Dan Dare

Freddie and the Dreamers?

14 minutes ago, pete.young said:

There is a very vocal minority on this site who rave about flatwound strings but unless you are looking to reproduce sounds from '70s TV cop show soundtracks or Motown thud, I'd advise caution.

As one of the (not particularly vocal) minority, I have to say that flats are way more versatile than you assert. Yes, a well worn set of La Bellas will give you that Motown thud, but there are many more options. Ernie Ball Cobalts, for example, or even D'Addario Chromes, are much brighter, especially if you use the lighter gauges (which have the added benefit of being easy on the fingers).

1 hour ago, spongebob said:

Excuse my stupidity…..so I could get Designacable, for example, to make a cable, 2 pole one end and 4 pole the other? That would be ok? 

Yes. As Nile points out, just get the 4 pole plug wired on pins 1+ and 1-. I wouldn't bother going to Designacable for something that simple. They're good, but you'll pay for the privilege. Speakons are very simple to wire. No soldering needed. You just strip the cable, push it into the terminals and tighten the cross head screws. Job done.

13 hours ago, Stub Mandrel said:

This matters for me... in the long run the rack will have pa and monitor amps, plus a comprssor/enhancer, 6 way mic mixer (for the drum kit) and possibly a graphic so light will matter...

 Appreciate that, but large all in one racks will always be heavy and cumbersome. I switched from a large rack to multiple stackable rack cases. It's a lot easier to make several journeys into the venue from the vehicle with manageable loads than it is to struggle with a single behemoth.

5 hours ago, Phil Starr said:

The conventional sticks with an array of 3" drivers do struggle for volume

If you use sufficient numbers of small drivers, this isn't an issue. Mine have 12x4" plus tweets in small horns and put out plenty. They go surprisingly low, too, although that isn't needed with subs. As is always the case, you need to spend proper money to get good results with mini line arrays.

40 minutes ago, richieclare said:

If I buy a new bridge what do i need to look for? do i get a different bridge depending on the width of my neck or do i match the spacing at the nut end?

No. The gap between the strings flares out from the nut to the bridge end. If it didn't, you'd never get your right hand fingers between them to play. Measure the spacing between the strings on the bridge and look for something equivalent. Whilst the existing bridge may be quirky, it's also cheap 'n nasty. I'd replace it and keep the original. Something like a Gotoh 203 would be a great improvement and not expensive at less than £30.

Bill's advice above is on the money as usual. If you are going to put 15 top boxes on stands, those stands need to be heavy, stable, strong and consequently expensive. The risk of a drunk/careless punter walking into a stand and bringing down a large, heavy cab on peoples' heads is real. I've seen it happen. You can't always position stands/cabs out of harm's way to prevent it.

Good quality 10s on poles/stands, plus a single sub will be more than adequate for the average pub/club.

You don't need stereo/two subs in any but the largest of venues. I have two, but very rarely need to use both. I usually end up dialling back even a single sub - see Bill's comment regarding reinforcement from floor placement. Low bass frequencies are omni-directional, so coverage from using just one is not an issue.

59 minutes ago, Jack said:

I can't believe I only sold my QSC PLX1602 for £250. There's no need to buy a cheap amp new when you can get that kind of pro-grade amp for that kind of money.

I feel your pain. I got just £150 for a mint RMX1450HD in a rack case when I switched to active speakers. Heavy beast, but bombproof and uber powerful.

5 hours ago, Phil Starr said:

If you want reliable then Crown, Yamaha and QSC all offer bullet proof offerings.

 Good advice. Peavey are also decent. All can be had used for little money if you don't mind the fact that they weigh. Avoid really cheap power amps which are aimed at the rubbish end of the disco market. They have little to no protection circuitry and can take out your speakers if they blow up.

4 minutes ago, Burns-bass said:

save me the patronising response

Pot, kettle, etc

10 hours ago, Burns-bass said:

Business isn’t (or perhaps, shouldn’t be) about short term gain, it’s about building relationships over the long term. A happy and well paid will deliver a better show than one, ultimately giving punters a better time and increasing return custom for the venue.

 

Almost every business that argues over a few quid here are there isn’t worth working for or with. 

That's rather naive. Any business that doesn't keep a grip on the bottom line isn't likely to stay the course. Would you willingly pay more than you needed to for anything? I wonder how much debt you're carrying if you would.

As for "building relationships over the long term", that may be true in the case of a product or service that is unique or hard to source, but bands are ten a penny (no offence meant to Stew and his colleagues). Plenty out there to choose from.

34 minutes ago, Burns-bass said:

No offence, but I don’t need the basics of business explained to me. I just don’t understand why grown adults running a business would waste everybody’s time to screw a band out of a few quid.

 

They will have a standard rate they pay to covers bands. It’s how budgets work. They should tell you: this is how much we are prepared to pay, would you like the job.

 

This way leaves the band wondering whether they could get more and resenting the venue if they find out this is the case. 
 

