JTUK

For example, QSC K10's will easily get over a band in a pub unless someone is silly stupid volume-wise.. and then the problem will be elsewhere anyway. RCF are very pokey ..and I say harsh..if in line, which is often the case in a pub for that sort of pub. I mean harsh in terms of the horn/HF and they are also often too close. This is one reason why we didn't go for them in the end... they get too close and directional to a pub/small venue audience. You issue is how much volume the mixer puts out... your cabs are likely to be 8ohms each so that is your limiter.

[quote name='stingrayPete1977' timestamp='1420021879' post='2644857'] I see this the same for live gigs, a high end PA has far better knobs and dials than my kit even though it is decent gear, give them a good sturdy clean signal and let them fatten it up or compress it etc, that is their job IMO. I have heard a Ricky into an Ampeg with a floor mounted box of tricks, it sounded epic but mic'd up as per the users request the sound crew could not get it into the mix out front, the guy would not let them use a clean DI off the bass even for a blend and the gig went on like that and I never heard a note he played, great. I used a 1x12 combo with the DI off the back of my head pre EQ and had me in my monitor, slight bass boost on the bass and it sounded great on stage and out the front [/quote] I now have a very clean signal straight into the amp.. I am wary of even adding bass boost on the pre-amp after soundcheck as that is a pre signal that can't be adjusted so the compensation..if need be..has to be further down the line and for good or bad. After I have my sound up on stage, the engr will probably want my signal pre my EQ so in that sense, the only character I can give him is off my bass, which what ever my style and technique can do to influence that. So, anything off the bass if what he has to work with..but he wants ...mostly.. to work with the cleanest signal to get his work done.

The way I saw it was a TOP level pro was giving you a take of it. As he said, he didn't write the rules that is the way it is... As being amongst the very best in the business, he will have worked with others who are the very best in their line as the aritists he works for can afford that.. If this is a willy waving contest..and I don't think he started that at all.. I am afraid he wins hands-down. I think the bottom line is that some people chased away a very valuable resource.. and it isn't the first time.... Doesn't read or reflect well, IMO.

And.... the first post I saw was his post 14 which really really didn't deserve chasing him away... So well done.... bravo..!! No wonder no one in the business takes this place seriously...

Oh no...what is it with some of your guys..?? You have a stellar pro here telling you how he does things...and you wont accept that that is his take on it... It may not work for you... but then maybe you can look at the 'lesson' here and just consider it. And FFS, don't chase away another guy who you really ought to be able to listen to as someone who has a LOT of game time at the real business end... (huge understatement here, forgive ) If you continue to so that...and I count at least 3 guys in recent times..you chase away such a valuable and creditable resource of experience and know-how and knowledge built up at the top level. If you get the chance to talk to Paul Turner, for example, he will come across as knowing every inch of his tone stack and how it works for him...that is the result of being exposed to very very high scutiny by some of the best ears in the business.. You can't not be open to that sort of experience AND willingness of a guy like Vail Johnson to impart it.... IMO. Once you have that POV etc etc..you can decide if you can use it..but don't chase away that option in the first place...!!

[quote name='Dazed' timestamp='1419980785' post='2644657'] I doubt Mr Jackson would say it limits his style. Of course it's stylised it's called the Anthony Jackson model I guess for a reason. It makes a refreshing change to see an instrument is slightly more personalised than every signature fender I've seen which are just a different colour or doesn't have binding or ooh it's got a sticker on it! Don't get me wrong it's obscenely priced to me personally but then again I also wouldn't spend 10k on a Rolex etc etc. So all the negative comments here about how it can and can't be played. Have you all got one or proved these theories? [/quote] See posts 17.18 and 24 for context of my comments.

[quote name='Ben Jamin' timestamp='1419978863' post='2644635'] I was always under the impression that active basses were developed for busy session musicians who would bypass amp/pedals and plug directly into the desk/DI - such as Marcus Miller etc. Gives you a lot of control in a simple set-up. [/quote] Any decent studio will have way more options than you'd get from an active bass..IMO Companies like Aguilar and Demeter were studio pre amp solutions and many players would take one of those in a rack. What you don't want is a complicated and noisy signal chain and the idea was to get the cleanest purest signal. Once you get there, you can mess with it, but they tended not to want to before it went down onto tape. How much you can and do mess with a signal is down to how much you want to spend on it... and for a session player take, they want your job done and you out of there.

