kit. The house drumkit includes double kick pedal, snare, cymbals, hats... pretty much everything. You are welcome to use all those components. Most drummers take along their own hats, cymbals and additional cymbals (+stands). We reserve the right to veto the use of any hats/cymbals that are cracked, worn out, or of exceptionally poor quality. We anticipate that most drummers will want to take along their own snare drum. Bass The bass is direct injected into the mixing desk and where possible blended with a feed from the AKG D112 bass cab mic. This house amp is an Ampeg SVT250Pro which is 400W with with a 4x10"cab. It sports both valve preamp and output stages. Bass can also be heard and felt through the floor of the stage as this is sited over the FOH bass bins. The bass sound will also be directed through the sub woofer of the drum monitor since the drummer is sighted slightly behind the bass amp. This also helps transmit bass to the far side of the stage. Guitars The house has three Marshall Powerbrakes which are utilised to drive the valves at the appropriate level whilst keeping the volume under control. Each speaker cab is mic'd up in order to drive the sound to the rear of the room via the PA system. The PA offers perfect sound reproduction. We will not entertain the use of a malfunctioning amp or speaker. Our goal is to provide optimum sound quality regardless of badge engineering/brand/product placement considerations. We get the blame when it doesn't sound right, so we must insist that everything works! The guitars are routed through all monitors. The house has two Marshall 4x12" angle cabs, a Marshall DSL 100W head, an Engel Powerball 100W head, and a Marshall 1x12" 100W Combo. Keyboards We will usually direct inject any keyboard and route them to all monitors. Other Instruments Accoustic instruments should be preconfigured for amplification. This usually necessitates a suitable mic, coil pickup, feedback destroyer, or cap. This is especially ture of banjos (AKA the microphone with strings) and mandolins. Bagpipes, harmonicas and horns rarely present any problems, whistles are usually OK. We can also route these through amps and speakers should that be required. It may be necessary to soundcheck certain instruments in advance, so please contact us beforehand to arrange this. Vocals The house mics are EQ'd into the vocal monitors. For the best results all the house mics are of the same type. There is a choice of SM57 or SM58s. The use of alternative mics are discouraged as this is likely to lower the threshold at which feedback occurs. The mic leads reach for 10m, and it is permissable for the vocals to be performed out in front of the stage because the mics will not feedback. A Shure radio mic will also work fine. We will endeavor to patch vocal FX throught the monitors. Everyone Please resist the temptation to play your instument when the sound engineers head is next to the speaker or drum involved as this will only make him deaf and impact badly on the sound of your performance. <--- not a joke! On a serious note it IS worth contacting me in advance to discuss your specific requirements. This post is only a set of standard guidelines - we are prepared to be flexible... consider this the going in position Let us know how you want to sound and we'll do our best to match it. If you consider these guidelines to be unreasonable, then that would indicate that The Moorings Bar is not a suitable venue for your band to play. Comments Any comments or advice are welcome, this post is regularily revised as people suggest alternative approaches.

Unfortunately we cannot accomodate three 12x4 speaker cabs on stage. The twin cab was turned up much louder than the others, and to me it also sounded like the Mesaboogie wasn't firing on all it's valves. I remember it well from last time Hot Mangu played and I loved the sound of it - very distinctive. This time it didn't sound right. I managed to balance the guitar sound through the PA and it all sounded fine out front... which is where it counts.

I think there's some universal law that states the worse the soundchecks the better the gig! I thought all 4 bands (yes erhm FOUR) were excellent, although I did think about slitting my wrists when The Grease Monkeys showed up a month early half way through soundcheck and only 1 hour before the gig was due to start! Then when the kick drum skin got bust and we had to change it... phew! Those were the most enjoyable performances that I have seen from Addicted to Chaos, Hot Mangu, and Black Atom, although bear in mind that Atom are the only band I've seen outside the Moorings in the past 2 years!!! I also though that Addicted to Chaos had improved dramatically since their last gig with us about 6 months ago. Hell they even improved dramatically since soundcheck LOL. They've gotten much tighter, and the material was very good. I thought they sounded a little like a younger Black Atom. They've obviously been working very hard in practice. Hot Mangu simply played a blinder BTW. I thought they were good last time, but this time was in a league of it's own. Perhaps I've just led a sheltered life but IMO Hot Mangu are pvery original in terms of their musical style. Would it be permissable for me to burn full versions of the Black Atom and Hot Mangu CDs onto a single disc for jukebox insertion? I have NEVER seen a bad Black Atom performance, so it's hard to judge whether this one was better than the others, or whether I'm just suffering from afterglow, but after careful contemplation I think last night just shaded it. It's a shame the pit was so crowded because it kind of limited Joe's movement, and everytime he jumped in I lost track of him. I was kinda hoping he'd coming running down the bar and stick his mic in my face during the chorus to Fallen but... The stars of the night were definately the crowd though. The reception they gave The Grease Monkey's - an out of town band (Glasgow) playing first in a 4 band line-up, and with a markedly different musical style than the other 3 bands on the lin-up... well it was fantastic, I'm sure you all made their night. Prior to that they must have been bricking it!!! C H E E R S !

When we first showed movies the sound was a bit funny. It turns out that in cinemas the speakers are positioned behind the screen, and the sound EQ'd for travelling through the screen fabric. Home theatre systems take this into account and internally re-equalise the sound to take the absence of the screen into account. Obviously our PA system lacks this feature so we had to adjust things manually. Now after a little tweaking it sounds fine. Unfortunately we are not permitted to externally advertise the movies under the terms of our PVSL license. It turns out that this includes posting details here (although I had hoped this would be considered 'internal'). Never mind because we are allowed to put up posters within the bar, so you can check out what's forthcoming next time you're in.