EliasMooseblaster

I'm a little surprised by some of the figures quoted on here, as all my amps have run on a 5A fuse to date (though I should probably double-check that on my newer Ashdown...). I suppose if the cable can handle a higher current than the 5A (or 10A) your amp draws, that's no bad thing, but consider changing the fuse for the correct current - I'd be wary of running a 5A amp off a 13A fuse!

[quote name='D.I. Joe' timestamp='1428182429' post='2738967'] Turn back that bass dial, dude! I've found that turning the bass knob down and slightly boosting the low-mid sliders [b]gives me a nice tight, round bottom[/b] with plenty of definition in the context of the band. [/quote] And I thought it was just the jeans you were wearing!

"How Can I Publish My Music In TIDAL? For unsigned artists, the easiest way is to register at one of these services: 1. Record Union 2. AWAL 3. Ditto Music 4. IIP-DDS" Possibly a bit too early to ask whether anyone can comment on their experience as a content provider then...

[quote name='steve' timestamp='1428105057' post='2738219'] I listened to a couple of tracks on your website - very impressed. Great playing by all involved, and your singer has a wicked voice. [/quote] Very kind of you to say so - thank you!

Well, I did say exceptions would exist!

[quote name='RhysP' timestamp='1428230266' post='2739280'] Nope, I can't stand Stevie Wonder either, or pretty much any other funk or soul music to be honest. [/quote] Can I suggest that this is the argument that people are actually having in this thread? The people defending ERBs are citing a lot of examples of funk and soul, and the people bashing them don't seem to like funk and soul. 5's are great for that kind of music because the bassist often has to keep a deep groove going without getting in the way of the soloists, whereas a lot of good rock basslines cross over slightly into the guitarist's sonic territory, making the bottom five notes somewhat cosmetic. The rise and fall in popularity of the 5-string in mainstream rock music seems to correlate closely with the days of nu-metal and 7-string guitars. Further evidence, I'd argue, is that most of the basses typically cited as having a 'good' B-string tend to be the more 'modern' designs, with exotic woods and advanced pre-amps for tone sculpting, something a lot of rock bassists would turn their nose up at. I've not seen many ERB players talking about getting that "Rick clank" or "P-bass growl" out of their Overwater or their Ritter. (Though of course exceptions will exist!) I've never had the bug for a 5, but I wouldn't rule one out. Though a more pragmatic part of me thinks that, when the time comes to dip my toe in the ERB pool, I'll probably go straight for a 6 or a 7 and have done with it!

Ah, ok, I was thinking in much simpler terms - along the lines of a footswitch for each bank of lights that would simply kick the mains power in or out. I could see getting away with this for the main lights and the small floor lights, but I'm a bit concerned that this might lead to blown bulbs or fuses for the floodlights!

There appear to be plenty of knowledgeable people on this thread, so I shall ask for your counsel before I spend a large amount of money doing something stupid! I think it's time Cherry White had their own lighting, just to improve the overall experience, but I think coloured lights would be at odds with the style of the music. Personally, I think we'd suit a bit of dramatic white lighting (exhibit A: https://youtu.be/1n4I0qYrdXo), so I had in mind something similar to exhibit B: https://youtu.be/h8z-WLL0VHA, albeit without the blue wash. So basically, a couple of standing lamps in the middle of the stage for the most part, then for moments when the music is being more dramatic, I thought it would be good to have some small spotlights on the floor (quiet bits) and maybe a couple of floodlights at the back (loud bits). And, as we can't afford our own lighting engineer at the moment, I thought it would be useful to cobble together some footswitches, so that somebody who knows the set well (e.g., me) could trigger them whilst on stage. Your mission, if you choose to accept it, is to tell me whether this is an ill-advised (or even downright dangerous) idea.

I've never been drawn to 'rays, particularly, but I have to say that colour really suits it - I look forward to your NBD thread in 16 weeks' time!

Getting a bit sentimental reading this thread - my very first bass was a Bronco! (Good god, was that really 15 years ago?) Looking really good - are you planning to just stick with a single volume and tone to control both pickups?

Cheers! Ironically enough, I think it was the looks that first made me think I wanted one, but then I realise it's quite a divisive design (my best friend thinks it's the most hideous bass I've ever owned) - just as well they sound so good, really!

