Doc

And what are you listening to it on? Let's also not forget this is a downloaded MP3! Not the actual CD quality version. If you want to hear that then come see me.

I wouldn't pay too much attention to it. The vast majority of posters on here wouldn't know good sound quality if it crept up behind them, pulled down their big boy huggies and fucked them up the arse.

They just want to sound experienced and knowledgeable that's all.

Trees are net consumers of oxygen anyway...thanks for saving some.

fucking right and to be honest fuck the contract thing i just wouldnt go near the fucking place if they are ripping off people like that' date=' fucking cunts.[/quote']

Were you in stu's studio today? That's almost word for word what he was banging on like!!

I heard about this from Stu of BedHead when I was in his studio today doing some session work. They played after Emma on Wednesday and he was ranting and raving about it all morning.

Sounds like a shit deal and a good advert for contracts.

He tells me he's going to take issue with the ents manager.

The boy at the Eastgrange is a total prick' date=' while soundchecking Small Enclosed Area ( non of the band have any ego's ), he told them just cos you played T-In the park your not rock stars you know and dont expect to be treated differently, true maybe but you dont say it to the headline act who have promoted and are playing a gig at your venue.

Its not only the band that gets the brunt of his rudeness, he's quite good at offending crowd members too.

The Eastgrange Loft is a great Venue though, so dont let the owner put you off - [b']please come and rock

Ah Grigor! What a guy. Rude, inept and the worst sound man on the planet. Maybe because he's never been trained.

In general, pointing a dynamic cardiod mike at the point where the neck of the guitar joins the body gets the best results.

Join the musicians union. It'll cost you the minimum if you ain't fully pro...about 56 a year.

You will get standard contracts that the MU will pursue on your behalf if you get fucked and it will cost you zilch. You will also get 3 million in public liability that you now should not be playing without anyway.

If we'd realised we would have brought someone along who could have done the sound' date=' Emma had never played there, next time we will have someone there who can do it. I'm pretty sure tah the guitar was in tune, Hog knows how to tune a guitar and i remember him using Emma's tuner beforehand to check.

It certainly wasn't a good gig for Emma, but it was something that we did our best on, next time we'll know better.

Cheers

Stuart[/quote']

Oop! Was that Hog? Maybe he was just playing the wrong notes then. Kudos to him for sorting the howling out though. Emma's quality showed through as it always does.

That's not really relevant to this discussion at all' date=' as you said, it's a different game altogether.

Anyway. The way I see it, a lot of bands playing lots of gigs in the same town does not make a 'scene'. This is all we have just now. A scene is a particular movement with its own impetus, all pushing in the same direction, and creating something special, far greater than its individual parts.

It''s not a scene if no-one else notices...[/quote']

Depends what you mean by "scene" of course. The music scene encompassing the whole musical community or the "jazz scene", "the folk scene" or "the alternative scene" and other single genre zenophobic closed shops with delusions of superiority.

Emma didn't have a soundman that gig' date=' she turned up and was told there wasn't even a working PA that gig, which we did get working.

Cheers

Stuart[/quote']

Every other solo act that plays there manages to use it, although I concur it is wank.

Some wonderful howling feedback at first, which was then curbed by the other guitarist, who then proceeded to play along on a woefully out of tune guitar.

Sorry, I felt Emma deserved better, because she is good.

I wasn`t aware that there was a 300 gig a year Professional Covers band in Aberdeen. Sorry.

Do they have a web site?

To be fair, most of these acts are national acts that tour constantly and are not based in Aberdeen but play here.

Examples are, The Macs, Michael Darren, John Colletta duo, Bedhead, The Panokis Twins ect.

They probably do have websites but I don't know the addresses. All are full time, self contained and play 200-300 gigs a year. Bedhead probably play Aberdeen the most as they are a club dance act as well and are nearest. They followed Emma at O'donaghue's not long ago. Sadly Emma's so called "sound man" managed to fuck her sound up royally, although I did enjoy her.

The Macs are a truly international act, playing all over europe and the far east, but their singer had a baby recently and they're staying nearer to home (stirling) for a couple of years.

Of course non of these acts will be this boards cup of tea as they play whatever the venue needs them to play. But they all do it for a living and are in a different game altogether.

There is nothing more tragic and pitiful than watching a scene child trying to act all cool and disdainful towards a 300 gig a year pro cover band while the rest of the venue dances and has fun around them.

Perhaps the vast amount of dope the daft cunt smoked had something to do with it?

yea but they take a whole whack of tax money to subsidise their existence. i think the amount of money lost would be made up by the money their abolition freed up. and the buildings would still remain and they would still own them so they can still buy their shit from ballater if they want. they just won't be royal and they'll have to pay for it with their own money. they'd just be abolished as a title and position' date=' i'm not saying we should kill them all or anything(yet).[/quote']

The royals are not paid from general taxation. They are granted money from the civil list in return for allowing crown lands to be used by the state.

They should, however, pay tax and if they don't contibute in some way as ambassadors or something then they should be paid nothing. eg prince andrew.

I think this is the bands name. I just ehard an amazing Blues sounding track with a hoarse sounding female vocalist on The Rock Show BBC6.

Problem is I want more but this is all I could find on the the internet about them

well' date=' and this...

Ball&chain

That hoarse female singer is no less than janis joplin backed by big brother and the holding company...it is truly awesome.

I disagree about mixing in the digital domain' date=' I think you can still get good results with a computer. VST fx naturally vary in quality, but these days there is some pretty good shit kicking about, voxengo and waves for example. Either way, if u know what u are doing you can get better results from logic/sx and some good plugins than you could get from some wanky 4 track toy.

