JTUK

On the basis of you'll add kick etc WHEN you get subs, I'd go for QSC K10's for vox and they'll go loud. They'll cost £1160 for a P.A bundle, cables and stands at the mo. That give you over £600 for a desk... and there must be a lot of choice there. For me, I'd start around Soundcraft ... but get a decent lexicon pack onboard. We've had too many little annoying niggles with Mackie and Behringer desks which were resolved simply by using another desk.

I tend to like the volume flat out on the bass and once the onboard pre is set, ( and it doesn't need moving much ) I would back off the presense for that rear pickup style and that is about it. Pet hate, set sound check levels and then everyone messes forever thereafter...?? Wtf was the soundcheck all about then..??

Some pre amps have 12 or 15db boost...that is a lot of noise if you get it wrong and some of the treble frequencies are un-usable, IMO< as would be the bass, come to think of it. I don't have mine far away from the centre indents ( bass tends to be boost only ) but it is the mid sweep that is the most usable to me... I like the basses passive so I try not to have the pre amp get too far away from that.

[quote name='blue' timestamp='1420265857' post='2647300'] Thanks, ( I take this stuff way to seriously ) Very cool, getting back out there at 60 is cooler than most people think. The key is working on good meaningful projects with good people. If you can make a little dough that ain't bad either. I'm going to get to the UK by hook or by crook. I'd love for my band to do like 6 weeks of pubs and break even. I think it would be a blast. My ex-wife married a British woman and they live outside of London. But I don't think getting help from them is in the picture. Blue [/quote] Looing forward to this idea/goal fermenting..

[quote name='blue' timestamp='1420265167' post='2647299'] Well, for me,I'm 61, if there's any new ground to break or beak ground that was already broken, Ive always looked to the British to bring it to our attention even if the music is from the States. It's always been that way. For whatever reason you guys seem to see and notice things in music we don't. Blue [/quote] I do think we have a great flow of original ideas, as a nation, in both artistic and engineering worlds, and that is a source of pride, I guess. We just do it on a small scale. We aren't very good marketing it tho so it takes others to kick in on. My theory is that artistic AND business acumen are two very strange bed fellows.

I agree, I thought he was a very good songwriter, and never achieved the heights he maybe deserved. Not having a pop at the OP, but these sort of songs should be easy to jam out and work out by ear, if we are talking bass. Just chart the chords for a simple format of V, ch and bridge..etc etc Useful skill to build on for all sorts of tracks...

Great work. Thanks

We've used the Mackie version of these; Behringer Eurolive B205D Active 150W PA/Monitor but I suspect they are one and the same.. And if they are... they do a good job for Vox only in quite loud situations.

[quote name='gelfin' timestamp='1420210063' post='2646701'] ............... So Vail if you read this please come back, you are welcomed by the vast majority of Basschatters and we value your input. Nic. [/quote] Goes without saying... PLUS 2

[b]So since discovering the difficulties I have reverted to tuning my low B up to C and the other 4 strings down 2 steps.[/b] ?????????? So your low B is up half step to C and your other 4 strings are down 2 steps...?? to C,F,Bb,Eb. As said above, it may have been better just to take the whole tune up half a step

If we want to do them, we'll do them.. doesn't matter how obscure they are.. Life during wartime has probably been in every gig for the last 5 years and 'Middle of the road' gets in over 95% of the time, I'm certain. It's rare that we drop it and we'll have done parties and weddings with those altho we aren't a wedding band.

But I do think you would or should sit down and work out what the things do and how you go about getting your sound. Otherwise, it is just the same as forever tweaking your pedals... When I see people doing that, I get the imrpession that they don't know what they want or how to get it.... A few sessions in the beginning working on those things should eliminate a lot of that. Some rooms are difficult but basically it is turn the amp on, plug in, listen and you are there in a few minutes. Endless din at a soundcheck going through 'sounds' makes me think the band doesn't quite know what they are looking for. But... I do take the point about too many sound options on basses... I want a full default sound with which I'll do most of my gig...and a simple rear pickup sound option .. That's it... and that simple...ONCE you have put the time in beforehand getting the sound sorted. IMO.

