Musicman20

Orange Bass Terror or TC Classic 450 + doom like cabinet.

We are changing home insurance at the moment. Which ones are great for covering some musical equipment outside the home? Is it better to go with a separate policy? Music Guard working out for you guys?

Same here, problems on iPhone and iMac.

What type of tone are you looking for? Id recommend testing pretty much the list you have, but the popular ones are: Orange BT (more rock/vintage/thumpy orientated) - Cheapest option and super loud. Markbass LM2/3 - Nice amps, ive just sold mine to try a Streamliner, but thats because I fancied a change and the right price/sale came up. TC Classic 450 - Awesome amp, and if you get an RH450 you can switch presets for styles very effectively. Aguilar TH500 - Not played one, but if its to their usual standards, it will be top notch. Seems quite cheap as well at £599 and thats in the super expensive GuitarGuitar. You will be able to get it cheaper than that. Genz Streamliner 600/900 - Currently getting rave reviews, super clean tube tone all the way to gritty rock. Talkbass seems to be of the opinion that its a very very good amp. Clever EQ and gain options on this. Ive seen some very low/amazing prices on the 900...and dont be afraid to haggle!

[quote name='wateroftyne' post='1139810' date='Feb 24 2011, 12:09 PM']The blunt truth about getting paid for playing original material is this: If your original material is good, you're in with a shout. If it isn't any good, don't blame cover & tribute bands.[/quote] This is true to an extent, well, the 'normal' extent with bands that could possibly be big commerically or attract a crowd because they fit with the current trends. I agree with what you are saying. Eg, the current fairly large indie scene. If you havent got the hooks, the style, the strong songwriting, then there is no point moaning about it. However, there are literally thousands of bands in every country who operate under the radar in a different guise. Ive been there, and ive come back to it. Why? Simply, because there is nothing like it. What is it? Well, the term used is 'DIY' shows. Its been popular in the USA since the late 70s, maybe earlier than that. Even Dave Grohl has played his part in this 'scene' back when he started. Friends put friends on, who informs other bands, who brings more bands and more bonds are formed. The bands love what they play, keep playing, play for next to nothing, and the crowds can goto a packed show, and pay very little. Everyone wins, apart from financially the bands are 'losing out' if the promoter is actually not working it as they should. If they get petrol money, then at least they dont lose out too much, and thats how it should be. I used to put shows on in my hometown, and we could have made a lot of money. We didnt, we paid the bands a share for their time, and the rest went to promotion. I did EXACTLY the same with DJ nights that cater for the alternative and indie crowd. Most bars and clubs play rubbish music. We played underground hardcore, really heavy stuff, modern melodic indie, a little underground electro, punk, etc etc. The list goes on. Ive never taken what id class as a proper 'payment' thats just for myself from any of it, apart from the first real band I joined that was doing half a set of covers and half a set of originals. That stopped when I was 17 and I never went back. I have tried, but never 'clicked' with the bands, or wanted to spend so much time preparing for one gig. I never took a penny from DJ-ing for 5-6 hours. I won't in future either, when I do it again. With the DJ Nights it was free entry! Im quite passionate about this subject, both at band level and DJ level. At a band level, its because I really enjoy seeing people enjoy themselves, grab the mic off me, sing our songs, then dive into the crowd. They give you a look, like you are really making them have a great night. They paid hardly anything to get in (if we have a promoter with ethics) and we just get petrol money. Bands like At The Drive-In, for example, come from this, and they DID make a commercial success of it. Some bands make it, but its extremely rare as usually the masses cannot understand the passion behind the music. Some of the music really is chaotic and heavy, or very meloidic and clean with jazz-like chops on the guitars with layers of delay and effects (like Minus the Bear). They all share the same ethics, and do it because they love it. So, these bands, some of them are very very talented, but stay under the radar on purpose. Some may think they 'bitter' because they do not get paid high wages like a function band/commercial band, but the fact they are there playing for hardly anything is a testament to their commitment. Thats where my rant ends haha. Id love to be in a quality function band AND play in the DIY scene. But the DIY scene comes first, because you'd never get the adrenaline rush in the function band quite like it.

This is the first of many tours where I will be working with my old band again. I realise its not to everyone's tastes, but we are a loud and chaotic hardcore punk band. Fast, heavy, detuned, yet still melodic. Fans of Comeback Kid, The Legacy, Minor Threat, Good Riddance, and BANE will probably enjoy what we do. Support comes from Massacre On Broadway. The Departed / Massacre On Broadway UK Mini - Tour Fri, Mar 18
 Liberties
Middlesbrough

£? 


Tour w/Massacre On Broadway 
 Sat, Mar 19
 
The Victory
Blackpool

£? 


Tour w/Massacre On Broadway 
 Sun, Mar 20
 

Camden Barfly
London

£? 


Tour w/Massacre On Broadway 
 Tue, Mar 22
 

Soundbar
Birmingham

£? 


Tour w/Massacre On Broadway 
 Wed, Mar 23
 

Blessington Carriage
Derby

£? 


Tour w/Massacre On Broadway 
 Thu, Mar 24
 

The Duke Of Wellington
Lincoln

£? 


Tour w/Massacre On Broadway 
 Fri, Mar 25
 Lincoln Imp
Scunthorpe

£? 


Tour w/Massacre On Broadway 
 Sat, Mar 26
 

The Matrix Club
Grimsby

£? 


Tour w/Massacre On Broadway 
 Sun, Mar 27
 The Ringside
Hull

£? 


