Bradwell

[quote name='blue' timestamp='1431649207' post='2773705'] Any bands I have discovered through the internet were start ups by wannabes that never went anywhere. I had seen my band perform and I knew they gigged a lot, so I persued them. It turned out they we're looking to go a different direction for bass guitar and backing vocals. I auditioned a few times and they finally offered me the job. That was 4 years ago,were still going strong and it was one of the few good things that has come my way in music. Blue [/quote] Generally I'd agree with that. Most of the ads that are put up are for start up projects, you can tell from the way they're written there's not much scope for anything other than thrashing instruments in a basement. I did get a message from a guitarist who seemed really experienced - already playing in two other bands, looking to start up another project, ex-recording artist having done thousands of gigs. I politely explained that I would probably not be up to his standard. The originals band I joined have done a couple of gigs with two more booked for July (possibly one in mid June so I will have to be up to speed pretty quick, home recorded an EP and working on their second. I basically skipped the first year of a band's life where they define their sound, write songs, hire / fire a bunch of people and sort out all the initial logistical rubbish (did that with my last band, they're still several months away from gigging). It only took a month to find this band but I feel like I got lucky. I plan on sticking with this one, but intend to make enough contacts with decent musicians in the local music scene (through gigs) to fit straight into a good band if I have to change.

[quote name='Marc S' timestamp='1431516501' post='2772065'] I met a few musicians and bands needing a bassist, via gumtree and joinmyband However, most of those people were timewasters - maybe it was just a bad period to look for a band at that time? Or maybe it's just the musicians and bands locally to me? [/quote] There's plenty of them, best to be very clear on what you want and know what warning signs to look out for. Ask questions from the outset and drop anyone with a badly unprofessional approach. Don't be afraid to call out people if you think they're full of bull**** either (although you will need to phrase it as constructive criticism). It's great to have a band that are all good friends, but my priorities above that are to be playing bass, pushing my creativity / ability and getting gigs. I would make sure they have most of the following: somewhere to practice, decent quality gear, A PA speaker and microphone for the singer, transport, some experience of playing in bands etc. Should think that internet ads are biased towards younger bands who are less likely to have all of the above.

I've just been through the process of finding a new band after quitting my last one. Put up an ad on join my band and got a few replies, couple of auditions later and I've found what I'm after: Originals rock band, 2 gigs booked for late July, their second EP in the works. Plenty to keep me interested so I'm pretty happy about things right now. [quote name='uk_lefty' timestamp='1431034353' post='2767252'] I'm only looking for a band to play in for fun, don't expect to earn anything at all from it. My last band was not the best musicians I've ever played with but the best mates I've made through music which made it far better than the 'serious' bands i've been in before. Also I find out of those taking themselves seriously, some really shouldn't be. [/quote] Be clear about what you want from the outset - compatible musical style is a must. Starting a band from scratch will be much more difficult than joining one that's already set up and running. Is it important that you play gigs or compose music? Find some people who are roughly your level in terms of experience and skill. There's plenty of people up for thrashing the hell out of their amps and drinking beer one evening a week, plenty of others with delusions of stardom. Stick with it, take a relaxed attitude to meeting other musicians and the right opportunities will come along eventually.

[quote name='72deluxe' timestamp='1431338051' post='2770057'] Whose Eden rig was that? I didn't get your name. Very kind to let us abuse it, lovely rig. [/quote] That was mine, great to play through it with the COG effects board. Really want a T-65 octave pedal now (10 days to payday)... I had an awesome day, the cake was fantastic, lots of lovely basses and amps. Great to make some new friends, hope to be there for the next bash

[quote name='Beer of the Bass' timestamp='1431356203' post='2770383'] I put milk in my Earl Grey. Does that mean I'm in? [/quote] Personally I think that's disgusting, but it doesn't indicate a preference for Tetley / PG tips / Asda's own brand over Earl Grey. Consider other criteria such as have you resprayed your bass with pearlescent car paint? Are you playing through a battered 4x10 cab even though two of the cones are busted and have to be disconnected? etc.

I consider the bass rig to be main attraction in my living room. I'm single.

Me: "Would you like a cup of tea?" Friend: "That would be great, milk and three sugars please." Me: "Uh, no, I've only got Earl Grey and it's usually served black. I've not got any white sugar in the house either, is demerara alright?" Friend: "You're too middle class for your own good." Looks like I'm out.