If I understand it correctly, top cab runs an 12, and bottom runs at 8...that is your crude crossover right there so these two cabs should be suited sound-wise where the top cab takes less power and therefore bass and lets the 15 do that work. Hopefully, the brighter bias of the top cab will compensate for the bass heavy bottom bias.. You are just carrying 2 cabs ..and lightweight ones, which is what most people will be looking to do anyway for a resonably loud gig. If you don't like the sound and don't want to carry 2 cabs, your options are pretty limited.

Indeed, I want a drummer I can draw from and hit a few extra gears, not someone I have to hold up... I just wont do it, I'm afraid

[quote name='tauzero' timestamp='1420042156' post='2645116'] The one that seemed a bit of an oddity to me from that list was the Lionel Richie one. It just seems like the sort of number you'd start the second set off with after they'd called the bingo. [/quote] That will be a stormer with the treatment I hope we can give it... It will be a bit more rock and roll but powerful and dancey... so that is one I am really looking to get to grips with.. On record...yes... a bit lame, maybe, but ramped up, I have high hopes. On that track, I can certainly get a 'vision' of how it would work...which was my main problem with the Nik K track. Having seen the gtr in full bore action last night, I am much more hopeful about this project and certainly when we have a gig we can add players to...

No... I didn't and I've read it a few times.. Care to pinpoint them for me because I'm struggling to see where he was out of order. The first point I saw was when he was told he was talking nonsense....!!!

[quote name='Iain' timestamp='1420043379' post='2645140'] What about the players in successful bands that do use it in their live rig? It's not cut and dried and it's not about sloppy technique or sub-standard musicians. ........................................................ If I ever play a gig big enough to have FoH I'll probably ask the engineer what he wants from me... I'm not cocky enough to think I know enough to lay down the law. As things stand the sound our of my cabs is what the crowd get and that works fine too for the small gigs I play. To my ear the sound is better with a little compression - it's pretty subtle though and it wouldn't hurt me if it wasn't there but my FX unit has a pretty good modelling in place so I make use of it. I'm fairly certain there is not 100% right answer as it situationally dependent. [/quote] They'll have production meetings to discuss the best way forward and as and where it will be....if at all. If they use it at source for their monitoring then the stage and front engrs may well want/need that bypassed. For what I do...and I don't use FX's much at all...and hardly get the board out, the engr will have clean and probably request a pre-out signal from my amp. This is fine... but if you are trusting engrs, then you should know what they do with your sound. Some players care, and some don't and can't control that aspect anyway but at some level someone is going to be taking a major major look at everything that comes out of the band and how...as this all refelcts on the artist or product. It can be as simple as 'don't use that guy, he was crap last time, to 'we MUST have that guy and THAT kit spec'. ..and then some. It depends how much it all matters. And at the level Vail Johnson gigs at, it will matter RATHER A LOT, IMO

[quote name='mcnach' timestamp='1420040816' post='2645094'] The difference between what you and he said is... you were not arrogant. Looking back at how the discussion developed... I think he acted wrong, but some of us did too, and for my part I wish I hadn't emphasised just so much that line on post #19 . I meant to highlight it, but that font resize thing got a little out of hand. I can see how something like that could make Vail get defensive, just like his subsequent name-dropping etc was perceived by some as being arrogant... It is a shame, I stand by my not caring to hear from someone and defer to someone if they cannot behave like a normal human being and look like they expect to be bowed to... But looking back, it was all kind of silly and unnecessary, from both sides. It's perhaps a good example of how discussions face to face are different to forums. I can imagine a (heated even) discussion face to face, but with no falling out... yet, in writing, it all somehow appears a lot heavier and stronger than it needs to be, sometimes. Not my best hour, for what it concerns me, regretful. Not our best hour, both on BC and Vail's perspective. [/quote] Ok, understand. I guess what annoys me is that as a community we keep doing this...chasing away top level pros. I mean, we could have asked him about this...and all sorts of stuff [url="https://www.youtube.com/watch?v=fWSqLD6gdrI"]https://www.youtube.com/watch?v=fWSqLD6gdrI[/url]

Mcnach, these top level guys are the very best, they know that and have to believe that or they'd never get there... or stay there as there are so many other guys after the jobs. It isn't mere ego to know you are up with the very best, it is a fact that your peers choose you for the gig. I didn't think he was out of order and all he did was post his credits which we all do in some of our sigs and stuff... to back up his views. The bigger point was that a very clean technique can do away with a lot of the need for compression at the monitoring stage which is what he would be primariliy concerned with.. Engrs will add it for their purposes which is overall band sound... FOH or studio mix-down. I don't use it for that reason, but then I am not a big FX person either. and I thnk I can get my sound out there without it. No engr asks me for my signal to be compressed at source and I take pride in that. As I said, what they do with the signal isn't my call.

