jonny-lad

I've heard of this happening in a couple of function bands I play with...It is, IMO, a bit rude not to at least acknowledge receipt of a n e-mail for feedback, but that's what alot of people are like, especially over the internet. It seems to me to usually be people who have enquired about the band without doing much, if any research on how much it costs to hire a professional function band - there probably isn't, in most cases, another band, unless it's one with members who know the people looking to book a band. I tend not to consider these enquiries as serious ones, so it's never something that bothers me...Might do if I was the one running the band though!

[quote name='jakesbass' post='761658' date='Mar 2 2010, 11:24 AM']It's a very good plan as it can be surprising how people show their colours when money is to be divided (also possible for it to all be cool tho) The MU have information on this. I used to be a committee member but that's a few years ago now. I would recommend all of you looking into what the current info from the union is and if they will offer advice (they may even have standard agreements) then join. There are plenty of other benefits too, the best of which is £10m public liability insurance for each member.[/quote] The MU offer a Partnership agreement for bands, as well as advice, free of charge, if everyone in the band is a member of the MU. Without an agreement, the group would be covered by the Partnership Act 1890. +1 to all the other benefits of MU membership too - AFAIK, to get a £10m public liability insurance policy on it's own would cost more than the cost of joining the MU, so it's well worth it for that alone IMO. IIRC, the MU has also recently introduced some kind of personal injury insurance for it's members as well.

+ another 1 for flats.

[quote name='Sue' post='743471' date='Feb 12 2010, 08:28 PM']I have one of these and it looks like it was separated at birth with the lead on my iron! Anything that reminds me of ironing has definitely no sex appeal! Sue[/quote] That reminds me of those coiled leads Hendrix always seemed to have that look like they were separated at birth with the lead from a telephone!...I always thought they looked pretty cool, but I've never got round to buying one, or even finding one that I could buy!

I've not heard anything bad said about the classic vibe series...my classic vibe 60s precision is awesome aswell!

Definately! I've barely gigged my Spector Rebop 5-string since I got my Squier Classic Vibe 60s Precision bass and strung it with D'addario Chromes a few months ago...I love the old-school thud that the Precision gives as well as it's simplicity, but I keep picking the Spector up, more and more, and remembering why I love it so much - pretty much because it's the opposite of what I get from the Precision! Although having said that, I'm not sure I ever really fell out of love with the Spector - I just got distracted a bit!

Mine once went when I wasn't even playing the bass aswell...not surprising as it's a cheap chinese bass and the wire supplied with it was puny and thin looking! Didn't do any other damage though! I replaced it with one of these: [url="http://www.contrabass.co.uk/bass_sure_lock.htm"]http://www.contrabass.co.uk/bass_sure_lock.htm[/url] It's loads better and ideal for a cheap bass as it's affordable, reliable and easy to fit!

I'd try some different EQing before spending any money. If you're boosting the lows, you could be using a lot of power making everything shake whilst not really doing much that you can hear well in the mix. If you start with everything at 12 o'clock, then boost mids this will help you to cut through. Boosting the low mids will help you cut through lots better than boosting lows, whilst boosting high mids will give you more clarity. Hope this helps.

[quote name='Dubs' post='708854' date='Jan 11 2010, 02:17 PM']To be fair, they've offered to throw in a set of strings for free because of circumstances completely out of their control that has affected most of the country. I think they've been quite generous.[/quote] +1. I've invested in gear through the bass centre and found them to be really helpful. In my case, it was a Little Mark II and a Warwick 411 PRO so not a casual purchase either. Regarding the OP, I think delays with postage are one of the negatives with buying online and similar (like over the phone) - you benefit from being able to shop around, but you can't have your gear straight away and there is the potential for delays. You're bound to come across much bigger problems sooner or later in life, which I think is why some people reacted negatively to the thread.

I like the way he's got it hanging up on a wall braket by one of the tuners!

[quote name='Beedster' post='704298' date='Jan 7 2010, 03:23 PM']I guess I need adefinitive answer as to whether it's normal?[/quote] I think the best thing you could do is e-mail Phil Jones yourself to confirm directly with the company whether it should whistle. You could maybe record a sample for him if you need to. I've done this in the past and they've been really helpful and always seem pleased to hear from the people using their amps...I think it was his wife who replied to my e-mail and in turn I contacted the UK distributor, as I had a problem with a resonant buzz from my AAD Cub. They sent out a replacement speaker free of charge, and it arrived quickly, despite my amp being out of warranty...and it sorted the problem and the distributor was just as helpful as everyone else I'd been in contact with. The UK distributor is synergy distribution [url="http://www.synergydistribution.co.uk"]http://www.synergydistribution.co.uk[/url], but you might want to get in touch with Phil Jones aswell via [url="http://www.philjonespuresound.com/contact/"]http://www.philjonespuresound.com/contact/[/url] so you can go direct to the people who should know best. Hope this helps.

[quote name='YouMa' post='700836' date='Jan 4 2010, 07:27 PM']Dancing in the moonlight for me![/quote] +1, although there are loads of his other songs I love too, as I've been brought up mostly on Lizzy! If you like Phil Lynott, it's a great reason to buy a precision, some flatwounds and a pick!

[quote name='cheddatom' post='692228' date='Dec 23 2009, 11:56 AM']I have a NT1A and it's not as good as the SE2200 IMO, it lacks the "air" I get with that mic.[/quote] A boost of about 3db at around 12kHz should add a bit of "air" to your sound...I'm not familiar with the mics you mention, but maybe SE2200 is a touch more prominent at this frequency.