There's plenty of that attitude with guitarists too, especially when they play by ear and have little interest in learning theory. Personally I think that's a load of **** and many musicians use it as an excuse for their own lazy attitude. If you need to confront people about where they're singing is flat, out of time etc. then it may be worth recording the audition so you can point things out and suggest tuition in those areas - what they hear whilst singing will be different to what you or the audience hears. Keep it even handed though and praise them on positive aspects of their singing, it should be constructive. Keep looking and I'm sure someone decent will turn up.

Another recommendation for the 'less is more' school of thought. I would go for a few good quality microphones rather than several cheap ones, they can be used for other instruments, reduces the need for cables and stands. My preferred set up is kick + snare + stereo overheads into a 4 channel recording interface, but less is workable. I'd say start with a decent mono overhead condenser and work out what extra is needed after experimenting with it for a while. Have a look at the Samson C03 - multipattern, large diaphragm, -10db input pad, bass roll-off switch. Fantastically versatile and can be picked up reasonably cheap, just be warned that it needs phantom power.

Nah, changing the connector hasn't helped anything & the TX has always been bolted up pretty solidly. Sounds like a swarm of bees, I've got a few big valve amps and they're all much quieter on idle. I'm being paid to change the valves & bias the amp which is easy enough. Changing the TX would be a simple enough task but my friend wants it sent back to Marshall. Got the new set of valves but they can wait for Marshall to replace the TX first. Good learning process and I'm pretty pleased with myself for figuring out the fault.

Thanks for the replies, pretty sure I've found the problem (I'm ok working with high voltages and know to discharge the capacitors before touching the circuit boards). All the controls on the front panel work fine and there was no signs that the valves were failing - when I said I tested the amp with another set I meant full set of pre, PI & power. One of the spade connectors between the power transformer and circuit boards was beginning to oxidise (yellow/brown colour rather than a shiny metallic finish) and melt through the plastic insulation - This is the connection for the 6.3V supply to the heating elements in all the valves. Like I said the TX has a lot of hum and vibration to the point I'm pretty sure it's on it's way out (definitely the power TX and not the output TX). I figure that would explain the problems of low volume from the power stage but everything otherwise seems to be working normally. Heater supply failing -> weak thermionic emission from cathode. I read about the common problems with 16 ohm jacks on other forums and checked the switching connections - no problems. There was a number of other known issues that I read about but no sign of those occurring in this amp. I had a look at replacement TXs online and there seems to be a lack of suppliers in the UK. Personally I would go for uprated components from USA/Canada but the amp belongs to a friend who wants to get the replacement from Marshall - fair enough.

Looking at repairing a valve amplifier that's suffering from a low output volume. Marshall JCM 2000 DSL 50 - from reading various forums the transformers used in this model are cheap and prone to failure. I've run a few quick checks as follows: Swapped all the valves for a set tested as fully working in another amp - no difference. Run the pre-amp signal out of the FX loop into the power section of another amp - this works fine and would suggest to me that the problem is in the power stage in the Marshall amp. Finally, when mains power to the amp is switched on there is a lot of hum and vibration from one of the transformers (I know a bit of audible hum is normal). Before I get time to fully investigate this over the weekend does anybody have experience of similar issues and know of a decent supplier for amplifier transformers in the UK? Any help on this one would be most appreciated.

Post # 300 - epic milestone. Tried one last year, neck was a bit chunky imo. Will stick with my Japanese jazz bass.

[quote name='discreet' timestamp='1427099874' post='2725639'] Interesting point about rehearsing in a circle. Anyone find it difficult to subsequently play in a line at a gig? Anyone rehearse in a line, or as you would at a gig? Our rooms have one wall as a mirror... I find this a mixed blessing. [/quote] My band has been changing our rehearsal set up a lot, playing in a circle is great for working on song writing, spent a couple of months practice sessions set up as if we were playing live and got accustomed to it. We've now moved all the bass/guitar amplification behind the drummer so he can hear what we're playing better without having to set up monitoring for him. A pseudo-live set up that works at lower volumes. Room acoustics can play absolute havoc as we are in a pub basement with a pillar in the middle of a decent size but awkwardly shaped room. Lower volumes, acoustic padding and experimentation with the set up have yielded much better sounding results over time. As for gear, we have a room to lock stuff away and keep a fair amount of kit there (guitar cabs, PA etc). Full guitar rigs because the cheap practice amps sound terrible in comparison, bass amp with the smaller 210 cab only, drum kit stays set up in the room, one floor monitor for vocal foldback, full pedalboard for the lead guitarist as it's key to his sound, distortion pedals for bass & rhythm gtr.