[quote name='Mudpup' timestamp='1419974398' post='2644585'] I've got a bit of a weird feeling one booked. Its a gig we've done about 4 times last year - the owner booked us for NYE at half time on the first gig - but he chipped our money at the last gig by £50 claiming he hasn't made enough over the bar that night. We rolled with it on that occassion but its left a worry over tomorrows one. He originally offered £500 (for a 4 piece), we countered with £1000 and settled on £800 as its only half an hour away. I tried to get the money upfront from him but with no luck, not surprised but it was worth a go. Got a feeling he's gonna plead poverty after the crowd has gone.......may be nicely surprised though. [/quote] Difficult... I guess you either take a party which will be a good payer etc etc ..and then work for it, or you do it cheaper for a pub and then hope the guy can pay you what he has agreed. I am half glad we didn't bother and I think we'd only come out for a regular LL/pub so we would be pretty sure there'd be no problems Walking round town this xmas period makes me glad I haven't got to put up with some of those people when they've had more to drink I hope it goes well for you guys.. If g/f is ill, I'd be have tempted to tell a few ppl I'll taxi them home.. I think it would be easy to pick up £100 for 90 mins work or so...

[quote name='Sibob' timestamp='1419876302' post='2643488'] Interested to know what you think makes it so specialised it's unplayable? Aside from it being a high C instead of the 'usual' low B. Si [/quote] It is set up for him..... you can't slap it as the front pickup is too close to the neck to be any use. It accomodates one style and limits so many others, as far as I am concerned. Not that keen on ramps either myself, even for thumbing styles...or the scale. I'd call it a quirky bass... and one that is set-up/built for a very stylised player, IMO

In an ideal world you wouldn't want active for the most part but since most of us run far from ideal rigs, or rather far from ideal situations/stages/rooms then passive needs quite a bit of help there, IMO, and it is easier to have it onboard. I spend most of my time at home running them in passive and the active sound is as close to that as possible... maybe just a tad more spikey, but fundementally the same sound with a boost option if req'd and to hand.

I'd say that is a very good fee for the pub... It wouldn't worry me how close it was if it was the right gig for the right money... I'd be thinking I'm working, not needing to drink so I'd want big money...but like I say, we set a fee, and had no takers, which is what I think the point was ... for the guys in the duo's

[quote name='wateroftyne' timestamp='1419964971' post='2644443'] [color=#282828][font=helvetica, arial, sans-serif]Hi everyone[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]I'm in the middle of a bit of a lull gig-wise, which wasn't supposed to happen.[/font][/color] [b][color=#282828][font=helvetica, arial, sans-serif]It seems most of my bands are getting more 'selective', i,e, doing less, but better, gigs. Hooray for them, but boo for me. [/font][/color][color=#282828][font=helvetica, arial, sans-serif]I need to gig, otherwise I get kranky[/font][/color][/b] [color=#282828][font=helvetica, arial, sans-serif]Problem is, it's a big ol' scene up here and there's a lot of great players.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]So I thought I'd put a video together of short clips I've done over the last few years. Hopefully it'll do the job.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]We'll see - I'll report back if it works...[/font][/color] [media]http://www.youtube.com/watch?v=SjSeVpxQVTY[/media] [/quote] Assume hurrah for you as well since they'll pay better, you'll be better looked after etc etc and you need to be 'available' for them.. I am sure you'll pick up dep gigs which you can then sub out when the better selective gigs kick back in.. Sounds a good position to be in, methinks..?

Begs the question of what fees bands are setting for NYE. I understand that it is a very expensive night all round, but I would want way more than the bar staff earned that night to consider it worth doing..and I accept that pubs just can't go to that sort of money. I don't think I'd want to do a function either..unless it was a dep gig and I just turned up but the hours would be 'critical'

Best 10" passives I've used are Nexo PS10 but they aren't cheap...at all. You might e bay Martin Audio F10 which might be comparable ( we used them with Bins and they were very good ) but tbh, both Nexo and Martin require good power amp and their controller ( with which they are very classy ) so I'd direct your singer to RCF ART 310 passives. People say the QRT 10 are very good for the money, but haven't used them myself.

