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Posts posted by moody

  1. Personal experience, 16 mixers in a technical college classroom, (not rotten high school use). Bolted to the desks and without things being plugged in / unplugged constantly. In a period of less than a year all but 3 had a variety of things go wrong with them (usually dead channels). Luckly there was a tech there who constantly repaired them rather than trying to get anything from warranty.

    My own experience is with about 6 different items, all of which performed below my expectations. The worst is the 31 channel eq which cut in and out with loud pops through the PA each time (faulty LED's on the faders). Other experience involved high noise with virtually everything and any time there was an 'electronic' pot rather than a manual pot it would go wrong in pretty short order (virtualiser kept reverting to setting zero, v-amp that wouldn't change settings).

  2. Finally putting up my setup on this thread.

    I am in a weekend warrior type situation running sound from on stage. Rock to hard rock (lots of acdc/zeppelin type stuff). I have built this system up slowly and probably not particularly smartly over several years. Largely second hand and cheap. Mostly used for crowds up to 150 people. Usually far less.

    Have run sound maybe 15 times so far in various situations, but have helped with sound through other engineers a lot more than that. Starting to get more regular gigs now.

    2 yamaha 12" speakers on sticks (don't remember model number)
    2 Etone single 15" folded horns, bought cheap, big, heavy, but loud, solid and reliable.
    2 EV 12" wedges - These have been good since day one.
    2 Custom made wedges with Nessel speakers. Close to the ev's in quality
    1 Peavey PV2000 power amp (4 unit brick)
    1 Yamaha P3200 power amp
    2 ZPE 600 power amps (4 unit bricks)
    Soundcraft M12 mixing board (modified for 4 pre fader sends)
    3 Ross 31 band eq's (single rack unit)
    1 Dbx 166xl compressor
    Audiopile drum mics
    2 Ramsa vocal mics
    1 SM58
    Various basic mics and di boxes.
    Several par56's (4 on a stand) and a large number of mini par m16's.

    Overall I am happy with the sound I get in the given situation. Of all the components the mains and the vocal mics are the weakest points.

    My main problems with this system are to do with weight, setting up and transport. I'm currently working on replacing the brick amplifiers, I am also working out better/easier ways to connect up the components. I currently have no snakes or pre-wired racks.

    Between good setting up, decent mics and decent wedges i do not have any feedback problems. I keep my foldback settings unchanged from gig to gig and I think only one frequency is slightly turned down.

    I don't run eq on the mains and the sound out the front is fine being perfectly flat - I also don't run eq on the drum fill and don't have a singing drummer.

    So far I haven't had power problems. Played without all my lights the other week with everything on stage running of a single circuit - no problem.

    Essentially I know my limitations. I don't claim that this rig will do really big gigs but for the places we play it has been absolutely fine.

  3. Can I try to correct that horrible car analogy....

    You have a car traveling along at 60mph. Lets say that it is running a 2 litre 4 cylinder engine and upon measurement in top gear it was going 4000 revs per minute.

    Now, if you dropped in an 8 cylinder 4 litre engine, and got that going at 4000 revs per minute in the same gear (presuming it could plug into the same gearbox). On the same street in the same conditions.

    Do you think that car would still travel at 60mph? would it travel at 120mph?
    Engine capacity is doubled therefore you should expect double speed?

    My guess is probably somewhere in between - much the same as the 3db addition that this is an analogy to.

    Can anyone add to that?

  4. Originally posted by erksin

    None of the bands you mentioned have had the same members involved for more than 5 or 6 years at a time - easy to change direction when you interject new blood. I'm a big fan of KC and Yes, but I wouldn't make the same comparisons.

    True that all those bands have had membership changes, however core members seem to remain the same with each of them.

    With KC, all the main members have been in it over 10 years and a couple over 20 years (lead singer and the Fripp himself) - they have lost a couple of members in that time, but they have not been replaced. Every album whether by new members or not is a new direction.

    In the case of Yes, true they have changed members several times - but they are currently anderson, white, squire, howe and wakeman - sound familiar?? Injecting new blood appears to be taking on the old blood again.

    As for Jethro tull, completely untrue, I don't think much of their recent albums but they have had the exact same line up for over 10 years at the moment, and all but one for around 15 years. (and again, lead singer and guitarist are over 30 years). In terms of live playing I think they are the best they have ever been.

  5. Originally posted by phyrexia

    Get a damn Volvo station wagon and drive it for the rest of your natural life.

    Same sort of thing I would think. Volvo, Toyota camry, Nissan bluebird or skyline. Basically get a good consumer car in your price range that has a stationwagon version. Fuel economy no worse than the sedan equivelent.

  6. Originally posted by erksin

    One of the best hard rock bands ever.

    Find me another band that has been around for 30+ years, continues to evolve musically, still tours with the same level of musical proficiency (better actually), and still cranks out a new album with new music every few years.

    The obvious answer is King Crimson.

    Depending on what you consider musically evolving you could also include Jethro Tull. (definately better musical proficiency than they have ever had before).

    You could also add Yes and the Moody Blues to the mix - however the new music isn't really in any way evolved from that which came previously.

  7. Originally posted by ledzep686

    Can you recommend some songs slightly harder than that for once I get that one down. thanks

    Ok, going through a bit of the song list from my band, (really traditional cover band stuff). You may find some more difficult and less difficult than what I do - depending on your guitar and vocal skills.