[quote name='Lw.' timestamp='1426846588' post='2722548'] I imagine it's a good excuse for learning to play with a floating thumb (as used by many quality bassists) where you rest your thumb on the string above [/quote] I got accustomed to this technique quite a while ago and didn't give it too much thought, not difficult when you get into it and mutes the strings you are not playing (I am by no means a quality bassist though). As for other anchor points on acoustic basses, I occasionally use the very end of the finger board where it meets the body as a reference but usually just rest the side of my thumb on the soundboard. I also have the bass on a strap and can rest my arm on the lower bout.

Update on my situation: we had a band practice/writing session today and got a lot sorted out. When there's a load of disagreement, I think the basic mechanism is that I get annoyed about lack of progress, put a lot of effort thinking through the problems and come up with a plan to get everything organised. There's generally a bit of drama to it, and I stamp about to let them know who's boss but never lose my temper. However, we have the understanding as band mates we wind each other up from time to time and problems always get talked through rather than festering for too long. I mentioned we changed guitarists a few months ago - followed the same basic pattern and I took on the responsibility of asking him to leave. It was pretty much settled today that I'm the one calling the shots on strategic matters (equipment, logistics, priorities for the work load etc.) and the writing process is much more collaborative. Sometimes it would be nice to sit back, play bass and let somebody else do the work, maybe I'll have that luxury when I'm older and playing in a different band. There was even agreement that we would build a song around my slap bass riffs Our recent focus has been writing melodic tunes that suit fingerstyle and I need to balance it out with the occasional moment of self indulgence.

[quote name='chris_b' timestamp='1426268611' post='2716441'] A dictatorship is worth it if; a) you're being treated fairly, b ) the band, the players and the numbers are great, c) the work's good and plentiful or d) you're to a lazy to do the work yourself. [/quote] a) They are (by me). b ) Great friends and when we get things together the music is awesome. c) A sticking point - at what point do I say I've seen it coming and it's not going to work for the amount of time & effort I put in. d) Another sticking point because the work isn't evenly distributed in this 'democracy'. [quote name='Roger2611' timestamp='1426272099' post='2716505'] Tell you what I far prefer the dictatorship method, we get to take the mickey out of him half the time, he totally recognises what we all bring to the table, I really enjoy the writing sessions as they are organised and end up being very productive, gigs are well thought out and targeted....above all else he is a cracking songwriter which I think gives him the right to run his vision his way [/quote] I suppose there's an understanding that it's the best way for that band to be run and not about one person's ego.

Thanks for all the replies. Truckstop and Water of Tyne we're right on the money with the model I'm aiming for. Musically I know I'm limited in what I create, I've got strengths and weaknesses like the other guys in my band so writing has too be a collaborative effort. Logistically I'm trying to organise a lot of things in addition to owning most of the equipment: PA, guitar amps & cabs, bass rig, guitars that we keep at the practice room, set of cymbals, microphones, practice pads for drums. The list could go on. The main reason for this is I'm the one with a stable and well paid job, the other guys are 4 or 5 years younger. A uni student and two guys trying to make ends meet. Delegating tasks and sorting out the musical direction isn't easy and I'm at the point where letting the band bumble along just isn't working. Not that I want to detract from the focus of the thread, but I end up making the same complaints repeatedly: Practice sessions are too loud and the drummer doesn't experiment with damping his kit or changing technique, guitars are playing full chords and the rhythm is too thick, not much gets done between practice sessions, song structures and musical scores don't get written out we just memorise as we go along.

This is going to be a bit of a contentious issue but I wanted other people's perspective and it's probably a good opportunity for anecdotes about what works and what doesn't when it comes to playing with other musicians. I started up my first band with friends last year, learnt a lot in that time and reckon I've become a much better musician in the process. We sacked our lead guitarist just before christmas and got one that was a much better fit so that slowed progress a fair amount. We're writing original songs, this is proving to be a difficult and slow process but rewarding when things take shape. The material we're writing now is much better than the initial work and the intention is to be gigging within a few months, however, there's a lack of direction that makes me doubtful we'll have enough good quality material. I think we need about 40 to 50 minutes for playing bars and small clubs. The problem with the band is that I'm the most organised and driven whilst everybody else concentrates on their own playing. When it comes to trying new things / setting schedules etc. I get the response "this band is a democracy, we don't want to do that"

I'd be up for this. Weekends preferably but given plenty of advance notice I can come along whenever. [quote name='Dazed' timestamp='1424733316' post='2699943'] Ok where do these things usually take place? Pub / rehearsal studio / hotel conference room?? [/quote] The South East Bash was held in a secondary school, there was a big hall and a theatre so plenty of space and relatively cheap to rent out for the day. A pub with a decent size function room could work quite well and they'd be able to provide catering. Not sure a hotel would be too happy about having a load of noisy bassist disturbing the peace. Rehearsal studios would have excellent facilities for bands but I think it's probably better to have one or two big rooms rather than lots of small rooms.