[quote name='chaypup' timestamp='1419955526' post='2644291'] You could even save yourself the bother by asking if they use music stands in advance [/quote] I think you've got me mixed up with someone else... This is a good band...otherwise I wouldn't even be bothering

If you want a one cab solution then units that are based around 115 or 210 aren't going to be it, IMO. I think you should have gone with a 212 with a horn...if the weight is to your liking or 2x112, if not, The compromise is to gig both your current units if they deliver the sound you want to live with.

[quote name='vailbass' timestamp='1419659939' post='2641646'] I would recommend not using compression while playing, only after the fact on a recorded track during mix-down would it be appropriate. Using one live is a crutch best left alone [/quote] I'd go with this... a good player who has his dynamics well sorted doesn't need one live within his own domain but you'll get the FOH and studio engr use them. I don't have a problem with that for their purposes but I don't need them for mine. IMO.

The thinking of passive v active tends to centre around redundancy, which is a fair point but if you go for a powered mixer, you have rather shot holes in that argument, IMO. Actives are light enough and a small carry ( esp 10's ) ..or as small as you'll get.. and you can be in the room with 2 boxes and a mini desk. Power and signal runs are more of an issue but the girl is buying something she can hump..?? The point about hi power thru subs and failures of the amps is pertinent but not a compromise in this case.

I went from 1x15 +210 and/or 410 to a 212 and I don't think the 'downgrade' is/was too significant. I still use a 212 and 210 for the best gigs but a good 212 is a very capable cab, IMO, esp with a good horn. I'd be surprised if it didn't outclass an older 2x15 set-up... I think Aguilar DB212 is a cracking do-it-all-most cab.. I don't REALLY need to put a 210 on top but sometimes I just will.

[quote name='discreet' timestamp='1419945645' post='2644167'] Also, unless you're looking at the AI gear, I wouldn't recommend [i]any [/i]amp without a fan - too high a risk of failure, imho. [/quote] It just means that the amp will need to be built better, IMO..and that is against a lot of companies remit and pricepoint. The early SWR's didn't have fans and were designed and very capable of running very hot. My amp tech says that is because the build and componets are so good... military spec he called it.. but then they weren't cheap new. so I'd be on the look out for an old SM400 or even SM220 for lower power output. Bollocking amps still to this day, IMO and can be had for a steal... I can't think of a better bargain out there tbh...and not THAT heavy at around 15-18lbs..

As it happens..our first run thru went well so I am less concerned with the odd ball numbers..and the one that gave me most concerns as I felt it might determine a pattern actually doesn't stick out that much. It will probably survive but it doesn't define the band in a way I was dreading.. The Elvis number is either a feature number or doesn't work and will drop out and the Nik K number sits ok..enough. So..onward and upward with the drummer search

We set a price and didn't get it so I'll be going to see my mates band.. Free entry so don't feel obliged to stay forever ..

Wow... Off the top of my head, 6354789 Ain't too proud to beg Everything from the Commitments. Proud Mary River Deep Tell me something good.. The list goes on and on... See if you can google any major Soul revue band. Check out Sam Cooke, Wilson Pickett, Otis, Donny Hathaway, Marvin G, Temptations.. and on and on again. and that is just the guys... It is a very big field..you might be better to go a seek out a band and get a set list off them

'Played' a Matt Garrison but to me, they are so specialised they are unplayable.. Not for me...and that applies to Fodera in general anyway. I just don't get them.

No to Mackie, I'm afraid... If you want good vocals then look at the 10's.. I feel going to 12 or 15 only really give you a smidgeon of waht you should be looking for subs to provide so a decent 10 will do for the vox's..and I say 'do' but don't mean it. RCF, Yamaha DXR are your starters, IMO.. QSC are probably still the best but they have the premium and I don't think they are £250 per box better.. Actually, scratch that last bit,... QSCK10 are £550 per box and Yamaha DXR10 are £475.. so what with the warranty of QSC and the 1.75 HF unit.. I'd go with them. We rate our DXR112's against the QSC K12's ...the singer thinks they are better, but I think the QSC has a better HF unit and power rating... but only because they were about £250 per box cheaper at the time for the 12's. If you can, see if you can get wooden boxes over composite if better lows are important but then look at 12's anyway. For me, if buying now for vox only... and they WILL go loud enough for a pub, easily.. I'd buy QSC K10's This https://www.absolutemusic.co.uk/qsc-k10-active-pa-speakers-stands-and-cables-bundle.html?source=googleshopping&sku=qsck10bundle1&gclid=CL7rqca168ICFUvJtAodQg0AeQ