KevB

Surprised if it was Saxon, the classic Saxon sound is Fender P. Beginning to run out of bands that has such a definitive T Bird look as its signature bass. How about one of the newer offshoots like The Union? still doesn't really require a T Bird though

[sub]Couldn't have seen it being Wishbone Ash as Bob Skeats been in the band for a long while and I'm not even sure he even owns a T-Bird never mind play one in the band! Now I did check UFO's web site and there is no mention of a bass player for their upcoming tour. They do play a couple of shows in the USA to warm up late Feb and if grimbeaver's not going to fly out there then they could use someone else for those I guess. First UK show on March 15th. Good luck if it is Phil & the boys, still a cracking live act after all these years.[/sub]

[quote name='Monckyman' timestamp='1327658950' post='1514785'] Agreed with above. Even if you have the traveller in your posession, you can still send it back and go for a 210 IF you decide you want to. I reckon you`ll like the 15. FYI I use a 410 and a115 together (heretic, burn him!)and it sounds excellent in my opinion. MM [/quote] I agree. I used to use a 15inch combo with a 4x10 ext cab and it was great sounding. I only downsized to a 2x10 ext to save my back and I still like the combination of the 15 with the 10's. As long as the total impedence doesn't compromise your amp (which sounds like it won't in your case) feel free to mix and match to your personal tatse. Actually I'm probably even more of a heretic in that the 2x10 is on the floor and the 1x15 is on top of it!

I bought a jazz S1 on ebay for less than £400 with the SKB case included, new price at the time was over £800.

Buy second hand and save yourself even more!

[quote name='thebrig' timestamp='1327567617' post='1513332'] Anyone know where I can hire those dancers for when we do eventually play it live? [/quote] I think they'll be getting a bit past it by now...

[quote name='mikeh' timestamp='1327507424' post='1512562'] Ive used this site before for backing tracks to practise too [url="http://www.karaoke-version.co.uk/custombackingtrack/"]http://www.karaoke-v...ombackingtrack/[/url] You have to pay for the tracks, but you can select which instruments you want on the tracks so you would be able to just get the drum tracks. Also good for getting songs that your band wants to play in a different key!! As I say the only down side is you have to pay for each track...... [/quote] I hadn't seen this before, quite interesting. Had to laugh at the list of 'most popular' current backing tracks - after all these years it still has 'Sweet Home Alabama' 'Summer Of 69' 'Stuck in the Middle with You' and 'Brown Eyed Girl' on it. Some things never change!

[quote name='coasterbass' timestamp='1327494184' post='1512166'] Marcus Miller in a guitar shop once. He asked me to play something for him so he could hear the amp I was trying. [plop] [/quote] Hope you said 'Alright mate as long as I don't have to do any of that slap w***ery nonsense'

My current 3 piece 'Case Closed' are playing here; [b]Tappers Harker - Long Eaton, Nottingham NG10 1GR[/b] This Sat (28th Jan) So if you're not busy pop down and have a self satisfied smirk at the middle aged bass player trying to keep up with the youngsters. Covering an eclectic range of pop/rock/punk from Elton & Simple Minds to Blink182, Green Day, Stereophonics, KoL and much more. Never set foot in the venue before myself so it'll be an education all round.

Current 3 piece covers band covering a fairly eclectic range of stuff in the broad pop/rock field. If we like it, can make it work reasonably well and it goes down OK with the punters then it's got a decent shot of staying in the set. On Sat when we play we'll be doing stuff by Stereophonics, KoL, Killers, Neil Young, Elton John, Judas Priest, Blink182, Green Day, Deep Purple, U2 among others.

[quote name='Dom in Somerset' timestamp='1327401683' post='1510486'] oddly enough we have our milk delivered by David Bowie. [/quote] One of the bits Glenn Hughes left out of his Biography; ' I was hanging with Bowie a lot of the time. I recall being holed up with the thin white duke doing gold top and free range yoghurts for three days straight...'

How much for a piece of wood? Did a quick bit of web searching and apparently some early Japanese wood carvings have been sold in the past for over fourteen million dollars. We're barely playing at it with basses...

I don't think Axl Rose got round to reading this one...

Considering it's size relative to somewhere like Birmingham I've always been surprised just how many venues still host live music of some description in Nottingham and its suburbs. With a quick bit of web browsing you could probably find something every night of the week if you were prepared to put up with the odd open mic night and could cope with a range of styles. It's just that it hasn't produced the numbers of serious nationally and internationally known acts that other cities have.

[quote name='SteveK' timestamp='1327331137' post='1509411'] For the most part EQing and levels will have been done by the crew before the band arrives. Drummers have a problem that singers, bass players, keyboard players etc don't have, inasmuch as they're not able to have a kit set up in the dressing room. It isn't a case of 'save it for the show' more a case of, when they've been on the road for a couple of weeks the only time that they can really stretch and loosen up is at soundcheck. The drummer will perform, or at least [i]feel[/i] that he will perform better having had a 'blat' around the kit for a few minutes before hand. [/quote] I must have misunderstood Silddx's original post, it sounded like the engineer was just trying to get basic individual levels at that point. If all the levels had all been set so the band could 'blat' around I don't really see why he was still there, maybe minor tweaking?. I can imagine it's a bit different when you are doing a show for a broadcaster compared with just your own regular people on a normal tour, bound to be a bit of friction. But I've never remotely played the size of shows Steve has done with Manfred so I'm happy to be put in my place.

