bassjim

mines got vol/blend tone. Tone on full pointing towards the neck. Blend on centre facing north. Volume facing lower horn when on full.

[quote name='cheddatom' timestamp='1493285081' post='3287096'] I was in a punk band once called The Premature Ejaculators. The name just came really quickly [/quote] !

Well it is a Tuesday and we are all bored. Group hug. Soon be the weekend and I for one have a dep gig Friday I'm bricking it about and a gig on Saturday with a dep singer. Last thing on my mind is going to be my cabs I can tell you.

Something to consider is the size and noise restraints of the venue. Or lack of in some cases where its cool, even encouraged, to turn it up as loud as. May even be part of the vibe. Not my cup of tea but for those who want to I guess a small one cab set up would be a disaster. I think in these situations the OP would be right in wondering what any one is doing showing up in these circumstances with a small cab. Also IMO plain physics comes into play and no matter what it says on paper about the new tech behind the small cab,the room dynamics and volume that is a result of it, ie high ceiling, stone floor and walls ect will inevitably help put the best theories to the test. Likewise I would wonder how anyone would cope turning up with a large cab/s in some of the venues I play in. You wouldn't be able to turn it up to 1 and a half on the volume without complaints yet not be able to hear your self very well due to sound projection of the bigger cab. Horses for courses..

[quote name='Raslee' timestamp='1493049904' post='3285193'] +1 - a large contributor to why I left the functions band I was with. It had become overcome with apparently super talented deps (most of whom only interested in jazz and money), who were so good that it was not in their 'economic interest' to ever actually learn the parts and to just wing it at the gig. The best was a sax player who refused to do 'One Step Beyond', because the dots looked too complicated...still got paid above and beyond. [/quote] This makes me laugh when these types turn up. I was told about this local mystical great guitar hero who had been around the world playing with this and that ect. Guy turns up. Gets all this flash gear out. Plugs in and indeed a great clean guitar tone. No interest in checking out over driven sounds as a priority and just sounds brilliant. Really nice guy to talk to. Blah blah blah. Has got all the tunes in chart form plus various "notes" he has made. This is gonna be great. What a treat. Ok lets get on with the gig then. Guy doesn't know his arse from his elbow start to finish. Tries to cover it up with a few "amazing" solos but this is not an "amazing" solo guitar band. This is funk disco soul covers with arrangements that have stops and starts with featured brass lines we all play ect. " Oh sorry man. I only had like this afternoon to go over it". "But you agreed you wanted to do the gig 4 weeks ago?"..........huh!

[quote name='LewisK1975' timestamp='1493039213' post='3285052'] This really grates doesn't it, move next to a pub well known for having regular music and then start complaining about noise. FFS! Surely if you think it's going to be a problem just don't buy the house in the first place? I despair, I really do. [/quote] And to add insult to injury its one of the few remaining places with carpet everywhere. The one place I always get a great bass sound and some moaning git ruins it. The pub just had some changes made to the band area to improve the experience too. Big shame.

[quote name='TheGreek' timestamp='1493038814' post='3285045'] Just noticed that this is in "Amps and Cabs" - maybe needs to be moved to get a higher profile. [/quote] oops! hopefully in the right place now

Great little venue we play at is now under threat from a disgruntled new neighbour. Couple of weeks ago: Usually a great gig and we are not exactly heavy metal loud. We were constantly told to keep the volume down to a ridiculous level where the drummer even with hot rods, tippy tapping to the point it just became hopeless. Like almost acoustic guitar volume. Talk about kill the atmosphere. Couldn't get a groove going on anything, punters looking bemused ect. Why? New neighbour moves in and creates merry hell. Apparently had been round with a meter to record volumes when other bands have been on. Its not a venue known for really OTT loud bands. Just quality bands. But a band noise is a band noise I suppose so obviously its going to be audible from outside the pub to some extent. We are debating playing there again if this is how its to be as its not enjoyable for us or the punters. We had a lot leave saying they were really sorry, they know its not our fault but its not the same. Just really flat. This place has been a popular music venue for many years and now looks like, unless any magistrate is involved that favours the pub, its finished. Sad really. We move onto the next venue but the venue will be starved of its regulars. Cant see them spending a lot of money to do something different other than the usual block of flats. Hope the building work drags on and on and on..

In an old band I used just a 112 with a micro class D amp with no problems at all. Then I joined a louder rocky-er band with a gitard that liked to crank a Fender twin and a shed building drummer. I added another 112 and that solved that. These days I like to take couple of cabs and an amp with a transformer regardless of band, out of prefrence to the tone I get. If a 112 is working on its own in a small venue I leave the 210 in the car. Or the other way round. Sometimes I unplug one of the cabs if I'm too loud. Either way I'm covered. I haven't come across any pub or club venue where I could get an 8x10 type rig out and use it in anger without causing problems all round. I don't think I'd be happy if I needed one for the band I was playing in. I don't think the venues would be happy with that amount of volume either.