I was in the audience at this gig and the compact sounded awesome! It's the first time I've met Born 2B Mild and having noticed in his signature that he's now using Barefaced cabs, I was really keen to see what they sounded like. Out in the audience, the sound was full, warm and clear and the compact is more than capable of producing plenty of top-end, especially considering there is no tweeter...The amount of low-end from such a small cabinet is surprising in itself, but the amount of top-end available can easily put to rest any preconcieved ideas about what frequencies a single 15 can produce. Also worth noting is how sweet the treble is - there's no harshness that can be sometimes cause tweeters to be a bit of an aquired taste. AFAIK, the bass was running without any PA support aswell, which really helps to show how capable the compact is! I agree about the finish and can understand why some people don't like it, but I can definately see the purpose of using that type of finish - it's hard wearing, easy to touch up AFAIK(?) and it wouldn't rip like tolex sometimes does or go fluffly like carpet can. Having said that, I think a few options regarding the finish could make the compact more attractive to more people, although IIRC, some people have already had Compacts built with different finishes, like carpet. The weight is also incredible - it really is an easy lift. I'd really recommend that anyone with any doubts about this cab checks one out in person at a gig. It's especially useful hearing one from the audience's perspective and it's really the only way to answer any questions about what the cab is really like.

I did a gig (on guitar) and the bass player (who was a dep) was using a 1962 Precision with heavy flatwounds through two Gallien Krueger MB150s and it really sounded great - it was a swing/jazz little big band type of gig and it was the one time when bass guitar fit perfectly. The regular bass player normally uses an Aria SWB Lite EUB , but the Precision fit just as well, if not better! Based on that, I'd be looking into fretless Precisions for a really good bass guitar alternative to an upright bass (IMO). Although having said that, there are so many ways to amplify a double bass that there's a pretty wide range of tones that can be considered upright sounding!...I think a lot of it depends on the exact tone you're after.

What's the best way to make a guitarist turn down? Give him some sheet music!

+1 for the Korg Pitchblack...IME it's a bit cheaper than the boss too! [quote name='Phaedrus' post='677616' date='Dec 8 2009, 10:42 AM']anyone know of a Fender Strat to stay in tune for long?[/quote] Bit OT, but mine does!...but I always make sure it's set up really well and don't use really light strings...I only use tens though and bend quite a bit.

I find that precisions sound a bit muddy on their own, but great in the mix of a band! Maybe try experimenting a bit with EQ - everything flat works well for me with my squier 60s P...I'd expect things to get a bit muddy if I boosted the bass EQ though. I think you'd regret selling the Precision in the long run.

I've never previously owned a precision, and always used to think that they sounded a bit muddy, but recently I've come to my senses and bought a Squier Classic Vibe 60s Precision. I was after something closer to the James Jamerson style tone and something that would contrast my Spector Rebop 5-string rather than just getting another bass that does a similar job to my main bass. First thing I did was re-string it with a set of D'addario Chromes, and since getting it, I've barely touched my Spector! The Precision just fits in the mix perfectly with no messing about or changing settings. It also sounds great with a pick, which I'm using more and more, whereas before I was almost entirely a finger-style player.

This is now sorted, Cheers! --------------------------------------------------------------------------------------------------------------------------------------------------------------- Hi, Like quite a few bassists on this forum, I also play guitar (which is my first instrument) and I'm looking for a bass player to complete the line-up for a new band influenced by (but not at all limited to) mainly 60s style blues/psychedelia/pop/rock and bands like the Jimi Hendrix Experience, Cream, Jeff Healey etc, with a bit of a funk influence, a few blues standards, rock 'n' roll standards and Beatles songs to keep things interesting, accessible and well-known to help get the gigs. The aim is to keep things really tight and punchy by focusing on covers of shorter, more upbeat songs by bands like the Jimi Hendrix Experience and Cream rather than the (more often played, IME) longer, looser and sometimes slower stuff. As things get going, I'd be looking to maybe do some writing and introduce a few originals, but the main aim initially would be to get things going and get the gigs sorted to create a decent, professional, regularly gigging band. I know a great drummer (who I currently play bass with in another band), who's expressed an interest and who is great to lock in with as a bassist. I have decent quality PA, good mics, recording equipment and a good reliable van that seats 3 (ideal for a trio!). I also have a dedicated rehearsal space at home with amps, drum kit etc that we could use during the day. In a bassist, I'd be keen to find someone who's committed to getting things going as quick as we can, with previous experience, their own amp/equipment, and if possible, with some backing vocals, although they wouldn't have to be anything exceptional and I'd rather manage without than let it really hold things up! I'm based in Guiseley, near Leeds. Let me know if you're interested, or have any questions. Cheers, Jonny.

Motorhead were awesome when I saw them a few years ago...and incredibly loud too!

One of my guitar students has recently bought a Levinson Blade Telecaster and it really is a great guitar! Sounds and plays great, and I've read good reviews of Levinson Blades in the past aswell...I'd expect this to be a great bass. Of course, it's always wise to try before you buy though!

Usually a 90 miles round trip to Doncaster and back...Normally takes just over an hour each way, but can be quite a bit longer if the traffic is bad. Long distances aren't a problem as long as people in whatever band it happens to be are pulling their weight and getting the work done...All too often, that doesn't seem to happen though, so I tend to have a few different bands on the go at once! For some reason, they're rarely local!

I have a few: Roland DB-500 for rehearsals and small gigs or small stages with PA support. Peavey TNT115S as my main backup, for gigs where I may need to share my amp or whenever I fancy something different like a 15 instead of 10s. Little Mark II into a Warwick 411PRO as my main rig. I usually run through an MXR M80 and d.i. to the PA from that in case the amp goes down aswell.

I had a similar problem with my Spector Rebop, which has a tonepump preamp - it turned out that the Duracell plus 9volt batteries I were using seemed to be causing it. I've since been using Energizer batteries instead and haven't heard another pop since. Hope this helps!