[sub]I wouldn't be unduly put off by that pic of the bass in the snow if I was in the market for that type of bass. The length of time to put it there to take the pic would be minimal, the actual area of the bass in contact with the snow is minimal. The air would be very cold and thus fairly dry. All in all I'd say the electronics in that bass probably saw less moisture than an average sweaty club gig. I wouldn't go out of my way to photograph one of my own in that way though [/sub]

I agree, I seem to have developed a sixth sense over the years as to the likelyhood of a project actually getting to gigging stage. Some people do see them as a social thing only and it doesn't matter whether they ever play to a real audience or not. One of the singers in a past band I was in referred to them as 'hobby bands' and he had no time for it. I tend to fall in with this on the whole. i don't need to gig every week but constant rehearsal with nothing fixed to work toward is pretty soul destroying.

[quote name='chris_b' timestamp='1327330021' post='1509378'] [size=4]A band I was in many years ago drove from Brussels to Cannes for 2 gigs at the Midem Film Festival and I've done London to Frankfurt twice. [/size] [size=4]The Cure won't fly so they do their entire US tours by car! That's way too much driving for me![/size] [/quote] Haven't they heard of the 'locomotive'? I've never gone far for gigs. I'm sure it has its appeal in a 'tales from the road' kind of way but I've never done originals bands and can usually scrape together enough gigs locally without too much damage to the environment.

If you are a rolling stones fan then there's always Swarkestone Hall pavillion...if you are interested in TV locations I recall someone wrote a book listing where most of the main locations for Midsomer Murders have been shot.

[quote name='SteveK' timestamp='1327159825' post='1507215'] I know a few drummers who, had they been 'told off' by an engineer (BBC or not), would have presented said engineer with a nice bit of bling...in the shape of a snare drum necklace. EDIT: Thinking about it, I know a bass player who would be none too happy about either [/quote] I say cut the guy some slack, he's just trying to do his job. Chances are he hasn't been given enough time to EQ / mix the full band anyway and then when he starts trying to get proper individual levels the drummer starts barraging round the kit. In his shoes I'd probably have told her 'Save it for the show, luv' too

Hats off to anyone who gets a tone they like out of an Ashdown ABM . I seem to have tried several in music shops and rehearsal rooms over the years and never got on with any of them. I was particularly interested in Ashdown when they first started as I'd used and liked Trace gear and the company was set up by ex Trace people. Lots of pros use them so I guess I've been unlucky but I haven't found an Ashdown I liked yet. But then plenty of people can't stand Trace stuff so it's horses for courses as usual.

Persuade the guy to stick to something he should know something about - setting the PA up and getting a good mix. Delegate the actual musical direction side of things to someone with better people skills and make it clear to him that this is definitely no longer his job and not to get involved. He sounds like a guy I was involved with a few years ago who was trying to get a band together after not gigging for about 12 years. I was between bands and a mate from a previous band persuaded me to get involved. The 'leader' wanted to work to a drum machine until we were tight then get a real drummer in to finish a 4 piece lineup and get gigging. We spent what seemed forever getting intros precise to the nanosecond. I had the temerimty to point out to him that when the real drummer came in we'd probably have to change things anyway to accomodate them so it seemed a waste of time laboriously going over these drum synth related aspects (after six weeks we still semed to be on the same 5 or 6 songs) and things went completely downhill. He just got stranger and stranger at each successive rehearsal. I'd always got my parts down pretty well as I practised them between sessions so when he came in one day and had a tirade about how I'd been playing, my sound (neither had been an issue for the previous six weeks) and that basically we would be gigging by now if he'd got another bass player in from the start I quietly packed my gear up, wished him all the best with the new bass player and left. The guy that I knew and had got me involved was so disgusted he quit after another couple of days. We've both gone on to be in other bands that gig yet neither of us have ever seen the guy that was putting the project together play live anywhere since that day.

My first reaction, on watching it with no sound, was 'Is that what Sharleen Spiteri is up to these days'

I have a ric 4003 (yr 2000) and a US jazz S1 (yr 2003 or 4) and though both are fine playable instruments I have found myself using the jazz as the main gigging bass for the last 4 or 5 years. They are all a bit different and it depends what your application is going to be. If I were in a covers band covering lots of songs done on rics then I'd use that but I don't so the jazz has become my favourite.

Just so long as there wasn't a repetition of this,,,, [url="http://www.youtube.com/watch?v=Mjx_GjyXCs4"]http://www.youtube.com/watch?v=Mjx_GjyXCs4[/url]