[quote name='tinyd' timestamp='1457903184' post='3002923'] +10000 I was listening to Thinking Of You by Sister Sledge the other day and it occurred to me that it was one of the greatest guitar riffs but I've never personally heard a guitarist play it. [/quote] We do a few chic sister sledge tunes. Our guitarist can't do the Nile thing either on Thinking of You as well as should be. Blissfully unaware of it. Our drummer,and most drummers while I think about it, play a ride cymbal all over the Chorus of We are Fam. Ok if you are Omar Hakim but if not it kills the feel and groove for me. Its not a metal song!! I go for back pickup with tone rolled off by half on a jazz when doing these tunes. Not a Stingray but up loud and live it does the job well enough.

Long Train Running: If this was a tune alien to me: To get it nailed to the point I could easily adapt to a change to the arrangement, key change ect about an hour. And then I would probably make a note of the arrangement and take it along just as a back up. To get a something I care about or perhaps more complex right, I could spend a week on and off , possibly more as a work in progress, but then there would be some personal gratification in that which warrants it. I have a gig this evening where three sets are required. Its a last minuite.com job so some set fillers have been suggested. Billie Gene, Happy, Valerie type stuff. These are gonna get about 20 minutes play through/re-learn each later on but more due to the circumstances rather than any sonic perfection. I'm unlikely to go near these set filling monstrosities till the next panic so probably wont be giving them any real value time any time soon.

Just another option but not a magic wand.... If you, one string at a time, loosen them off till they are flapping about but still attached to the bass, then pull and snap em against the fret board really hard for about 30 sec maybe a minute. Re-tune and viola. New strings. All the micro finger muck ingrained is forced out of the micro cracks. Personally I just get replacement cheapo Rotos on. Might try the cheap Warwicks next as they seem to be along the same cheap end value string that I actually so far prefer. If times are hard then any string cleaning is better than none but I find the results don't last that long whatever you do. Boiling them tends to weaken them and they snap easily. I used to do it a lot when younger though but mainly because coming in around the 80s it was a slap fest and new strings worked best.

No, you are not wrong wanting to learn the songs properly.

Think I was trying to say in there somewhere that some people wont turn up and say " i haven't got that tune down very well. I'm struggling on the chours part. I could do with going over it for an hour or so because I need to see how my part fits in in the context of playing it in a band rather than as a play along to a youtube vid" . Reason is because they are admitting to not having learnt it. Its like they hope no one will bring it up and then its not going to be an issue. I think like you, and probably the OP, I just want to turn up and play music, but its those that cant even get the arrangment right that stop that process happening, therefore causing friction which leads on to " its not fun for me because..." rubbish. This ranting applies to a situation where people are not jamming to write new material

Thanks everyone so far. I'm also looking for reasons why you use them too if not already stated.

[quote name='TimR' timestamp='1492092208' post='3277889'] We have a band leader who makes major descisions but surely it's up to individuals to flag anything they're not comfortable with and want to work on in practices? Otherwise how does the MD know what the band needs to work on? [/quote] It should be but this could also be an admission of guilt. As the MD of sorts in my band, I have a problem with an attitude from one of my band members that likes to say hes done this tune or that tune in previous bands so now doesn't need to go over it. Or claims he knows it but actually doesn't half as well as he has convinced himself he does. Would probably see it as a weakness to admit he's not on top of it. Same guy gets bored going over and over things for the benifit of others even though its probably doing him a lot of good. Some people think that spending more than half an hour on a tune on their own is more than enough effort vrs the pay off. I spend as long as it takes till I know I've got it down. You only get out what you put in. I think I'm just more into it. My solution for turning up without parts learnt already above in the thread.

[quote name='scalpy' timestamp='1492090390' post='3277868'] It's a real tough one if you're getting paid. If the client has splashed out £600 for a gig say, they won't see it as the guitarist started Uptown Funk in C# minor, 'I'll dock him a tenner', the client thinks 'This band cost me months of saving for this party and they sound shi*' And the guitarist can't go 'I'm only getting £75 for this, I've been here all day and my kit cost thousands' the client's forked out £600 and wants value, and quite rightly. [/quote] + 1

[quote name='goingdownslow' timestamp='1492078897' post='3277711'] What would be their punishment, Sir, 40 lashes with a 105 roundwound or write out the tab 100 times? [/quote] That's a good idea. I've made a note. Might work better than the usual glare from me. Seriously though it solves any argument with my lot. I just say "have you or haven't you learnt it?" if not, after the punishment, we move to the next tune. I just say " right, no point wasting time, we'll come back to that one". I'm very much a lets get it right kinda guy. I also welcome any improvised and personal approaches as usually they sound way better than trying to cop another persons playing exactly note for note but how ever you look at it, you know the song or you dont. The band know I'm like that and even though it gets on their nerves at times they also know I'm right. If they cant handle me stating the obvious, they can tell me to piss off and get another player. Wont have changed anything regarding material not learnt by the individual or their attitude to not learning it.