It’s the opposite of how good business is transacted.

 

No offence, but, as I pointed out, no business will pay more than it has to for anything. Yes, they will have a figure that they expect/are prepared to pay, but if they can get  it for less (provided the quality is of the desired standard), they will be more than happy with that. As I also pointed out, there is no "standard fee" for many things. That's why I suggested quoting the relevant MU rate.

It isn't about trying to "screw a band out of a few quid". It's about the bottom line. Any business will save whatever it can, wherever it can because all those "few quid", multiplied over the course of a year, can add up to a significant sum. That too is one of the "basics of business".

Have a look at Stew's most recent post above. Had he quoted what the band originally discussed, do you think the venue would have responded "Too low. We'll pay you double that"?

1 hour ago, Burns-bass said:

I hate this stupid game. Why can’t they simply tell you what they want to pay?

 

We get this all the time and it just gets on my nerves. They will have a budget, quite why they won’t tell you that is annoying.

They won't want to pay more than they have to. No business will, which is understandable. Not everything in life has a set price (who determines what it is?). I'd start by quoting the relevant MU rate and take it from there.

36 minutes ago, Beedster said:

I'm out as soon as anyone uses the P word 

Or Psychotherapist

JMB, like any open-to-anyone site, has an enormous variety of people posting. They range, as does all of humanity, from the sublime to the ridiculous in terms of personality, ability, manners, etc.

The fact that a few may be less than ideal is no reason to knock JMB itself. I've joined a couple of decent bands via JMB. It was especially helpful when I moved to a completely new area and wanted to make contact with local players and find a band or two to play in. Sure, I had to follow up on a few red herrings and sort the wheat from the chaff, but that's just what you have to do in most aspects of your life.

If you don't mind paying, BandMix is worth a look.

13 hours ago, Misdee said:

There's no need for folks who enjoy the aesthetics dimension of various basses to apologise. I'm certainly in  that category, and as long as I can remember there has been a implicit assumption from self-styled savvy "muso" types that if you aspire to or own some nice basses then you can't be a good player. This is, of course, complete bollocks.

I wasn't suggesting anyone should apologise. I was pointing out that we all have different priorities when it comes to instruments. Your reference to self-styled savvy "muso" types comes cross as rather defensive.

The ones I own, of course...

Never tried it, but I would imagine it wouldn't look great once it got a few scratches and the original colour started to show through (unless the new colour was close to it). I'd just get another pickguard made in my chosen colour. Plenty of places will do that for not a lot of money.

Toaster

We're all different. Peoples' attitudes to instruments range from purely functional/utilitarian - it's a tool to do a job - to aesthetic/personal - it's the instrument they feel at home with or the one they had built in exotic hardwoods that they've always dreamed of owning . Nowt wrong with that and we're all at our own particular point along that range of opinion.

The original question - would you rather have 8 HBs or one high end bass - is a bit wide of the mark, in that it represents two extremes. Most of us are somewhere in the middle. We have one or two basses we really like and play most of the time, plus a beater or two that are handy for gigs in iffy circumstances or for when the kids want to mess around with them.

Lovely work. Looks fab. GLWTS

Anyone buying that better make sure their tetanus shots are up to date.

4 hours ago, Bill Fitzmaurice said:

FWIW the power amp class has very little to do with clean versus colored. That's mainly the product of the pre-amp section.

This. As long as you avoid models such as Tonehammers, where the preamps have been designed to recreate a more "vintage" voicing, you'll be fine with any good quality amp. Go shopping and try a few of the alternatives out.

2 hours ago, Cosmo Valdemar said:

There have always been s*** songs with s*** lyrics. This particular one - or something similar - gets wheeled out time and time again as an example of how bad/sordid/offensive (delete as applicable) modern music is, or strangely, in defense of older songs that were once totally acceptable but now seem a bit iffy.

 

 

Regardless of your opinions of Brown Sugar, quoting a random contemporary lyric doesn't really justify or apologise for it. In years to come, will society look back at Nicki Minaj's lyrics and collectively shake it's head in a "what were we thinking?!" haze? Possibly. Maybe it'll just be seen as the meaningless rhythmic word salad that it is. There's nothing behind it. 

Brown Sugar is powerful, however you view it.

I love Brown Sugar. I couldn't care whether or not the lyrics are not to contemporary tastes. I just find it amusing that people get their panties in a knot over ephemeral things like pop songs when there are so many more important things to be concerned about in the world. You are correct that the N Minaj song is the one many quote, but it's just one among countless others. The difference between it and Brown Sugar is that it's sh1te and Brown Sugar isn't.

Yep. Brown Sugar is truly shocking. This more modern offering from N Minaj is so much more socially acceptable:

And I ain't hit that note but f*** you stupid hoe, just f*** you stupid hoe
I said f*** a stupid hoe, just f*** a stupid hoe
I said f*** a stupid hoe, just f*** a stupid hoe
I said f*** a stupid hoe, just f*** a stupid hoe