JTUK

[quote name='Conan' timestamp='1423815921' post='2689249'] A great opportunity for EBS freak, Stevie, Toasted and JTUK! [/quote] Can I gratefully turn down what I am sure is a wonderful opportunity for some. Opps... not that I'd put myself in the frame so a bit of a non opportunity all round I'll happy take on endorsements for the right price but I also have to be a believer in the kit. So, on all levels, I'll not be interested

[quote name='discreet' timestamp='1423790815' post='2689190'] Yes, what IS that? The thinking seems to be that if you have a 5-string bass you're somehow going to play too many notes and what's worse, probably not shut up, stand at the back and play roots and fifths like I want you to so that my great guitar skilz can come to the fore, thanks very much please. [/quote] Yes...you've only got yourself to blame for being exposed to such idiots

Never really knew much about him but gigged with a few people that did and they had numerous stories to tell...and most weren't that good, tbh. Don't wish that on anyone tho...

[quote name='Conan' timestamp='1423653126' post='2687398'] Another amp has come to my attention - the SWR SM500: [url="http://www.swramps.com/en-GB/support/vintage.php/"]http://www.swramps.c...rt/vintage.php/[/url] There is a used one for sale on this very forum, and bang on budget! It would certainly seem to offer the mid-range control that I am after... but I have no experience of SWR gear. Opinions anyone? [/quote] I have an SWR SM400 which is over 20 years old. It was pretty much the benchmark of a new wave of amps and finished off TE as the default pro rig, IMO. The qualities back them were the aural enhance which is the internal map that everyone else pretty much includes now, but it also had true bi-amp ( stereo ) output and a cross-over. The 4 band semi para is a VERY powerful tone shaper. The early 400's had stupid sub which just bled the amp of power and they learned that that was pretty much unusable so remedied it for later models. The early U.S models had no fan and ran very hot. They could do this because they had very hi spec components. The later models had a earth lift and a fan. If the model is pre Fender/SWR sell-off, then it will be a top quality unit, IMO. Mines has not missed a beat bar the one time when it was knocked to the ground under power from 4 feet but a decent tech fixed that easily as the jack got rammed onto the pre amp board..?? Bombproof and stellar is my opinion..

[quote name='Nicko' timestamp='1423728501' post='2688265'] Aw, thats harsh! Apparently I got off lightly. I understand they were gonna suggest Summer of '69. [/quote] But..the point is that too few bands give their set list and continuity and flow much thought at all, IMO

[quote name='blue' timestamp='1423695345' post='2688140'] We play SummerFest on a Headliner stage every year. My take, what good are the huge sound and light systems to us locals that play the day ime slots if the systems aren't managed. We sound better with our own sound. Blue [/quote] Depends how big your P.A is ...but it just isn't practical for set up times. We like to get involved in the tech spec and may even provide input, but generally the P.A suppiled is tied in with numbers and of course cost. If the P.A does not have a mon engr, then that pretty much determines how seriously the organisers take things, but to not have an engr at all for certain slots..???? Sound checks are easy if you run digital and fixes should be quick...but sure you can always take your won engr..IF he knows the way around the desks.. I don't get why anyone would want to make this difficult for the bands as the bands are the key to the success of the event, IMO. If a bill is running for 12 hours, that is a lot of time for a two man team to work, so we may sure we have a a few beers/drinks and eats we get for them... and we'll probably ask the organisers to provide it for us and we'll share with the crew. Simple little things like this add up..??

Yep, we've had that...the keyboard player was always underprepared with song choices, due to familiy etc and tbf, we were just glad to have him on board...but he did complain once or twice about our choices.. and we said he could always chip in but by the same token, he was stuck firmly in the 80's and am I thankful we kept 'that' at bay so him going missing was quite a blessing

Lozz, this is strange as the acts are the draw here and after a slowish Jan, most pubs I've been to have had very good crowds or at the very least encouraging. As for applause and reaction, the best bands start off with a reaction that a lot of bands might be happy to end with so I lay that point squarely at the bands feet, myself. I can only really comment on how it seems to pan out around here but I make a point of seeing quite a lot of bands even if a lot of it is actually social. I don't regard it as my fault as such, that the band might be just plain dull'n'boring

If the chassis cone travels well, then I am not sure where the buzzing comes in... If you can't take it apart then maybe a repair shop is the best course of action... If one unit has gone open circuit, that unit can't buzz as it wouldn't work at all..??

