spacey

My peavey 20W practice combo plugged in to a 4x10 was louder, where on earth they got 640w peak from ?

OK, who has the oldest real road worn bass rig that you refuse to replace because it "just works" Meaning that you have tried the light weight fangle new stuff and you just can not be without your old faithful rig. Or have you flogged the new stuff you bought and hunted down what you had before. Pics welcome, who has the boldest and oldest "it just bloody works" bass rig that despite its weight, its worth lumping.

Bet they are selling beer, ask if you can provide your own beer as well as PA for the people turning up to watch.

I know one guy I have depped for who is a guitarist, he has re-invented his entire band 3 times now after people left and threw teddies out, he keeps the brand and name and the PA and lights and has a very robust attitude to tantrums, there's the door if your not happy is his attitude and your jobs is up for grabs next day. This said he is a smashing honest guy to work with who splits equally everything despite providing most the gear. His refusal to let strop throwing members to pull the band down is something I strongly admire, even when the full band walked over wanting to only play two gigs a month on alternative weekends he stuck to his guns and was back up and running in less than a month. All the people that walked on him last time have spent over a year trying to get bands going and failed, some people can not do the job without leadership in my opinion.

Once had someone wanting to pay £300 for a wedding and got quite nasty about it, you are only a band they said. Yet she was happy to pay the DJ £1000 to play some records.

Too much wood around the bottom horn, its not a squire body IMO

As you get older, you get grumpier.

Endless practice does kill bands, it makes some, but others turning up every week and paying studio rates and nobody has done begger all work wise at home and things soon boil over. If the band had gigs and a name keeping that name an momentum going is easier than a fresh start and more attractive to people looking, move on, let em go, get some adds up.

It was more the US market export issues and mechanical royalties issues for performers on record material. Those on recorded material received a performance royalty on USA sales unless they were employed as a session player. Hence why a lot of recordings were made with session players for artistes as opposed to having a set band, T-rex where another that paid session players such as Herbie Flowers to record, money was money. As to the notion the band where not tight enough is bunkem, they were regarded as a very tight band on the scene and were quite well played in on the scene. They got offered a chance to record ever lasting love after Marmalade refused it, they tried several bands who did not want the track, Love affair took it on, the band agreed the deal would get them better live money so went along. I suppose it did, but at the cost of royalties payouts. Mick was a very good bass player in his own right, just dont buy a car off him...

[quote name='Truckstop' timestamp='1432027962' post='2777311'] Currently own a Max700 and a Firebass700 and a TVX 410 and a TVX 210. For bigger gigs it's worth lugging it all around although I usually just use the 210. Great tone that you only get from massive transformers and 24mm ply! [/quote] The Firebass was ahead of its time sound wise, its deliberately sounds just like a huge big old 400w valve head, deep, loud and slightly over driven on the input gain it could pass for any valve head, in todays retro sound chasing players it is bang on.

With Flats finding a set that the E can ring a bit is the issue, in the old days the E string was always as dead as a lump of rope. Would re-visit them if I knew a good set with some sustain in them. Any recommendation ?

What actually happened from what I was told is is the record company would not let the band play the song and insisted on using their own session players, claiming the band were not tight enough to record. In Truth it was about cutting royalties, the band got sweet FA other than to play it live, one session fee and the record companies pockets the rest. A very crafty move that saved them a lot of artistes royalties.

Needs to ship with a hard case, these amps which are boxes with knobs sticking out are not very robust if anything falls over in the van. A hard case custom made with a nice handle .

Try some good quality flat wounds if you prefer a fuller tone.

The main issue was the stock 4001 pic ups had very low output. In the old days there was very little pre-amp available as valves distort when you pre-amp a signal. Hence getting a loud enough input out of a stock 4001 was near on impossible. In todays transistor preamp stages a 4001 can be dragged up, but in those days, you had all on to be heard. The 4003 pickups were re-worked and are now quite hot and produce a lot more output and bass. Mods using better pick ups were quite normal, Foxton had a jazz pick on his main rick basses bridge area for recording and his later work before moving back to the precision.

John Stillwell mod as its known, he modded Ricks to get more output, Foxton had a Jazz pickup under the bridge on his 4001.

The sound is more to do with Single coils having output thats not self limited and allows clipping and pickup spacing under harmonic points which produces partial phasing on the peaks. Then put the strings, the bridge and pickups all on one through wood laminate neck for sustain and you have a Rick sound . Copy this in any bass even with humbuckers and you wont be far off.

You do understand the people in China do not have a choice if they want to work at one of these factories, refusal to do forced Labour can result in execution. For this reason alone, I refuse to buy any mass produced Chinese electronics where an alternative option exists . Some reading : [url="http://www.theguardian.com/commentisfree/2013/oct/14/forced-student-labour-china-apple"]http://www.theguardi...our-china-apple[/url] [url="http://www.dailymail.co.uk/news/article-2492998/Revealed-Appalling-conditions-factory-workers-make-Dell-computers-forced-work-seven-day-74-hour-weeks-live-dorms-hot-water.html"]http://www.dailymail...-hot-water.html[/url] I Understand people with ethics are very short supply these days, most just want cheap stuff and to make as much money as possible as quickly as possible. I am very sorry, but I will not be buying or using your products mass produced by forced Labour.

PRS LOST the court case to force live covers bands to be covered by PRS as they are emulating not recording. They made great effort to hide this and do threaten landlords who put bands on. The two issues of recording songs and covering them in a band are miles apart legally and should not be on the same page. Where they catch people out is playing recorded music between sets. Th

PS notwithstanding the PRS fought a long legal battle to have cover bands banned from playing covers without paying the PRS most the gig money, the best place for them is outside on the street.

All venues have to have public liability as a licensing condition, not the mickey mouse stiff they sell musicians, real insurance that is low on get out clauses. We have it but on sitting down and reading the several thousand word get out clauses it makes it clear it is not valid where any other policy overides the same risk. So unless your playing in an insured venue, useless.

Jazz bass first or Rick 4003, which despite people thinking it only has one sound of clank and distortion, if you plug it straight in the amp can go reggae to finger style on one switch, however the Jazz bass can do the same but slaps better.

[quote name='Lozz196' timestamp='1429567639' post='2752789'] Down In The Tube Station & It`s Too Bad by The Jam, Nice & Sleazy by The Stranglers. [/quote] You get a discount...

One rule is never ask the bar staff manager if it is too loud, The answer is always Yes and you end up with someone who has no idea dictating how it sounds. Never ever ask, your the artists and this is the show, you sell the beer.

Our system ran 4 way cross over, Sub went to 4 x 215 martin, lower mid went to 2 x 115 martin, mid to JBL 2x12 2125 I think they were called, 4 of those and 2 x 2" JBL horn and 2x 1" rcf horns on crackle diffuser plates, that was one side. About a realistic 8k rig in old school money Now if I think, the bass guitar probably sat in the 115 bins so almost had its own set of bins to push out, anyone who was anyone played that rig at Leeds refectory and other venues and the bass guitar was always crisp, other than than when the "bros" engineer decided to re-wire it and they ended up sounding like they were under pillows, probably the best place for them. Most bands had their own engineers and most were far better than I was at mixing. Perhaps the gear was better and the engineers were better in the old days.