Maude

Thanks for the replies. I think it'll be an FDeck if I can sort one out. The MT seems more bass guitar territory for some reason, and being a dumbass I've just realised that when playing BG I use my Variax into my Line6 pedal, a data lead links the two for power and comms to the Variax and the pedal goes straight to desk so unable to use a standard pedal in that chain, d'oh! It was mainly for the DB into my PJB so FDeck it is. I've sent a pedal builder whose name escapes me an email so hopefully he can knock me one up.

General admission tickets for 2017 are £243 including the booking fee, parking is £45. That's roughly 360 US dollars, which I consider prohibitively expensive. My kids (17 & 19) would like us to go as a family but that would be $1440. I think you'll agree Blue that your Summerfest is considerably better value.

I've posted this in the effects section but I'm also putting it here as I'm intrigued as to the replies from predominantly DB or BG players. I play doublebass in one band and bass guitar in another so I want a HPF that will be good for both. With doublebass I use a PJB Suitcase and 4b cab for monitoring and FOH, with it DI'd through the PA to help boost it when needed, only because the PJB sounds better than just the PA. With bass guitar I just go from pedal board straight to PA with a floor monitor. The reason for wanting a HPF is that my poor little PJB cones are leaping all over the place with both gains at half, eq is pretty flat just boosting the top end slightly. At outdoor gigs we've tripped the PA amp a couple of times with, I believe, the low end of the DB and Cajon. I should add that these are our PA's in case anyone thought we were tripping house PA's. We don't want to really change our sound as the bottom end interaction with the Cajon and bass really works for what we do. I assume that either of the HPF's will just help get rid of the subsonics that are driving my PJB and the PA too hard. I don't really need it on BG but assume if I have one and it cleans up my sound then why not use it. So what do the collective think of the pro's and con's of each.

I play doublebass in one band and bass guitar in another so I want a HPF that will be good for both. With doublebass I use a PJB Suitcase and 4b cab for monitoring and FOH, with it DI'd through the PA to help boost it when needed, only because the PJB sounds better than just the PA. With bass guitar I just go from pedal board straight to PA with a floor monitor. The reason for wanting a HPF is that my poor little PJB cones are leaping all over the place with both gains at half, eq is pretty flat just boosting the top end slightly. At outdoor gigs we've tripped the PA amp a couple of times with, I believe, the low end of the DB and Cajon. I should add that these are our PA's in case anyone thought we were tripping house PA's. We don't want to really change our sound as the bottom end interaction with the Cajon and bass really works for what we do. I assume that either of the HPF's will just help get rid of the subsonics that are driving my PJB and the PA too hard. I don't really need it on BG but assume if I have one and it cleans up my sound then why not use it. So what do the collective think of the pro's and con's of each.

It's not technical, intellectual or serious muso territory but 'Another Girl Another Planet' by The Only Ones is just the most perfect pop song ever written, IMO. http://youtu.be/lKuc3faQAEs

[quote name='Roger2611' timestamp='1492005235' post='3277102'] When you get paid for playing original music [/quote] It was until BRX quoted this in the thread that I had to go back and double check as I'd read it as "When you get laid for playing original music", not sure what that says about me :/

[quote name='Big_Stu' timestamp='1492004730' post='3277094'] It was an effects pedal from what Andy told me years ago. An early 70's budget one - possibly Rose Morris but multi branded. It had a white-noise/surf effect and a siren. [/quote] A 70's effect pedal with a siren? Cool! I just loved the cheesiness of doing it. We had two old skool rotating police lights, one red one blue, on top of the PA speakers either side, we'd fill the stage with smoke and then fire up the lights and siren to start the second set. We'd leave it going for twenty seconds or so before starting the riff, silly but great fun

http://youtu.be/JTPMPjtdFPQ

I used to do it in a previous band, I had the American siren looped so it would play for about five minutes on my phone, the phone was plugged into my Line6 pedal which in turn went through the PA, I would start the second set with that siren wailing and fade it in and out at the appropriate place with the volume pedal on the Line6. At one gig someone rang me during the song and I'd forgotten to put my phone in aeroplane mode, a phone ringing full pelt through a 2K watt PA is quite a piercing noise

I used to love being in a three piece. I used an Akai Unibass, kept the original bass clean and put the octave up with a fifth above through an overdriven guitar amp, instant power chords following the bass, what a glorious sound that made.

In my younger days I bought a no name SG bass for five quid, I later burnt it on the living room fire. That bass today would change hands for maybe five pounds and ten pence but the price of logs has rocketed. There are some winners.

[quote name='MoonBassAlpha' timestamp='1491255691' post='3271672'] The Guild of Stranglers. [/quote] Winner!

Yep, I do it in one of my bands. We use the Behringer X Air system so we can individually adjust all the levels in our own monitors using a tablet. Really can't see what's not to like, my monitor is my amp with however much of everyone else in it I want. Just get a good balance and then up the volume to match the drummer. Bass, DI pedal and a lead and I'm good to go, love it. I've never been one of those that gets upset if I haven't got 'my sound' on stage, as long as I can hear myself I'm not worried about tone, our soundman makes sure it sounds good out front, and I trust him.

How about just concentrating on afternoon gigs? Around here quite a few pubs have bands on a Sunday afternoon/evening, around four o'clock start. Not just acoustic stuff or duos, full bands. Could be an option if the late nights get to you.

Unless of course the name he suggested was 'The Shittiest Stranglers Tribute....EVER!!' If not then I'd say yes.

[quote name='spikydavid' timestamp='1490812399' post='3268295'] I've found that the best thing to do is sleep with the drummer. I've done this in every band I'm in and it's worked out well so far [/quote] I'll try it but I'm not sure he likes cock!

Aria Elecord? https://ariaguitarsglobal.com/product/feb-fl/ Not tried one but look good and Aria usually make a decent budget instrument. I have a tobacco burst Yamaha Bex 4, plays like an electric but having piezo and a soapbar pickup can sound quite acoustic like, would fit in aesthetically. http://en.m.audiofanzine.com/acoustic-electric-bass/yamaha/bex4c/medias/pictures/a.play,m.171851.html

As a curious side note Blue, obviously you do this for a living (as well as enjoyment), would you happily play in a band that played a genre you disliked? I appreciate that you don't have to at the moment. Just curious

[quote name='timmo' timestamp='1490618427' post='3266451'] I particularly liked Neds Atomic Dustbin [/quote] People wanted to play bass in that band so badly they had two of them. Must have been alright.

[quote name='Nicko' timestamp='1490617138' post='3266430'] I guess it would depend on how one defines indie. Its like saying why would anyone play classic rock. There's good and bad examples of both. [/quote] Exactly this. In all genres there are songs I love and songs I hate. Pick out all the stuff that appeals to you from various genres and suddenly no one specific genre is dull.

[quote name='bazztard' timestamp='1490588112' post='3266111'] did Lars mix the bass? can't hear it [/quote] Eh? You mean the intro and main riff running through pretty much the entire song? I would have thought you couldn't miss it.

Looks like it's just you and I then Paddy

We played Torbay 'March Of The Mods' last night and on before us were a brilliant young band (The 5:15) whose bassist was the lead vocalist, he did an amazing job covering 'The Real Me' by The Who.