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JD1

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Posts posted by JD1

  1. +1 with Doddy. Following the pad is crucial (while keeping your other eye on the MD / Conductor for Q's and tempo).

    Obvious I know, but the skills bit would be more relevant if you were asked to play something from the show. That's what I'd pick to do. Santa Fe perhaps - that can be a bit of a bugger to play in the different positions without looking at the fingerboard (remember you'll be looking at the pad and the MD!). You could maybe play the main riff from La Vie Boheme in different positions as well as it goes all over the shop in the show.

    If you have (or can borrow a fretless) you could do Without You or You'll See from the show. They are both quite simple lines but really come alive on fretless with a bit of gliss / vibrato.

    If I recall there is a bit of slap in the first act - but not much.

    I really enjoyed doing Rent. I didn't like a lot of the songs to start with but by the end I thought they were great.

    NB - just noticed you are based in Durham - thats where I did the show, at the Gala Theatre.

    Best of luck!

  2. I've done a production of this. Its a great show to play - very enjoyable. In the main its just a load of Queen songs with a story line similar to the Rush 2112 concept - but if you are lugging it rather than reading I'd suggest giving the sound track a good listen as the arrangements are different to the originals. Enjoy!

  3. Sandberg PM5. Bookmatched bubinga top with matching headstock. Block inlays and black hardware. Delano pups and I believe a Glock pre amp. It also has a passive option.

    This is a great bass and is unmarked. Very versatile. Does a reasonable stingray impression (maybe a bit less scooped) and its not too shabby as a P bass either - although I've not used the P pup as much as I thought I would. Only downside is its not the lightest bass I've ever had. I will sort out pics asap but in the meantime there is a pic in a previous thread:

    [url="http://basschat.co.uk/index.php?showtopic=49610&hl=sandberg"]http://basschat.co.uk/index.php?showtopic=...amp;hl=sandberg[/url]

    There are also some sound clips at DWband.co.uk. Not the best as its DI (from a GK head post eq) taken from the desk. Also the mid and top are boosted quite a bit to cut through the wall of guitar, keys and brass in that band - still it will give you an idea.

    I have an incoming classic SR5 so I'm looking to trade this for something that gives me a different option sound wise - probably looking at a J bass derivative but not completely married to that. Just thought I would gauge interest and see what's out there.

    Tried some Laklands that I really liked so that would be a good starting point - 55-02, JO5 or a DJ5.

    Only looking at trades and only intersted in 5 strings.

    Either collection from the north east or I may be in the Leeds, Nottingham and Telford areas over the next couple of weeks. NB: I have a mate who might be interested in buying it so I might withdraw it if he makes his mind up :)

    Thanks

    John

  4. I use one of the Markbass jobbies all the time. I got sick of trailing round for crates and chairs etc. My Epi UL310 is quite deep so often chairs weren't big enough. For what it is its expensive, but it folds flat and the velcro sticks to the carpet covering on my cab so it stays in place. I prefer it to raising the cab - especially in confined spaces. Best compromise for hearing yourself and retaining some floor contact and bottom end.

  5. I'm the opposite Kev. :) The original 4 string design is spot on, and clearly lends itself to the 5 string format, so why not simply have a 5 string version as Fender have done with the Jazz and (eventually) the Precision? In fact I'd like to see a 5 string version of the Jaguar as well. I don't dislike the SR5. They sound great, are well made and look good (and I've had a few over the years), but I prefer the orignal design of the 4 - my main gripe with the SR5 being the expanse of pick guard.

  6. Cheers for the advice folks. The NYE gig in question was just a small desk and a couple of tops for vocals and keys - and the operative in question despite being a fantastic musician is to my knowledge not known to be an experienced sound engineer :) Furthermore it was a very quick test before we put the punters off their starters.

    I have a rock gig on Friday with a proper rig, and the chap knows his stuff (WOT - you know Dave and its at the Maggie if you're at a loose end) so we should get to the bottom of it. I'll have my GK as a back up and if it transpires I need an attenuator for future gigs with the Orange then it's not going to break the bank.

    On the GK, I've always run the DI level at or around 12:00 (I think it's -15dB) (generally post eq) and never had any complaints. I'm assuming that turning the DI level on the GK fully clockwise would give me the equivalent of line level? If so, does that mean that should I need an attenuator, then one rated at anything between 10 and 20 dB would be OK?

    Thanks again!

  7. Thanks folks - not sure what channel / line he put me into - tried various and they ranged from hot to hotter :)

    I'll look into this a bit further and maybe try and contact Orange - however those attenuators look like a quick fix.

    I just can't understand why companies like Warwick and Orange could get this wrong - do they not test stuff?

  8. Hi

    Not a repair issue as such, but mods, please feel free to move to the repairs / technical if you fell it sits better in there.

    This is related to something that cropped in the reviews. First gig with the Orange on new years eve. It was a relatively low volume restaurant gig so I didn't need to DI. However just out of curiosity I checked the DI during the sound check and the signal was really hot - i.e. desk was clipping with the gain set very low.

    I really want to use this at bigger gigs where I'll be going through the rig and don't want to faff on with a mic.

    Is there any way I can attenuate the signal? E.g. would a DI box help - and if so, which one?

    I'd appreciate any advice folks.

    Cheers

    John

  9. Just used it for a new years eve gig rehearsal. Totally different to the last time I used it (heavy rock trio). This one is a jazz / swing type affair. Backed the gain off for a cleaner sound - still plenty of volume but still a bit of grit when I dug in. Eude - you would be smitten as it was still fat and slightly argumentative! (You really need to have a night out in Newcastle mate).

    Not a problem (actually really nice) but based on my initial forays, totally clean isn't this amp's forte. I'm concerned about the related thread on the DI being too hot though - can anyone shed any more light on this?

  10. Yes Doc - I remember Tommy and John working there don't know why I thought they owned it.

    I certainly do remember White amps. They came out with these black and red bass heads with a graphic - sounded great. I think everyone had them. Not sure how reliable they were though - certainly don't see many about now!

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