acidbass

I use 'Transcribe' - saved me a LOT of time and effort when I had to learn 60 songs in 6 weeks for a new band, most of which we play in vastly different keys to the original tracks.

Yep, I keep a record of all my gigs on my website with some more detailed notes kept offline - I love collecting posters with the band name on them too, I think it'll be great to look back on in years to come!

[quote name='MythSte' post='885490' date='Jul 4 2010, 02:38 PM']not my usual Earl Grey but this is just fantastically filthy... [/quote] Great find mate! I've been needing new designer sunglasses for a while

Great find OG - this is going to be just perfect for tomorrow afternoon, between gigs Thanks bud! EDIT - that Bernadette track is quite simply incredlble, it's been on my Youtube Favourites list now for a while but it's great to hear it in high quality! SECOND EDIT - The instrumental of 'You Keep Me Hanging On' has just literally brought a tear to mine eye!

Welcome! There are lots of us Nordies on here so you'll feel right at home! Enjoy

Looking into buying an IEM system sometime soon too - is it worth going for a cheaper wireless transmitter/bodypack (that Thomann one for example) and forking out for a good pair of earphones, either custom moulds or Shure SCLs?

[quote name='RhysP' post='871075' date='Jun 18 2010, 07:39 PM']This is what I was thinking - I'm more interested in getting asked back than making a fast buck.[/quote] +1 - I'd much rather have 10 sessions at £50 each than one at £500.

To me, dark sounding means punchy midrange with slightly less warmth overall than a standard pickup. It's all completely subjective though.

I have 84's in my main Jazz, and they are a [i]bit[/i] dark sounding for some of the genres I play - country, pop, etc. Considering changing them for 64's soon to see if they make much difference.

I am a member of Basschat, which features Bilbo Bilbo did a gig with Stan Sultzman in Ascot Dave Holland (played on Kenny Wheeler's 'Flutterby Butterfly' with Stan Sultzman John Scofield (played with Holland in the jazz 'supergroup' ScoLoHoFo) Charles Mingus (Scofield played on the bass players LP 'Three or Four Shades of Blue' Five degrees!

Broke an E string playing Higher Ground once at home, but never at a gig thankfully.

[quote name='Gunsfreddy2003' post='850699' date='May 28 2010, 09:38 PM']Forgive my ignorance but I am really interested in looking at an IEM system and just checked out the T-Bone system at Thomann. How does that integrate with an existing PA and desk?[/quote] You have to use a dedicated AUX output, so it would help if you have one spare on your desk at the moment. Aside from that, it should be pretty simple - just route whatever mix of channels you want to your desired AUX, plug in the wireless transmitter to that output and it'll send the signal to your receiver so you can hear it in your earphones.

[quote name='JPJ' post='853130' date='May 31 2010, 11:52 PM']Great sound, no noticable tonal difference and the cable simulator really works.[/quote] Is it some sort of laser field that trips you up when you step on it? Funny this thread should crop up actually - I've been eyeing up the Stageclix Wireless system just tonight and really tempted to take a punt in the near future! Anyone have any experience of one?

I think purely from a practical perspective, that I'd go for the 2x410s if I were in your predicament. Easier to shift and wouldn't really sound much different!

Cool - they look to be really good speakers for the money! I wonder if the matching subwoofers are as good? I've always been suspicious of subs with 12" drivers, call me old fashioned but there's nothing to beat a good 18" cabinet for rumble!

I feel your pain! There's nothing more frustrating than spending all that time and money on perfecting your technique and gear, only to have it all ruined by an incompetent engineer. I had to go through something similar on Saturday past, where the soundguy was the singer's dad. He obviously knew nothing about the PA, and of course the band felt as if we couldn't criticise him for fear of offending the singer! I couldn't hear a single thing on stage apart from the vocals, which were even drowning out the drums (shocking considering the drummer uses a LOUD acoustic kit) Of course, we still got our money and left after the gig, but I would hate to think that having bad sound out front would affect my potential income in future when people start saying "I dunno if the band were good because I couldn't hear them! I'm not sure if you should book them for your wedding mate!" What annoys me too is that there are any amount of young budding sound engineers, just graduated with BSc Music Tech degrees and the like, who would JUMP at the chance to get experience doing what they love. Certainly, when I studied it at uni, almost everyone in my class had at least some knowledge of how to make a PA sound good in a live situation. Such a shame that people who call themselves professional sound engineers are getting gigs ahead of people who know what they're doing, based largely on the fact that they have contacts.

I play in three regular bands, and dep quite often for another 3-4 too. I've always used the 'first come first served' rule, and only accept gigs if I know for a fact that I don't already have a booking that night. It has never caused a problem for me, and it's definitely the most professional way to do it if you have to play with more than one act.

Is there a big difference in using a top-class DI box (Radial, Avalon etc) as opposed to a Behringer or equivalent, apart from reliability and robustness?

And [url="http://basschat.co.uk/index.php?showtopic=83413&hl=cruise"]another[/url]

[quote name='Mr. Foxen' post='847939' date='May 25 2010, 09:13 PM']As if people played notes above the 7th fret in the 50s.[/quote] Lol, this post is brilliant! How true! I'm the proud owner of some of Bravewood's work, but think this might be SLIGHTLY overpriced.

One thing to remember is that even the most in-demand session players have their strengths and weaknesses - they're only human after all. One player might be more comfortable improvising in a jazz context, whereas another might not be able to improvise at all and might rely on charts. It's all a learning game really!

Hi Alex - I'd like to test the cab out too, if it wasn't too much bother to get it across the water to me in Northern Ireland. Postage shouldn't be that much more expensive depending on courier.

[quote name='GrayBoy' post='842977' date='May 20 2010, 11:54 AM']Just giving this a bump as the guy we ended up with (not from this site by the way) struggled with the complexities![/quote] Really? This is the same U2 we're talking about yeah? Good luck with your search mate

For a new band I joined recently, we had to practice three nights a week, four hours a night, for six weeks on the run up to the first gig. I feel your pain! Needless to say though, it was worth every penny spent on fuel costs. The band was tight as ever and it felt like we'd been together for years by the time the first gig came along. Nowadays, we rehearse once a week regularly on a Wednesday evening to keep things sharp. I regret none of it, I'm happy to say! Danny

That's some darn good sleuthing there, Andy!