nottswarwick

[quote name='Horizontalste' timestamp='1386156783' post='2296421'] I'm buying a new combo today, have been torn between these & the GB Contour. I think I need to drink more tea while I decide. TC looks better but arguably has issues, then the GB just seems to be a bargain and has the option for an extension. Decisions decisions. [/quote] I made this same choice. I chose a Contour 210, as at £300 it is a steal. It's not that small / light, but I suspect that it is far more versatile in terms of the gigs it can handle. EQ is great too. Nice and simple, everything you need, nothing more. Just my 2p

Hang on a sec. The RS210 has a tweeter I think? The Compact does not. Different beast entirely, both good.

Nice :-) Mine is passive V V T too.

[quote name='BigRedX' timestamp='1385916154' post='2293569'] IME car ownership seems to be one of the major sources of stress for people I know. I use taxis for local gigs and rehearsals where I need to bring my complete rig and I still haven't spent more on these than the cost of insuring any vehicle that would be big enough to fit all the gear I want to take, let alone purchase and other running costs. [/quote] Yep. We are on 2 cars at the mo but when the older one dies, we won't replace it. I work at home anyway. Costs of one car are £400 insurance, £260 tax ish, and say £200 upwards per year on maintenance, minimum. Obviously this exclude fuel and depreciation, but I won't included depreciation as the cars in question are 11 and 7 years old, so most of that cost is gone already. I used my car once last week, for a 2 mile journey to my luthier and back. It's a luxury we don't need. For my 2 gigs in the last week I've got lifts in vans both times (city centre so easier). To be honest I can always get a lift to any gig due to where we all live and now I don't carry the PA it is easier. Only becomes a bit of an issue if I am on drums, due to size of gear. In any case, we would always have one car in the household, or I could hire one. There, I'm sold. Think I'll get rid while it's still worth a bit.

So here are a couple of pics of the work As you can see, the cavities are too big for the pickups, but the are well supported with foam, and with the plate on all looks good. It's funny how this bass cost me peanuts years ago, and is still with me and is now one of my only 2 basses.

So I thought I'd share this. I've just put a set of jazz pups from a G&L JB2 Tribute to replace the SD soap bars that I'd previously had in there. Have had a scratch plate made to cover the cavities. It sounds really nice. I've set it up with my old labella flats. Thing is, it was a cheap bass, but the wood and neck is good, tuners and bridge fine. What's not to like? I'll put some pics up in a bit.

I'd be using taxis. When I was car less I figured that the cost of a few taxis was far less than the costs of running a car for a year. Buys a LOT of taxi rides.

[quote name='Pulley' timestamp='1385891429' post='2293134'] Seems good value for the price.. Would they hold there own with a normal pub band without a extension cab? [/quote] My experience says yes. But as usual depends how loud your band is. I'd say so for most though.

I've always liked qsc amps. A friend likes the GX 5 he uses for PA. I expect that your budget precludes the ones that will drive a 2 ohm load? That would enhance future expansion options re numbers of cabs you could drive. But I'd think it would be a monster rig before that was an issue.

I was impressed with a Rumble I played in a shop

That sounds like b*llox to me. Reverb? Nah.

[quote name='chris_b' timestamp='1385294348' post='2286435'] A lot of players still do the "standing in front of my gear" like a live show thing, which, as you're usually all in a circle, blasts the guy on the other side of the room, who has to turn up, which blasts you, etc. etc. IMO, volume should be kept to a minimum in a rehearsal room. Anyone who confuses a rehearsal with a gig needs a kick up the bum. You're not there to pretend you're at the Albert Hall, you're only there to work out the numbers, [/quote] This

Is always set up in live formation, to replicate the lack of eye contact that can be inherent in a live show. I'd also say that a rehearsal room doesn't really need subs?! IMHO anyway it must all be too loud.

