bassace

Proms?

Some bits dead boring, pretentious. Others very good, with a lot of energy. The real stars were the Orchestra. How Jules Buckley got them back under control after the geezers in nightshirts went off on one is quite miraculous. Great arrangements but I’m afraid Collier’s voice isn’t quite up to his ambitions.

He’s on TV from the Proms Friday evening. Should be good.

dood, It’s possible to cut a top hat into the base of the cab but that would entail getting into the innards to make sure the damping material wasn’t unduly disturbed. As with a previous Wizzy10 I knocked up a shelf for the cab to sit on. It’s located by its weight (21 lbs) and corner notches. Here’s a pic of the underside. You can find the bracket online.

Yes, they are indeed great cabs. Using two, whose principal function is to get the cab closer to ear level, is perhaps an under use of the bottom cab. I found when I did this that the two cones induced feedback more readily than using just one. But there are definite advantages to be gained by raising the cab. As well as bringing closer to ear level you get get improved clarity by decoupling the cab from the stage, especially when it’s carpeted. For a lot of in-and-out gigs I simply stick the cab on the floor but I have just knocked up a stand, using a modified speaker tripod. When I get time I’ll see how it performs with a mic mixed it. Should resist feedback very well.

Singer

Looks great, Bob. Wishing you years of joy!

I rate this cab very highly, it is now my go to cab. It’s got a great frequency range, is ‘quick’ and pushes out a lot of sound. So much that I can get away with just one cab on all my gigs, even the loud ones. So you can find my second, redundant, cab in the amps and cabs for sale section if interested.

It’s the interval but he never stops.

This is my outdoor jazz rig, well it was last Sunday. A 1960 German blonde laminate, Barefaced OneTen under a Puma500. Then there’s a stool, an iPad stand and lots of wires and Diet Coke. Privet hedge courtesy of the management.

I was doing a jazz gig last night, playing with one of the best drummers for hundreds of miles. He studied under Ed Thigpen for a time, he’s that good. So he sets up, no charts on the gig but he still set up a music stand to his left and proceeded to play most of the time looking at a blank stand. Habit I suppose.

Or this?

It’s in the EUB and DB section, should give a clue. And as Bilbo doesn’t play EUB.................... Laurence Dixon supplied and fitted a new adjustable bridge, reprofiled the fingerboard, adjusted the soundpost and reglued the body here and there and made the bass sound divine. All for £450. So I’d think £350 is a bit much for the bridge only.

Knock out 2 to 6 and I’m your man.

Thanks for the kind reactions, folks. But in one band I played in this was part of the stage patter. If we had a request for a number, often in the interval, we’d announce it as a request and then go into..............we only play requests when we’re asked. Another one, as I remember, was ‘ make sure to patronise the bar because the more you drink the better the band sounds’. There were plenty more.

Preceded by a glis?

We only play requests when we’re asked.

I was looking for their site this morning and found some lot who wanted to flog me fish. Yes, really.

A lot of my work these days is with jazz trios and quartets. Without bass and drums interjections, even with a quartet, the two ‘front’ instruments will sound a bit samey for a whole gig. So the bass will have a goodly number of solos, if only to add a third voice to the tune. Ditto the drummer with fours. Indeed you can do other tricks, rounders, arguments, walking bass behind a single instrument, all the give the punters a bit of variety and, let’s be honest, give a bit of light relief to the players. its all very well to say rhythm sections/bassists/ drummers shouldn’t play solos - and I’m not totally without sympathy with this point of view - but necessity demands otherwise.