Its so common with bands. My lot should know better but don't always deliver. The ability is there but attitudes vary. Not enough real competition around means there is no real threat of becoming bandless if you don't step it up. From what you say the obvious thing to me is...they haven't learnt the material. Its as simple as that. If I get "oh yes I have learnt it" when what that really means is "I've played along with a youtube vid and it was ok then", I ask them to play the tune start to finish on their own. If there are sections in the tune where they dont play they should be able to tap their foot and come back in where appropriate. If they cant do that, they haven't learnt the tune. Full stop. These guys are wasting your time band wise. Look for another band but keep going along with them for now rather than have no playing in a band experience , even if its just rehearsing the same old. Keeps your hand in. Concentrate on getting the tone you like. Let them do all the legwork. They organise the rehearsals and whats being done in them. Enjoy the laughs and keep on good terms so that when you do leave its not under a dark cloud. If they were serious about it they would be like you. They are not and it wont change so you're just winding your self up.

Hi Folks Yes this again.......... Possibly thinking about trying some others out again. But before that.... I'm using cheapo roto sounds and have been for quite some time. Nickel over steel. On a jazz bass. I like the feel of them and usually the quality is pretty consistent. I'm usually very happy with the way my bass sounds and plays with them on. The output is fine. Tone is good. However... Recently on a new set, I've been getting a buzzy rattle on the E string. It stops if I place a finger over the bridge saddle so I can only guess its probably not been wound correctly at the factory end. Its not the bass because if I change the string for another, new or old it stops. (bass set up is fine. I do my own set ups so nothing odd going on here) If I complain about duff strings I get sent spares so no biggie. Probably down to a bad batch. But I still stick with them as its kind of the devil you know. What I also like about them is they dont feel too taught if you know what I mean. Other strings I've tried have been either overly bouncy and bendy whilst others feel like rods of steel. On a price point they are ok too. If I shop around about £12.00 - £15.00 which is ok for me. So from a cost vrs what I get its good. Ok so why look at change if its all working? Well that's you lot come in and why I would ask the following question. Is it worth another bout of trial and error only to come back to what I know? So, out of interest what do you use and why. Not looking for what you feel is inferior type of string to yours, just an explanation of why you use your preferred brand. Fanku.

[quote name='Bolo' timestamp='1491919832' post='3276478'] All if any mistakes played surely are an improvement to the original composition. [/quote] brilliant.

I learnt the first part of the mode thing (aeolian, Lydian, phyrigian ect) in a parrot fashion style. The guy that taught me got me to learn these modes in both C and for contrast Ab. It didn't do anything for me to begin with. It was just a load of scales. Then one day like a penny drop light bulb moment it started fitting together. I set about trying to relay this new found knowledge to a band mate but realised because I had done what the teacher had told me would happen, Id made my own sense of it, the universal way of teaching it was already a reasonable way of explaining it. I didn't have the advantage of the internet at the time so missed out on any alternative or possibly better ways to learn it. But however you learn it and eventually process it, its a valuable addition to your journey.

Recently started learning to read notation properly about 6 months ago. I find I'm already applying this skill (I play covers) even though I'm still at a pretty remedial stage. For example I find it easier to identify the timings on some passages in songs I'm working on. If its a new tune I need to know, and I can find the transcription, I can learn it faster and more accurately than the usual just by ear and using youtube. Also for for a dep gig I have coming up I have started to write down on the stave various bass line parts as a way to remind me what to play. Normally I write down the notes in order with various symbols I have made up, but this is so much better. It makes so much more sense when you come back to it after a few weeks. Well worth having a go at. Hard to start but as it sinks in it gets quicker. By no means am I ready to start sight reading any time soon but just this tiny bit of understanding has gone a long way already. In hindsight I should have started doing this a long time ago. There is definitely value in it if you can find a clear advantage with it.

Not been a problem for a few years now. I had just the one off instance of when I had no delivery... " oh were out of stock and waiting for those to come in" to which I replied "thanks for letting me know well after the event and taking my money upfront." to which they were very sorry and threw in an extra free set. It hasn't happened to me again since so I guess its just one of those things that for what ever reason came and went. Have been a few times the website hasn't worked but they told me it was a temp thing. The site is a little clunky but I guess its probably a right old hack to update. Overall though I think they are pretty good. I usually order a min of two sets at a time and re-order at the time I'm on my last set to cover all bases. If its really important I need a new set in a hurry I contact them by phone and order like that. They will confirm they are sending same day. Until they do something that tells me otherwise I'm happy to keep using them.

ermm.......are Korn not very good overall? Its just that ok he is only 12 but if we are honest here, hes not very good and his band were rubbish. Yeah so he is connected via his dad and its great he is doing this rather than playing on an xbox, as are his band and yes I get it, its where you start ect but.........if I was a grammy awarded band I think I'd want more of a "pro" player to stand in. Or I'm just having a bit of a laugh. Or the parts are really that easy to play that even a 12 year old could do it. I've seen loads of 12 year old prodigies on youtube that put the fear into me but this kid, nice as he is, and as cool as his dad is just isn't.....well .... Maybe he is just coming on to do a number then straight off to bed and the real dep gets up. Or maybe his band is "holding him back" preventing the real talent to come out. Still I guess I'm just jealous because at his age all I could say is I played at a school fete and turned my back to the mums, dads and kids cause actually it was a right din. Sorry to any Korn fans.