So just a quick gig report on this little beast. It's actually not that light, but just about single handedly schleppable if not too far. Set it up flat on the stage, not tilted at all. Bass into it, no effects or compression or anything. Really nice and focused tone. Good EQ, nice clear DI (pre EQ only but that is fine) on the front so no messing around the back to plug in. Mute function, and that is about it. I took PA support as it was a huge room (big corporate jobbie), but it would not have needed it - just meant my stage volume could be nice. Very pleased, and the band thought it sounded nice too. I'd even venture as far a to say that it sounds nice without any messing than my big GBE 212 rig. It obviously has not got the potential to go as loud, but I rarely need it. Strongly recommended. I might let the big rig go....we shall see, but I cannot see this little beast not doing everything I need in the amp department.

[quote name='JapanAxe' timestamp='1385163337' post='2285330'] Anyone want a fight? [/quote] Don't be so rude lol :-)

[quote name='dlloyd' timestamp='1385161221' post='2285309'] No, the key really does refer to the tonal centre. A progression consisting entirely of Em Am Dm, is not in C major. Edit: and I'm also conscious that this appears argumentative... not my intention [/quote] Indeed sir. Although as noted above somewhere it could be notated as such by a publisher if they chose to score it as per the C major parent scale, which does happen. Aren't we being nice..unlike another similar thread which has degenerated into a very bizarre affair.

I was just trying to make it simpler, that's all, but you are right :-)

I'd always try to present it 2 ways.... It can be said to be in D major, with a tonal centre or home chord of A Or It can be said to be in A, with a flattened 7th which would be represented by accidentals the sheet music. Ie, A mixolydian. Nice thread this. :-) EDIT just realised I seem a little argumentative above. Sorry. I'm actually agreeing with everything said in japanaxes detailed post towards the top. I'm just saying that it is not incorrect to also say that it is in the "key" of D major, with a home chord of A. In my view that is just as correct as the other A view, since it does use the D major scale for all the chords and melody, which is in effect exactly what A mixolydian is anyway - the 5th mode of the D major scale. Neither approach is wrong, just a difference way of writing the same thing.

[quote name='JapanAxe' timestamp='1385142808' post='2284999'] No, the D major key signature only tells you the set of notes used. Your ear will tell you that 'A' is 'home' for that song. [/quote] Yes, but "key" and "home" do not necessarily have to be the same. Is not one way of thinking is that "key" is "parent scale" is "set of notes"? Key signature IS the key. Or you can think about it as per dloyds posts. Nether is wrong.

[quote name='dlloyd' timestamp='1385133903' post='2284860'] Technically, the tonic chord is A, so it absolutely isn't in D major... Just as a song in B minor isn't in D major. it's A major with a chromatic subtonic substitution. The tonic chord gives the key of the piece, not the collection of chords. However, there is a certain amount of muddiness about this and while it's theoretically "more correct" to notate a piece in A mixolydian as A major with accidentals, a lot of publishers will just deal with it as if it's in D major. [/quote] Can it not be described both ways though?

It is D Major, technically. So it is IV G, I D, V A Which is what A Mixolydian is - 5th mode of D Major. This also fits the Em later int he song. That is chord ii of D major. The "key" refers to the parent scale from which all the chords are derived. It does not have to be the chord that a song starts or finishes on. So the Sweet Home Alabama referenced above uses chords D, C, G. To be technically correct this is a song in G Major, as those chords are V D, IV C, and I G of the key of G. Hope that helps a bit. It's quite hard to explain it properly on a message board to be honest. With my student we go through what is called the diatonic harmonisation of the major scale, which is essentially showing how the main chords in any key are formed for that parent scale.

[quote name='Lowender' timestamp='1385079502' post='2284381'] Eh, I think some of you are just looking for a reason to pile on. My point to the OP was that if he needs help, it'd make sense to be as clear as possible. I never heard the song so i had to do a bit of deciphering from his post to find out how to explain it. Not everyone may go to the same lengths. And, un, yeah, you're welcome. And even when my point of a B triad being the same as a Abm7, STILL, it isn't good enough. Geez, everyone is so sensitive. Maybe it's a Gen Y thing. They can't take criticism without crying and demanding an apology if they fart and the world doesn't applaud. You can all go on about how rude I am -- it gives everyone a free shot to insult me. That's fine. But you may not want to reconsider being a musician if you can't take the slightest bit of direction. [/quote] Excuse me ! It's not about taking direction! I AM a pro musician. It's about your condescending manner ! I'm out.