[quote name='lurksalot' timestamp='1423595847' post='2686878'] I think the pay for a gig has come down a fair bit which often means that duo's, backing tapes , and acoustic sets are more common as it is less faff to a full 4/5 piece band set-up and a better pay day as there are less to share it with . [/quote] Only really happens round here if the pub can't fit in anything else. It takes a very rare duo to generate the numbers and interest that a decent band can and should. There are one or two exceptions, of course. Duos price is around £180 here and bands get upto £300 in the better pubs, but better draws do even better than that.

[quote name='lojo' timestamp='1423638598' post='2687218'] I love these kind of gigs, gives you your own defined slightly raised space, but allows for an imitate atmosphere still, which beats a pub setting or a functions hall with a stage that's way too high stage I don't play many larger gigs where your using in house or festival pa , but when I do I've learned to dig the experience and the tone onstage , but don't go to the front of stage to get an idea of your out front sound, it can ruin your night [/quote] This is why I have a rig that can reach across the stage..it is a far easier fix than having bass in all the monitors at one point and find they aren't there any more. I feel more comfortable if we have a mon engr and tbf, most decent festival stages will or should have one. We tend to spec it if asked. What you don't want to see, is a solo engr, simply because the kit load and amount of work he will be asked to do, just don't add up, IMO. As with all these things, pose the questions and don't end up surprised or caught out

[quote name='lojo' timestamp='1423639466' post='2687223'] I wouldn't be a band where I didn't love say 3/4 of the songs , but I would say that once you've learnt and gigged a song a few times most of them won't be something I'd listen to for pleasure anymore I've leArnt not to suggest your all time favs for band songs [/quote] By the same token, I really like to hear the band on a good gig on playback, so I record quite a few gigs. But yes, choosing a set list requires a lot of thought, IMO... and I groan at the apparent lack of it from some bands.

If I've got people involved because they like the general direction and they come back with their choices which are also well received, I'm thinking the musical chemistry is off to a good start already. If the band can also play and we dove-tail well together, we are going to be looking at a very worthy and enjoyable band, IMO. and conversely..??

New pub venues are starting music nights all the time here... If I compared pubs and venues from 20 years ago...which everyone assumes was some golden age, then I'd say there are more and better gigs around now. One or two absolute classic have gone for sure, and it is those that people lament over, but there are two local towns to me... that have about 15-20 gigs in them, each, over the weekend. And those two towns aren't the biggest towns around. Looking at a local gig guide for Kent, I'd guesstimate the county would easily have 100 gigs per weekend... and that is just the ones that are advertised. Many pubs do no more than FB and they are 'regular; so that it must work for them. The problem is that the biggest venues might have closed but there are more places and more bands out there, so the potential punter attendence is watered down by choice. This is why fees have remained the same, pretty much, IMO, over 10 years.

No, again, if anyone has a problem with a song... and they can put up a reasoned case, we wont do it.

No..we play what we like and that means it is on my playlist, by and large. When I put new units together it is always inspired by my playlists...or the type of song that will make it there.

Whatever you promise, you must do your utmost to deliver.. No one likes to be had over and since he is doing you a favour of sorts booking you rather than 100 others, you should be good to your word. If you tell him you are the bees;knees, then make sure you are and by the same token if you aren't able to bring 10 people, don't give the impression/BS you will. That way, no one feels cheated and you have not got off on the wrong foot. We always like to have a good respected relationship with the booker... and if we don't, we aren't likely to play there again

If you haven't got the amp yet, I'd extend your thinking to a 102 combo so you have a very capable 210 combo and the big rig is 210 plus 410. That will put it out there.... for sure. You need to like the LM amp in the combo tho

Tell the LL that you are a good band and will bring 30 people along to his gig... the latter part is ALL that matters to him, IME. Everything else is side salad

Not a real fan of this combo but if you are, then add the matching cab and you'll get double the goodies on tap.. hopefully it will be more than the sum of two parts.