Father Ted Series 2 Episode 5 'A Song for Europe' does an excellent job of satirizing the Eurovision contest. The whole competition is lowest common denominator dribble, but I'd reckon that the economics work out favourably when you compare the cost of airing Eurovision to the collective cost of producing a nights proper TV programming on one channel in each country across the whole of Europe. (Whatever proper TV is, I don't watch it very often so I'm not the best informed on this subject.)

Update on this old thread: I picked up a Vox Lil Night Train yesterday - 2 Watts with a 10" speaker cab. Ebay bargain that was local pick up and priced quite low due to being modded - the bright cap has been clipped, popular mod that's easy to undo. Got a good range of tones from fairly clean to dirty bluesy distortion by playing around with the gain/volume/bass/treble and bright/thick switch. Definitely what I'm after in a practice amp and will be excellent for recording. Nowhere near load enough to keep up with a rock drummer but I figured it will suit my more immediate needs. The speaker cab is decent for it's size and the whole package light enough to carry about for small jam sessions, however, putting it through a big cab improves the tone a lot. Looking forward to spending more time with this one - trying a few different guitars and cabs with it this evening.

Ha ha, nice one ! Plenty of people buy gear based on the company badge, I got a pretty strong impression that Trace was top dog for a lot of people in the 80's. I was tempted by the Trace AH1200-12 amp heads they had in the auction but I needed to buy different music equipment at the time.

[quote name='wingnutkj' timestamp='1424965535' post='2702415'] The in-store gig "disaster" was pretty obviously staged/selectively edited. [/quote] I think selective editing in the name of cheap entertainment is quite obvious throughout the programme, american TV irritates me a lot. If the producers had any real interest in the company they'd do a better job of convincing the American consumer to keep their spending on home soil and supporting local business. Peavey have probably done a fair job to keep manufacturing going in the USA and continue to do so with some of their high end products I think the whole format of chief exec going under cover then gifting a few employees with ~$50,000 each to absolve himself of guilt is really contrived and glib too. It supports people's fantasies of lottery win / divine intervention etc. improving their lives rather than taking a company decision to invest in staff education / welfare schemes and showing a pragmatic approach to improving the company as a whole. Rant over. [quote name='TheGreek' timestamp='1424967570' post='2702440'] My big concern is that they own Trace Elliott - I spoke to Paul Stevens (CEO) at Trace and he was trying to develop a lightweight Class D amp to bring the equipment into the 21st Century - this will probably be sidelined now so the likelihood of anything new coming in the near future from TE seems unlikely. Does anybody know whether TE will be part of the "downsizing"?? [/quote] When I went to the Peavey UK auctions the staff there mentioned talk of revamping the whole Trace Elliot line at some point in the future although the designer (might have been Paul Stevens, can't remember) had been working on other products. When a big company is undergoing massive changes like that I wouldn't expect anything in the next year or so. It would play to their strengths to have TE as the premium bass brand like they have Budda as a premium guitar brand, the average musician isn't going to buy a Peavey badged amp for bragging rights.

[quote name='Jenny_Innie' timestamp='1424962068' post='2702374'] The fact that he didn't know that amps were tested in 73 seconds says a lot. He should know what goes on in his showcase shops and the fact that their first in-store gig (which he said was crucial the the brand) was a disaster - is actually his fault. [/quote] I wouldn't expect a chief exec to know those details in such a big company but both are ludicrous situations. Testing electronics requires either a more realistic target time or the process should be investigated to see if it can be made more efficient. The in-store gig was a total mess, I'm still getting to grips with live sound equipment but there's a bunch of obvious solutions. 1) If the microphone is busted get a new one off the shelf. 2) Experiment with positioning of the microphones and monitors, for a venue like that most of the staff should be clued up on live sound and have tested the systems thoroughly beforehand. 3) Use a graphic equalizer, noise gating and even Peavey's own 'feedback ferret' (feedback detection system built into the FX2 mixing desk I've got or available as a stand alone rackmount unit) to reduce feedback.