Well, I loved his playing as well... and now I doubt he'll be back after the 'compression' thread If you have his CV he will know a few things and will have worked with the best of the best who will also know a few things. http://www.youtube.com/watch?v=wWhOub2MrFs and I believe that is Richard Tee in the clip... that is very rarified company there. Another TOP pro chased away...

Well, he operates in a world where opinions are whether he gets the gig or not... and he has gotten an awful lot of AAAAA gigs...so I'd say he knows what he is talking about because he knows how to deliver in a world of top level players. His signal chain and playing technique and all round ability will have gone passed such scrutiny because that level is so high and there is a lot of money at stake to get the best out there. I really don't think he deserved the treatment he got ( I happen to think he had a very valid point and said as much ) and it seems a pattern that top level pros wont touch this place...or dip out as soon as they realise the way it works. So yes, I'm serious... some ppl have just pissed off a potential massive resource and someone who was willing to share it. Unbelievable..........AGAIN..!!!

[quote name='Sibob' timestamp='1420028655' post='2644955'] Was just interested, I played one and found it to be one of the most playable basses I've ever sat down with......and I'm a 15 year Fender player pretty much. Admittedly I don't slap if I can help it, so that suits me, but then I've also never used a ramp and it felt very natural, even for palm-mute/thumb technique. Didn't notice the 33" scale at all either. I think my point is that I don't believe it's unplayable and only setup simply for him, it's meant for a particular type of player that's all, lots of those types of players about, but like any bass, the MGS (or the AW, since that's the thread topic), it's not for everyone Si [/quote] It is a lot of money and my first impression screamed 'play like Matt Garrison'..which is fine but he already has the ticket and tee shirt . I've never been one for straight-jacket clones myself which I feel this bass would do. I found I could only really play fingers on it.... my two slapping/pulling fingers didn't have enough room at the front pickup so that would disable me...some say 'good thing', quite a lot. The thumbing thing and ramp would probably be adjusted as I feel this bass is primarily set up for this..not surprising if MG had it made to his specs... The short scale did bother me as well........in that I felt it straight away before actually knowing it was short scale. Overall, I just got the impression that had too narrow a scope as far as I was concened. Plus I've nicked ideas from all over, I don't like the idea of being a poor mans so and so ( and he is great to listen to ) ... so it is never a bass for me. Just as well, can't afford it anyway

[quote name='Jecklin' timestamp='1420028881' post='2644957'] Just had a peek on eBay at sm220 amps. Fairly optimistic pricing from the sellers. A modern head is the way to go I think. [/quote] Saw one SM220 at £220 ish and the other over £300... which is quite a nice surprise for me if I ever decide to sell my 400. The issue with fans or no fans is that the amp has to be built very well to run that hot..and SWR run VERY hot, IME.. so the inference is that they are very very good amps. Mine hasn't missed a beat for nearly 25 yrs..except it being knocked to the ground under power which didn't do it much good.. but it was an easy and cheap fix to someone who knew what they were doing. At £250...which is what I've seen them go for here.. they are a fab amp and a pure classic, IMO.. so maybe ppl are now realising this and hence the prices..??

Ha ha...can't do that amount of cheese, I'm afraid.

Looking at it from the other end.... we would want someone who knew most of the songs so if we could only give them a busking gig, they'd know all the busking songs... which means you might not have played them before but you knew how they went..could hear what sort of changes were coming..and would be ready for it, and all you'd need is that entry chord if the change/interval was something not too 'hearable;' And if that doesn't work for you, you need to be able to writwe your own notes and transpose them quickly and acurately. You need to do this as singers change keys and they may not be too forth coming in telling you. You need to get and hear shapes and be able to play all sorts of songs all over the fretboard so I wouldn't worry too much about how to play a song...but you'll need to be able to get it quick.. you need to be able to transpose. If you can't do this yet... that is a goal to aim for... you'll probably have to get gigs where the band wants a rehearsal but this is outside most deps at our level as no one wants to spend the time and maybe money to do this..?? Some deps want paying for rehearsal...