[quote name='bong69' timestamp='1423567508' post='2686328'] Hello everyone, used a Henry 8x8 for the last year and loved it but my back didn't etc....Nice bloke on here bought it as he was searching for one. Having played bass for 30 years I have no idea when it comes to amps haha, so I picked up a Markbass 4x10 locally at a good price, only thing is its 8ohm (I shoulda looked!) so scrappy research has given me the following options Get a LittleMark 800 and get 500w outta the cab Get a CMD 121H get the 500w using 4x10 as an extension, use the combo alone for smaller gigs Buy the Ampeg Svt7 1000w (which was originally paired to the 4x10) Sell up and start again! Anyone tell me how the CMD is for pub gigs etc? Just cant get me head round a single 12 sounding big! (Stuck in the 80's I guess) Thanks for any advice, much appreciated [/quote] Well, it doesn't sound big but it might provide enough volume for certain gigs. To match that combo up with a 410 is going to have a lot of volume potentially on tap and the 112 is going to get unbalanced by the volume spread. The 12 will be getting pushed hard and the 410 will be coasting... You could of course, unplug the 12 and run the combo amp into the 410 but a kind of pointless carry, IMO If you find the 410 a breeze to move around just add a 500w amp and you'll be getting 300w or so if pushing to the limit.. which I doubt the amp could do and you'll not to anyway.. Do you like the sound of the 410..?? if not scrap the idea and start again. The compromise popular option these days is 500w head into 2x112 8 ohms cabs but this is also the most expensive. I'll save you a LOT of time and research...set aside £1500 and get a TH500 and 2xTKSs112's as your lightweight carry option that packs a punch

Me, I do everything with just my hands but I might use a double thumb stroke to imitate a pick but it doesn't really have the heaviness or authority that a pick does...but its my bed and I'll lie in it and use it as a challenge. I like the versatility of fingers and I swapped over after about 4 years of playing so no going back really. I also get more satisfaction nailing a typical pick line with fingers anyway. You need something to amuse yourself.. I think most players are 'born' pick or fingers anyway and this is mostly down to what they listen to and therefore they hear...

[quote name='Nicko' timestamp='1423561877' post='2686236'] Blimey JTUK, thats a bit of an ask. I play a mixture of fingers and plectrum depending on the track but Dakota is strictly a pick song for me (must chuggers will be pick - fingers used for more feel). I've only been playing bass properly for about 5 years (plus 25 years on six strings) and still developing my right hand technique but I reckon Dakota on fingers comes under advanced. Lack of finger technique didn't stop me depping at a 2 hour gig on bass a week after picking up the bass. [/quote] Yes, understand it isn't easy..at all, which is why a lot of fingerstyle bass players can't do it. It is ideally suited to plectrum players as it is a rythmic down and up motion and being very regular and precise in the strike is another issue. For Froggy, these sorts of things are exercises, first and foremost and you don't get exposed to it until you get asked to do it... and a band will want to do it as it is very popular and everyone elses parts are easy enough. The drums and bass can have quite a work out at it though... The type of thing that is very easy to assume and cheat but this track has no let up for a fingerstyle bass. Use it as a benchmark to 'aspire' to at some point.. as that is what we are really talking about here, IMO. Oh... the work around for a fingerstyle player is single digit plucking with the index... but that is also kinda cheating

Well, it wasn't that glib an answer as you could see the workmanship to a degree, just from pictures so it wouldn't be hard to 'assume' the forethought and planning involved. I sometimes wonder about design goals and also the end users real needs. Just as gtr players might like an effect or two ..and that can mask a myriad of things, .. I wonder if a lot of bass players really want or can even handle a really clean reproduction of bass? I'd think a majority of them would want to muddle or dirty up the sound. This is why a lot of cabs can be too bass orientated and 'forgiving' but the compromise is lost and those same bass cabs become tone killers. Seems very muddled up thinking to me on both parts, the people who designed them and the people who buy them..?? FWIW, I thought there would be room for a specialist bass cab maker but assume from the above post that it just wasn't worth it, in the end. Shame.

It depends how critical the environment is and whether you adhere that. A bass may be comfortable and work great upto the 9th fret and if passes the test on the dates that you do, you'll use it but if you are in an ever changing and fast moving environment and the score asks you to hold a high sustained note then you better have a bass that can do it. This is why people have better built basses as they are typically better at doing that. Looking at a few student basses...that they gig, their basses aren't typically set-up well as far as I'm concerned, but then I don't have to or want to play them either. They, presumably, think they are fine on their gigs.