[quote name='burno70' timestamp='1427999096' post='2736950'] Lovely demo - nice and phat tone! I've had my LB30 for over a year now and wouldn't part with it - it's fantastic. Best tone I've ever made. Makes me want a great big valve amp for gigs -- and a great big roadie to carry it! [/quote] Cheers! It's probably worth pointing out that this is with the amp running at very modest volume (8-9 o'clock) and with the bass control down at about 9 o'clock so as to maintain good relations with the neighbours - it's also coped remarkably well in full band settings before. Anyone who's seen Cherry White will confirm that we're not exactly quiet (and that's why I upgraded to a CTM-100).

[quote name='Beer of the Bass' timestamp='1427969035' post='2736377'] Hmm, that's a rather idiosyncratic view. I suspect he's trying to confirm his own prejudices as much as anything else. [/quote] I suspect you're right. When he comes out with things like, "[color=#333333][font=Verdana, Arial, Helvetica, sans-serif][size=3]But the aim is to maintain as consistent a sound possible as one plays from string to string, so that the instrument conveys a homogeneous timbre over its entire range.[/size][/font][/color][color=#333333][font=Verdana, Arial, Helvetica, sans-serif][size=3] And there ain’t a 5-string bass on the planet that can do that."[/size][/font][/color][color=#333333][font=Verdana, Arial, Helvetica, sans-serif][size=3] [size=4][font=arial,helvetica,sans-serif]Newsflash: your average 4-string bass can't do that either! Notes at the bottom end of the first two strings are not "timbrally consistent" with the same notes played up at the dusty end of the bottom two strings; you get a different balance of harmonics, and if they're that vastly different then you use whichever one sounds most appropriate. [/font][/size][/size][/font][/color][color=#333333][font=Verdana, Arial, Helvetica, sans-serif][size=3] [size=4][font=arial,helvetica,sans-serif]I suspect he's one of those engineers who's become unnecessarily anal about listening out for high frequencies that are normally only audible to dogs, and low frequencies normally only picked up by seismographs. Even before Nathan East was experimenting with low B-strings, Black Sabbath were tuning their guitars and basses down to C# (possibly even C) by 1971, and I don't hear many complaints a lack of fundamental on [i]Master of Reality. [/i][/font][/size][/size][/font][/color]

I've put up a couple of demo recordings, though I'm not optimisitc that my cheap dynamic mic really does the rig justice! Recorded using the two basses I had at home: [url="https://soundcloud.com/cherrywhitemusic/ashdown-lb30-demo-precision-bass/s-dgF0j"]https://soundcloud.c...on-bass/s-dgF0j[/url] - "Brenda"; kit bass Precision copy, recently treated to a Fender 62 'RI pickup [url="https://soundcloud.com/cherrywhitemusic/ashdown-lb30-demo-frankenbass/s-FZOh3"]https://soundcloud.c...kenbass/s-FZOh3[/url] - "Aradia"; Frankenbass constructed from bits I found on eBay, sporting a Tonerider Jazz Bass neck pickup. [attachment=188074:brendaAndAradia.jpg] (l-r: Aradia, Brenda)

Correct me if I'm wrong - not owning a 5-string and all - but weren't the 35" (and longer) scale lengths introduced as a way of putting extra tension into the B-string to make it vibrate properly? If so, you might be thinking along the right lines!

Why torture yourself? I understand you want to forge your own route, but surely it won't hurt to incorporate elements of other players you love. Or, to look at it another way, buy a jazz, go on a Jaco bender to end all Jaco benders and get it out of your system! You may find it adds something to your own style, or you may find that once you've had your binge you no longer have such a burning need to play it.