Tour w/Massacre On Broadway 
 Mon, Mar 28
 

The Well
Leeds

£? 


Tour w/Massacre On Broadway 
 Tue, Mar 29
 

Stereo
York

£? 


Tour w/Massacre On Broadway 
 Wed, Mar 30
 

Head of Steam
Durham

£? 


Tour w/Massacre On Broadway 
 There are still changes occuring for times, and some venue changes may occur depending on the promoter/organiser. Ill try and keep this upto date. Links to our band are here: Please note, the old bassist (huge guy with a beard) is moving to guitar, and as yet everything hasnt been updated. www.facebook.com/thedepartedgyhc?v=app_178091127385 www.myspace.com/thedepartedgyhc

Interesting topic..re: 15s. Im really enjoying my Orange OBC115, and im considering as part of the endorsement to check out another 1x15 to go with it. Im assuming this would sound fabulous?!

I have limited knowledge on Jaco's music, but I have listened to it and seen videos of his playing. When I started bass at 13/14, I had a really great tutor, who pushed me to play more than just rock/grunge (I was a big Nirvava/Smashing Pumpkins fan at that age, I guess I still am!) and it worked. I wish Id taken his advice and picked up fingerstyle much earlier in my life. Now Im more mature, I can appreciate a great bassist who isnt playing the genre I tend to listen to. I remember him distinctly talking about Jaco. He still plays and teaches in my area. In fact, at one point he was in the orchestra supporting Blur on their UK tour. Ahhh, the days of Brit Pop! Oh, another thing. Back then I never really understood why someone would solo the pickups on a Jazz, as I liked the scooped grind of both pups. Tone control? Meh, all the way up. Now? Now I get it, and that back pickup tone always sticks in my head. When testing Jazz basses, its the first thing I listen to. Ive also learnt to use the tone control

As long as you are not maxing the amp, it will be fine Most amps could damage any cab, it's just a case of not cranking or boosting the bass really high. The Streamliner is much more 'a fully clean tube amp in a small box' and it will let you get musical distortion at any volume. That would be nice ying yang to the Shuttle.

Youtubed it...there is a guy platting setting two on one of them. He plays a variety of settings. [url="http://www.youtube.com/watch?v=CAzZIdiBdkw&feature=youtube_gdata_player"]http://www.youtube.com/watch?v=CAzZIdiBdkw...be_gdata_player[/url] Try a few of his videos.

RH450 or Genz Streamliner 900. The RH450 total volume is huge....very honestly rated. Head to head it will push ahead of the 6.0 and match the 9.0.

Sequia (spelling?!) Gold was for 2008. PS - I love the multi pup Rays....I have a HH Ray 4 on order and the demos online sold it for me straight away.

Thats very 'Big Al' in style....cool.

I play for free all the time, apart from petrol costs, and usually its not enough. Such is life. Id like to be paid, but I enjoy it far too much to think I HAVE to be paid. Covers/functions bands are obviously more strict, so yes, Id expect payment unless its for charity or helping a friend/relative.

The RS cabs are quite light for ceramic cabinets. They look great, but you have to look after them and buy covers. I really like how they sound. I cant describe it. Id say there is a lo mid thump to them. Warm, clear, crisp, and the tweeter is nicely designed so it isnt overly harsh or ganky. Id say they underpriced the cabinets. The amps are also great.

[quote name='silddx' post='1139659' date='Feb 24 2011, 10:04 AM']I just noticed the nut on my Japan Fender Jazz I got a couple of weeks ago is cut incorrectly. The G slot has a wider spacing from the D slot than the others are from eachother. Off to The Gallery to get a new one fitted I reckon. Typical. You can see it here, but in the flesh it's more pronounced. [/quote] Thats weird. I wouldnt have noticed that until you pointed it out, but I can see what you mean. Is that 'normal' or wrong? I dont understand Fender...at all. Great sound, great style, 50:50 if its well made!

I dont see it as a problem, completely your choice If you are a car enthusiast, believe me, its MUCH more expensive, and you tend to lose a lot more money. Guitars/basses/amps/drums can be very expensive, as can most instruments, but at least its not just an object...its something you use to create. That's the key for me.

I find a 4 and a 5 not only feel different, but apply differently and sound different every time. Just like all basses do. Eg, my Ray 4s...great for diggin in and basically playing how I like. Less room for error. The Ray 5? You know, I love this bass. Stunned by its quality, 100%. But, it does make me play differently. Although you can, Id much rather play the 5 with fingers, and it tends to make me lean towards playing music I dont normally play in my bands. In my current band, a 4 string with a pick is perfect. It just suits the style, and the comfort factor. For some reason, rock/punk etc seems more 'right' on a 4 string. Although you can do it on a 5er. I think being able to play both is the key for my musical tastes. The 5 will never feel like the 4, but the 4 will never have the extra options....its give and take. I 100% know Ill always have 4 string basses, no matter what.

Have to agree. Ive been there and back. What works for me? Non boutique J and Ps, eg a good Fender. Id love a nice simple well made passive P and J, custom made, but when the design is so simple in the first place, im happy with Fenders. Ive tried to avoid getting another Jazz and the lottery of Fender, but ive got another one coming. EBMM basses. The Ray IS my bass...the one Id hoped for when I was 15 or so. Ive sold a few, but once my orders come through, thats it. Amps? I swap and sell quite a lot. The Orange and TC are going nowhere, but the LM3 is for sale. Ive no idea why as its great, I just fancy a change.

Why is it most damage is caused by other band members?!

Seen it lots of times and sent them back. I dont understand it!