    Practice them really slowly seperately, and then together. None of them are as easy as bad moon rising.

    Cocaine - Eric Clapton
    Summer Of '69 - Brian Adams
    Love Potion No. 9 - Hermins Hermits
    Proud Mary - Creedence Clearwater Revival

    Medium, generally harder rhythms:
    April Sun in Cuba - Dragon
    You Really Got Me - Kinks
    All Right Now - Free
    Rockin' Me Baby - Steve Miller Band

    Getting difficult: (if you play the riffy bits of the guitar parts).
    Play That Funky Music White Boy - Wild Cherry
    Other Side - Red Hot Chilli Pepper

  8. Originally posted by Flanger

    Man, I should switch to bass. Most people have trouble playing single note lines while singing, but it's
    for me than strumming a generic rhythm pattern is.

    It is not the fact that it is a single note line, it is the fact that generally a bass line rhythm will not follow the same rhythm as the vocal.

    That's why I recommended bad moon rising - the rhythm guitar and bass follow the rhythm of the vocals exactly.

  9. It's a case of both practice and compromise.

    Practice really easy stuff to learn how to do it. Things like bad moon rising - basically stuff with a straight on the beat rhythm and a straight on the beat melody. Keep practicing until you get it and then go on to a slightly harder song.

    Compromise. know your limitations (at least at this point) and work around them. There are some places where you will not be able to play the guitar part at the same time as singing, so you will have to simplify the guitar part, or the vocal part, so that you can do it.

    As a bass player, bass is a lot harder to sing and play at the same time than guitar, so in a lot of songs I end up simplifying parts so that I just play root 8th notes or something while singing backup. Doesn't stop me being a technical bass player at other times, it just means I can put the bass playing on automatic while I sing.

  10. Originally posted by Factor

    Another point to remember, if a dominant seven chord (like D7 in our example) leads to a major chord (G in our case), then the key is usually that chord (G major chord produces the Gmajor key). Why is this? Because there is only one diatonic dominant seventh chord in each key signature! (This excludes secondary dominants and other advanced substitutions)

    Be sure to look out (or listen out) for that dominant chord!

    But then you listen to a song with 5 different dominant seventh chords and realise that everything in the above post is useless if the songwriter used secondary dominants.

    Any chord can be a dominant seventh leading to a resolution a fifth down, but that resolution may be any one of the chords diatonic to the key.

    Yes listen out for the dominant chord, but learn to ignore it if it doesn't go where you expect it to.

  11. Originally posted by LosBoleros

    What do you mean?? Do you see any minor chords here?


    What I said was that what you wrote was what I believed was right, but that I wasn't willing to trust my instincts on it.


    I didn't say you were wrong - re-read my posts.

  12. Originally posted by furdock7

    think about it on piano for a very simple illustration.

    1. C E G is a regular C Chord

    2. E G C is the 1st inversion (the C is an octave up from the C in #1)

    3. G C E is the 2nd inversion ( the C & E are both one octave up from the C & E in #1, the G is the same G)


    Add into that your seventh chords


    C E G B


    and you get your third inversion


    B C E G


    There is also a bastard, and usually unrecognised 4th inversion which uses the 9th in the bass:


    D C E G B

  13. Originally posted by LosBoleros

    I believe that when teaching you start out at the easiest level. Diatonic. You don't even includes cromatic, non-diatonic or other keys until the basic point is learned. That being said, Lets keep this thread completely Diationic for now.


    No reason we have to. One of the things about harmonising in diatonic thirds is that it is possibly the most limited harmonisation possible. There is not interest to it and it sounds thin and empty.


    Also, If your melody has a chromatic note in it, that isn't present in another mode, what are you going to do? Especially if the chromatic note moves to a scale tone, the harmony in the other modes may miss a note outright.


    Many melody notes are defined as being a part of an 'approach pattern' If you can identify the approach pattern then you will be able to harmonise the melodies approach non-diatonically.


    As such, harmony should generally be approached chordally, as opposed to diatonically - works better especially if you have more than one harmony line.


    Work out the chord, then what the melody is in relation to that chord (for example, a chord tone, a tension, a diatonic approach note, a chromatic approach note or an anticipation.


    Harmonise to the melody in relation to this chord - depending on the style the melody will generally be the top voice with the harmony voices beneath.


    I know this doesn't work for all styles (barbershop and a lot of popular music for example has a descant style harmony above the melody).

  14. I'm sorry, I may be misreading but none of this seems right to me. It looks like you are overcomplicating things, and getting the term parralel mode mixed up with a totally different concept.


    To be playing in C ionion and having a line a diatonic third above, you are still in C ionian - all the notes used are from C ionian and the basic melody is C ionian. All you are doing is going three diatonic steps up from wherever the melody is. This is standard practice for figuring out harmonies.


    A parralel mode as I have learnt it would be, for example, C lydian. This could be used to give a different sound to a melody if used carefully. It would also be used to justify, for example, a D major 7 chord in a C progression.

  15. Originally posted by Factor

    When harmonizing a solo, adding a diatonic fourth below the melody, why would one call this lower fifth? Is there no why, and just a _that's the way it is?_? I could accept that, but for now this seems to break a bit with my somewhat inexperienced logic.

    It would depend on the key and the chord going on underneath the solo as to what you would call the notes. The interval itself would always be the same - both a fourth and a fifth at the same time.

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