TimR

One of the bands I played with suggested we played at a garden centre or in front of Tescos. My argument against is that you are not effectively targeting the people who will book you. We played a summer fair and got no bookings. After I left they played a garden centre and in front of Tescos (for charity). And got no bookings. It's a lot of effort to go to not to get any results. At a festival you have people there who are your target audience, they'll hang around and appreciate what you're doing. On the high street on a Saturday morning, you don't. People are there to shop and go home. The main reason I didn't want to do it was because it smacked of desperation. It's a good idea and obviously works well at the right time and place.

BigAlOnBass has some interesting points that are echoed here, along with some work rounds and things to watch out for. http://www.astralsound.com/noise-limiters.htm

Here. Lord knows how the embeddy thing works: http://youtu.be/hLmz2_HD0to

I'm sure GP was a member here until he got into a stupid argument about his one man show. Great. There's a live version of Sheep from a Roger Waters show on YouTube. I'll see if I can link it. It's a bit odd, not sure if it's because he's playing and singing but I would say he doesn't quite hit the groove. The backing band are awesome though.

Jon. That is not the question you asked. These threads can quickly descend into nonsense as everyone jumps in to explain what can and can't be done. You CAN power both cabs from that amp BUT not by plugging them into the two outputs on the amp. That would mean the amp seeing 2 ohms. If the cabs are identical then you can run them in series using a different cable or 'special box'. If the cabs are different you will have very upredictable and possinly undesired results.

Adrian Smith left in 1990 and replaced by Yanik Gers, then Adrian Smith came back 9 years later. Since 1988 Steve has played the keyboards. Live the keyboard player is still hidden off stage. I think 1990 marked the end of the old Iron Maiden era. Nico is quite vocal if you ask him when they're going to get back to playing good tunes like they used to. Tbh- Listening back to Somewhere In Time and Seventh Son they're not as good as I remember them being at the time. Everyone moves on.

July 2013 updates here: http://barefacedbass.com/ordering-and-availability.htm It seems Alex has come a long way in the last few years. I originally followed his complete prototype build on Bassplayer forum. Pics and mistakes and all. He was originally doing a full time job, with a wife and new born baby. He took on a carpenter to build the cabs. I have no idea whether he is now doing this full time or not. He used to moderate an entire sub forum here just for his cabs.

[quote name='AussieBassman' timestamp='1375138919' post='2157294'] This advice ignores the series/parallel difference. [/quote] Indeed. The question is can he plug a 4ohm cab into each speaker output. He can't. Because they're parallel. You can muddy the water by talking about the merits of additional volume from two speakers in series vs more power output to a single speaker and sensitivity. However, we're possibly talking about 2 dissimilar cabs and running them in series is going to cause all sorts of issues.

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No that's a good approach. I tend to use something similar. I'll run through the set. I don't stop if I make a mistake but at the end of the song I'll make a note to come back to it. Then just move on to the next one.

"How do you memorise songs assuming you have already worked it out?" Re-reading the question, I think that working it out is the major part of learning it. The songs just go straight into my memory. Others just need repetition. The main challenge I find is remembering the order of sections in the trickier/longer or very easy/short tunes. "Wish you were here" was a bit of a nightmare. Very few chords 4, with 16 bars per section? Then verses and choruses sometimes doubled, sometimes not.

As a musician the most important skill is to learn to listen and grow good or 'big' ears.

Not sure how I missed this first time round. There's lots of different things in my armoury. The first thing I do is learn the tune in my head. What the bass line riffs sound like during The various sections. What the intervals sound like for the chord progressions. Any tricky bits like 2 beat bars. I take on board what all the other instruments and vocals are doing so I know why the bass line is how it is (more of that later). Once I've committed the song to memory by listening to it in my car etc then I'll pick up my bass. By then I've got a really good idea and using years of practice (instinct?) I'll usually play it pretty much straight away depending on difficulty level. Then if there are bits that I struggle on I'll practice only those sections until they're right. The time spent playing the bass along to the tune is actually very short in a lot of cases. I'll usually play along to mp3s of the whole setlist on the afternoon of a gig. As the band get together to play a tune I've found they and I don't always learn everything note perfectly, usually for a whole host of musical reasons. This is why it's important to understand what everyone else should be playing and be able to adapt what you play to fit what they're actually playing. Without getting into arguments or treading all over the instrument or vocal parts

How old are you Shell? How old do you look? How old do you feel? All different. I think enjoying playing the song is the important factor. If you like a song and it moves you then the audience will sense that. If you're not enjoying it and the song doesn't sound right musically because you're not feeling it then maybe you should let the band know you're not happy. I would never boycott any song due to words or style, only if I thought it didn't sound good.

Len. I'm North of London. My next gig is 10th Aug. Any good? PM me.

Sorry, it's a boring answer but: Learn some theory. Not heavy stuff. Learn the basic major and minor scale and what your intervals are and sound like. Once you have mastered that, a few hours at most, you'll have the basic tools at your disposal for picking out lines. Buy a book or check the Internet for some theory lessons. There's a lot in the basschat theory section.

[quote name='iceonaboy' timestamp='1374052990' post='2144616'] Gorgomyte! Sounds like an element off of small soldiers. Greetings Alan now shut up [/quote] Ah yes, got there in the end. Knew I had heard it before. Gorgonites!

or maybe Medusa ate it before meeting Jason.

[quote name='gafbass02' timestamp='1373993390' post='2144000'] It is a scary name! [/quote] It should be. It's what Gargamel puts on his toast before he goes out catching Smurfs.

Old toothbrush.

[quote name='Lozz196' timestamp='1373724924' post='2141002'] ... I think it`s just down to personal preference - many far prefer 100% perfection in their music, fair play to them, but to me that process sounds like sterilisation. ... [/quote] I think there's a big difference between tight and sterile. You can still be tight, play the right notes and inject energy and passion without being clinical. It all comes down to feel. Is the musician just playing the notes or are they feeling the music and conveying that feeling to the audience. It's a difficult concept to write about or explain until you have the experience of knowing what feel is.

[quote name='chris_b' timestamp='1373716422' post='2140899'] If "no one's listening" then it's your job to make them listen. You have to be positive. You've got to impress and get them on your side. IMO, too many bands blame the audience. [/quote] It's extremely subjective. Do the people who are listening know what they're listening for? I played a couple of hours in a church last Sunday for a jazz concert. People were sitting and watching and listening. I didn't have to make them. I played at a BBQ the night before 60s/70s pop, people had come to eat, chat, maybe dance. Most people spread out around the field and chatted. I played in a power trio, blues rock in a pub a week before people had come to drink and listen. I don't think in any of those scenarios anyone thought the bass player needs a bit more in the 5kHz region...

[quote name='Truckstop' timestamp='1373675883' post='2140588'] ... He also spends ages getting the effects right for each song and has loads of really expensive and rare vintage effects and all that kind of stuff. ... [/quote] Very often, as seen frequently on this forum, people forget that it's all about what notes you play and how you play them. This guy has all the gear and only some idea. It's a lot better than all the gear and no idea. You've now seen at first hand how its not about the gear it's about the player. Learn and get better through practice and experience not by twiddling knobs.

Exactly. He's after a replacement for adobe. The recordings I get from my H4 only need normalising ang multi band compression. Anything more is just turd polishing.

Gents. We're looking at a stereo recording from a hand held recorder. Goldwave is free, has all the basics and will split your large recording into smaller individual songs. Maximize volume, do batch conversion to mp3, add reverb if you want. Allow you to add fades. You can zoom right in to individual samples. Very good bit of software.