I defy any of you to be able to tell the difference between a 16bit 44.1/khz source and a 24-bit 96kh/z source, when they are both dumped to CD. If you have to get out a spectral analyzer to tell the difference then you are missing the point.

Anyway,another good thing about analogue desks,is that you can clip the signal and it sounds phat![/quote']

You can't tell the difference because you can only make CDs at 16 bits. 24 bit gets dithered to 16 bit during burning. Listen in a computer and a deaf monkey can tell the difference.

Most studios nowdays operate entirely in the digital domain, with even their desks being digital and they are completely happy with their computers. Anyone who remembers the days of editing with tape and razor blades will appreciate it too.

I agree with the analogue desk clipping. Digital clipping sounds fucking awful.

Which is why you're better off with a standalone recorder and desk. All the processing done during the mixing process happens via an analogue desk. You can route the signals through the auxiliaries to external effects without worrying about about bitrate and suchlike. The mixing process is complicated enough without worrying about whether or not you're reducing the signal quality to a digital fuzz. Computers are not ideal for recording music. Software plugins seem like awesome value' date=' but they're not. They're fiddly to use, and it's difficult to predict how they will interact when used together,in terms of level. With external compressors/effects/whatever you always have tactile,'at-a-glance' control over what you're doing. Things can be easily adjusted, without having to fuck around with windows, drop-down menus and suchlike. They also have the added benefit of not sounding like a bucket of shit, which cannot be said about cheap pc solutions.

Real desks also do a better job of summing multiple signals to mono. I've heard the same material mixed through an I-mac and through a real-live desk; to my ears, the desk mixes sound more natural, the computer ones sound fizzy and unnatural.

There's no point in recording unless the sound of what you're doing is important.Pc based solutions are cheap,and sound....well...................cheap

You can jerk-off all you like about bits and bit-rate (though you sound just like a petrolhead banging on about horsepower), but at the end of the day, its all about what it sounds like. A mixing desk is a better environment for mixing audio signals than a computer is. A mixing desk mas better mic pre's than a usb computer box does.

TOY.[/quote']

You're missing the point. The stand alones you showed are 16 bit machines. A desk is just an interface, the quality of the recording comes from the ad converters and 24 bit is better than 16 bit for the reasons I have mentioned. And what's to stop you using an analogue desk with the tascam hog mentioned. then you can mixdown any amount of channels and effects to a stereo mix and feed it to the tascam's two inputs which incidentally has very good converters.

Not every mixing desk has good pre amps either-they vary with price and quality-just like computers do. The pre amps on an m-audio delta 1010 for example are fantastic, the pre amps on behringer desks are shit.

As for bit rate, if you are an inexperienced sound engineer, you will want to fiddle around when mastering and you simply cannot do that when your original recording is 16 bit. At 24 bits you have plenty of depth to try different things to get your sound the way you want it. The when you dither down to 16 bit CD it will actually be 16 bit and not some clicky piece of arefact ridden amateurish tosh.

That's just the way the world works I'm afraid.

Yep, he's gay.

CDs are 16 bit, true. But if you start digital processing afrom a 16 bit standpoint, every single process eats into the bitrate so that when you then dither to a 16 bit CD you get clicks and errors ie it sounds shit. Far better to start from 24 bit so you have some decent headroom.

Aye with a whole TWO xlr inputs!!!!!!!

Let's mike up a whole fucking orchestra!!!

Bits mean fuck-all. A unit's only as good as the quality of its A/D converters. Cheap TASCAM ones will be shitty.

Oh yeah' date=' and the desk's analogue. It'll do any amount of bits, depending on what recorder you wire it up to.[/quote']

Don't know much about this at all, do you?

Get this:

http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&category=15199&item=3778706866&rd=1

and this:

http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&category=23785&item=3779496688&rd=1

instead.

That thing's just a toy.

Just a toy that will do 24 bit recording unlike the units in your links.

While not condoning their behavior and flabbergasted that they were stupid enough to take pictures of it then get them developed in a chemist, you have to get this into perspective.

a. This behavior is not widespread in either british or american troops, however much you'd love to believe it is.

b. Those involved are subject to military courts and punishment when caught and they are notoriously merciless.

c. The troops guarding these prisoners are soldiers, trained basically to fight battles and kill the enemy. They are neither police, prison warders or social workers. It's no wonder that a minority step over the line.

Finally ask yourself what would the Iraqi army or insurgents do to any british or american troops unlucky enough to fall into their hands. I think that our troops in such a situation would be very happy to be tied to a forklift and made to run about naked.

probably the same reason they twisted the english language and called it their own' date=' i.e they are fucking morons.

[/quote']

That because it is their own. Remember who created the US. Pots and kettle spring to mind too.

I havent seen the movie' date=' I am watching at the moment,.however it has been proven it is full of lies even the BIPARTISAN 9/11 commitee has said it is full of crap and some of those people want Bush crucified. Its fairly easy to make a documentary and clip and edit to get your point across...Moore almost lost his Academy Award in the Bowling for Columbine movie he made because he clipped and edited so much that he made people appear to be saying stuff they never said.[/quote']

Exactly! Biggest load of pish ever. Pretty much single handedly guarenteed Bush a second term.

Tip for lefties and liberals...try not to tell lies, it fucks people off.

you like banging on that old record

i reckon you are pretty disllusioned by what happens on here and what actually happens in the scene (i.e. outside of the msg boards)

That statement makes no sense whatsoever. Anyway I was having a laugh.

And I know exactly what happens in the scene...that is Scotland's music scene, the real one. Not the the insular aberdeen scene typified by many, but not all on this board.