Tooms

I guess this was just a better way of saying what I was trying to say before. But yes, I agree with this. Yeah this is REALLY annoying. A couple of times my own band members (well, member) has done this and with the other 4 people sat up on stage ready to go (maybe even lights dimmed/music off) it just looks so shit!! Not to even mention the whole eating into your set time argument! Hate it.

lol, milner clearly you've never seen us, or at least not since i've been in the band, we've never ever played for more than 30 minutes and our set time is currently 25 minutes including banter time. the reason i think this is that at 'local' gigs there is generally a few different sytles/genres of bands and people attending. Playing 4/5 songs for 25 minutes is more than enough to show people who you are and what you sound like...any longer and people tend to get bored of you and want the "main" band to come on. I think a local band playing their tunes to their mates for 35 mins+ is just a bit silly. I don't see what you add to your set/sound by being on stage for that long. It's obviously different if you're say a touring band with album out and actual fans etc. But from a local support point of view I don't see any reason to go over the half hour mark. Peferably a little less. Not to mention it helps the gig run smoother and able to get the headliner on quicker, avoiding the post 10 pm exodus that often occurs due to 'last bus syndrome'.

it will also help to prevent having a really 'boomy' room.

in my opinion any "local" band playing for more than about 25 minutes is just pointless and comes down to stage wankery. Shorter sets are far better.

cheers man, will ping him a PM.

to clarify, although the foam will help i use it more as a treatment for the walls to help prevent standing waves etc when recording and have put it inside a 'vocal booth' to help create some dead space to record vocals/guitars into. However, if you did cover the whole room in it then I think it would help a little. But yes insulating the gaps is where you'll help reduce most of the sound waves escaping.

this site is pretty good for buying foam, which I know can be VERY expensive. eFoam, all sorts of foam: Acoustic Sound Proofing Foam If you were doing the room within a room thing AND used this foam to treat the inside walls then I think you'll be doing well. Insulating the space inbetween the two rooms would be even better!! (you could just use standard house insulation or rockwool for this? pretty sure B&Q had a good sale on just now at something stupid like 1 per roll?)

Hey guys, i have a DDRUM pro bass drum trigger but it is broken. The two wires that connect to the piezo have come off and I need to get them reattached. but I am a total n00b at soldering. Any advice before I try to do this will be greatly appreciated. on the other hand i'm also considering selling it as is for someone else to fix and buying some new ones. I'm after a snare and kick trigger (probably the roland ones).

yeah totally man. on more than one occaison i've had to talk to various cretins about either mine or weapons equipment when they've asked to borrow something. often this is just the guys didn't want to sound like a dick. whereas i have no problem sounding like a cock!! haha :-D but seriously, I don't. I know how much my friends (and I) spend on our gear, there's no chance I'm letting some knuckle head play it. 9 times out of 10...if not more, the common "local" guitarist/bassist has absolutely no sc00b about impedance etc and a LOT have the "turn the gain and volume up to 11!" syndrome...nope nope nope.

probably a bit late to join this thread but fuck it i'm bored so fancy a bit of a type!! it really really fucking irritates me when people have the nerve to ask to borrow equipment. with only two exceptions. the first being cabs, and the second drums ...ish. let me explain. being a drummer, and having a half decent kit, am i fuck going to play on the shitty house kit that sits in the corner and sounds absolute butters. I want to use my own kit. But generally, promoters and sound engineers alike just hate doing kit changes and don't want anything to do with them. I understand this to a point. So if a promoter has the foresight to think ahead and ask me if we can use my kit, i almost always say yes. and even when they don't, it generally ends up getting used anyway! HOWEVER it REALLY fucking bugs me when the other drummers don't even take the time to say thank you. That really grinds my gears But I never let anyone use my cymbals, pedal or snare. I have had all of these things broken in the past. As well as the bass drum skin (and no I didn't have a spare with me)! It does also piss me off when people move around my memory locks and rearrange the kit, and then make no attempt to put it back afterwards. I'm not saying anyone using my kit should play my set up, but at least make an effort to put it back the way it was afterwards! I ALWAYS make sure I do the same on the very rare occaisons that I am using someone elses kit. As for sound checks, it's all been said: show up on time, get all your shit set up asap, even if it is just on the floor and not on the stage right away, don't take the piss when doing a song, verse and a chorus should do! All common sense.

what's your budget?

i guess my question is: why if you're using two mics (and lets say they're identitcal mics for the purposes of this question) to record one source, do the frequencies change from one mic to the other? Now obviously depending on placement you have phase issues regarding (essentially) the time at which the sound wave hits mic 1 compared to mic 2. But if you can use your DAW to move (in time) one of your recorded tracks so that it alligns with the other (eg get them to both start at exactly the same time), why would there be frequency phase problems throughout the tracks? Not trying to be difficult, just wondering.

Just curious, why's that? Yeah definitely.

ok, so perhaps I will try and sell it on then... know any mechanics who would want to buy it? (eg for parts or whatever)

is that the old RAC van that floods borrowed when we went down south?? but yeah I guess I could sell it, but obviously will be selling without an MOT, and the tax ran out a week or two ago. (can't get tax till it's MOTd) the mechanic I know is pretty good. seems like an honest enough guy used him a few times like.

otherwise....kablamo!!!

yes please. :-)

you could do that way if you wanted. but yes you can run it through the plugin after you've recorded the track. i'd normally always take two signals when recording guitars (and group them together) one a DI signal straight from the guitar and the other being the 'amplified' signal, be that via: pod, sansamp, amp/cab/mic... with the bass you might want to keep both tracks and blend them in. with guitar you'd just mute the DI signal but it's useful to snap to when cutting up the track when you're editing your guitars. Also would be used to re-amp the whole track if you wanted to do it that way (like what dan said above)

possibly. it's on my shortlist of people to ask.

Hey guys, I'm afraid to say old Rosie (the Your Fears big red post office van) has had her last day. She's spectacularly failed her MOT and is beyond the point of economical repair. Thus we will be scrapping the poor old girl. The question now becomes; with several gigs coming up (outside of aberdeen) does anyone have, or know of, a van that we can buy/hire/loan either on an immediate, interim or long term basis? The van has to be able to carry at least 5 people and of course a full back line of gear. Cheers in advance.

Ask nick mate, he might still be looking for one.

I have amplitube as well which is an alright amp / cab modeller. I also have the ampeg SVx model which is quite good. But neither beat the relatively simple/cheap/easy to use PodXT and SansAmp.

o_O ?

well yes. but in theory if you were to have them exactly the same distance from the cloth you wouldn't have to worry about it. when experimenting with near and far then yeah you'd have that. although again in theory you don't have to fanny around with the placement so much as long as the individual sound from each is good. then just "zoom" right in and shift the waves along so they're in phase. (-as opposed to having to ever so slightly move the mic by 1 mm at a time etc)

yeah totally, it depends what style you want and are recording. Although I would have thought even if you did want to record in a "roomy/ambient" type of way you'd still want to mic up each drum respectively? But that's just me.