Having played the Enterprise once or twice myself, I could second a lot of the points already made on this thread! Still, some practical advice, because I'm sure your bandmates won't like it if you go back and tell them that you think the gig's a turkey because some people on the internet told you so! [b]Find out who the other bands are. [/b]I understand your friends from Stornoway are sharing the bill with you, but what about local support? I've no idea how big your band is in your area, but I'm going to hazard a guess that you're relatively unknown in London - please correct me if I'm wrong. If I'm right, you're probably going to be relying on the local support bands for an audience. (Unless ITB can show you a hefty guestlist of people they've rounded up to come and see this "showcase," though if they had such a guestlist, this event wouldn't be at the Enterprise, quite frankly.) Then, [b]find out if there's going to be any scope for you to make money back[/b], either through expenses payments, a door split, or even a fee. [b]The next bit requires a bit of intuition on your part: [/b]investigate these bands. See how long they've been together and what's on their website, stalk their social media; any information that might give you some impression of how many people they might be able to attract. If there's going to be a split of the door takings, this could be a crucial decider in whether to take the gig. It will also give you some potential figures with which to back up your decision! It does sound as if you might be the only member of the band who's wearing his "business hat" about this. I don't need to tell you that the streets of London are not paved with gold, but it sounds like the others may need some convincing of this! Ultimately, don't do it unless you are going to get some tangible return on your investment - my first impression is that you won't, but then I am acting on limited information.

It certainly has! I guess, after I told myself I didn't need to buy any more basses at the end of last year, my mind naturally turned towards my amps...

Possibly - the hypnotherapist hasn't gone that far back yet! Ordinarily I'd say it stems from watching John Entwistle's "typewriter" technique quite closely, and maybe a bit of the old Steve Harris gallop.

Well, it's a new rig, rather than a new amp, really. After upgrading to a bigger and more menacing head, I decided to hang on to my Ashdown LB30 and set up a more luxurious / self-indulgent home practice rig. After a bit of scouting around, Merton very kindly pointed me in the direction of SiFi2112's 1x10 Cab For Sale thread. The two have finally been united for the first time tonight: [attachment=188006:LB30_2.jpg] I got a bit of a surprise when I first turned it on - those 30 valve watts definitely seem a lot louder than the 30W SS amp I was practising through previously! I could see this being an ideal setup for acoustic gigs. The cab is a DIY job with an Eminence driver mounted in a nicely lightweight enclosure. The clarity of the speaker is superb, and it really compliments the Ashdown head nicely. Perhaps if I can get myself organised at a more sociable hour this week, I'll try and record a little audio demo. In any case I'm really pleased - the cat, however, remains a little suspicious of the new arrival... [attachment=188007:LB30_JM.jpg]

[quote name='lou24d53' timestamp='1427813259' post='2734539'] [i]If accepted you please make sure:- You do NOT play any show in Glasgow at least 4 weeks either side of date above. You do NOT have any members under the age of 18 years old. (Unless show is over 14s) You pick your tickets up within 5 days of being notified that they are ready for collection. You arrange backline share with the other bands on the bill as backline including drum kit will not be provided. The show will not be confirmed until these stipulations are agreed and all above questions have been answered.[/i] So basically there is a ticket sale split of 30% to the band and 70% to the venue, we are not allowed to play any gigs in Glasgow for two months - a month either side of the date - and we are expected to provide full backline agreed between all bands on the bill...erm, where do I sign??! [/quote] Wow. Yeah, that's basically got all the hallmarks of a "pay to play" gig (which, incidentally, the MU is dead against; see http://www.worknotplay.co.uk/). The clause about not playing the same area within a certain timeframe I'd normally argue was common sense, but normally it's two weeks, or "not in the same month" - four weeks either side of that date seems to be extracting the micturate somewhat!

[quote name='DaytonaRik' timestamp='1427812251' post='2734528'] We're turning gigs away in the Derby area as our drummer can't commit to more than the current workload which is a real shame! [/quote] Interesting...are these gigs generally well attended? We (Cherry White) played Derby at the beginning of February and the singer from Thunderous Jones, who invited us up for the gig, told us that they hardly bother to play around Derby because nobody seems to bother coming out for live music! It was the first time we'd played Derby, so we knew very little about the local scene, and took his word for it - but it sounds like your experience is a bit different from his.

[quote name='alittlebitrobot' timestamp='1427710920' post='2733211'] I wonder how low he's willing to go. [/quote] Bottom F, according to the listing... [/coat]

It's certainly no [i]Single Ladies,[/i] is it? Long as you liked the song - that's the important bit, after all!

Update: we now have a studio version of the song finalised, with our proper singer! http://www.youtube.com/watch?v=uJXxa8v7jzo