JTUK

We use text e-mail or Facebook with regulars...and one never does anymore than text. It does annoy me a bit but it has always worked, tbf. If I feel I need to chase a gig, then I'll have to chase it..but the trick is to want them to 'chase' you We've targetted gigs before and they tend to do their homework and check you out, what other people say etc etc That is the beauty of FB as it is easy to get feedback there. Mostly we have 'fans' tell us a certain venue would be good, and they'll put in a word..

We always talk to the booker after the gig and gauge how they think it went. For one-off parties, it is often about making contact with the next party ... but for regular venues we make it clear if we'll do it again. Pub type venues come to us...and that is a result of our hard work and general ability to deliver, we think. Nobody wants to do 'business' on the back of a successful night..IME, as they still want to enjoy the evening, so we don't really want to talk other than be up for a return.. Really don't want to talking fees and dates with other ears listening.

[quote name='blue' timestamp='1418268149' post='2628653'] ......................... Here the open mic thing is a mechanism for club owner to drive a little extra business on the cheap. Me, I won't have anything to do with them.Jam sessions are more about cats getting together to see if they can get something happening, usually at someones home. I really think the [i]"jam session"[/i] is a thing of the past. Blue [/quote] Open mics here are for the same reason... always on a quite night...and the house band gets paid but the guests don't. This would be an occasion where the hat could go round, but it is probably better it doesn't..

Yes... I've looked them over and they are fine, the production can be a tad variable, but those are the ones you pass on. Just not a patch on two of my basses. I think the sound could get closer with a premium set-up but not the QC or finishing touches. And some of those touches will just not be entertained in a production bass... and some are as basic as blocks and binding. I was of the opinion of this when I first commisioned, and I am more so now. I can see why some people can say why there can't see the value but that is an issue for them as it is there.

I think you should go and see how these things pan out ..as they can all be a bit different. You want to see if certain people hog the evening, but go with an open mind. You wont be forced to do anything you don't want to do... you can introduce yourself to the bass player ..... as you'll be using his kit if they have a house 'band'..and go from there. If you feel it is friendly, then decide if you wnt to put yourself forward. Most of the stuff is indeed 12 bar, but that can be unforgiving as well ...so go and have a look and see how you feel about it. If you introduce yourself to the bass and guy running it then at least you and your mate will have some friendly faces and you can work out if they play stuff you can play.. If it is a good well run night, people will be understanding and offer encouragement. You might find good bass players avoid these things unless to network as there sometimes can be too much 12 bar and blues and you never know who is on drums.. Go and have a look..can't hurt.

[quote name='No lust in Jazz' timestamp='1418211440' post='2627943'] Having 'researched' the Jackson Browne live seam on YouTube following the excellent Glasto performance - thanks JTUK, I note that the Bass player does have a Stingray on stage (fretless I think) [/quote] ...only got as far as the Lakland 5 ... I'll check out the rest. Different bass player for the tour, Bob Glaub, who again is a P bass and flats guy.

[quote name='discreet' timestamp='1418211144' post='2627937'] Well that's my point - people will make buying decisions on how a bass sounds in isolation, when in fact the bass guitar is not, nor should be, a solo instrument and only reveals it's true tone when in concert. In my humble opinion. [/quote] My whole point was how the bass sat on the track...which is what a P will do with a half decent mix, ........... and half decent players.

Not for the first time can I reconcile what some people are talking about... I would really have to hear what you are putting thru it to make any sort of sense of your perceived sound goals.

Of course you'll pay a premium for it..... and you wont get those finishes on a production bass as the whole point of those process is that that element of expense is stripped out.

[quote name='Lozz196' timestamp='1418166743' post='2627705'] That`a awesome - really like the song, never heard JB I don`t think, and that P-Bass, well that is what a Precision is all about. [/quote] Lozz...google the whole concert Glasto 2010 as a starter. He has always been the real deal and was the conduit, along with Linda Ronstadt that all the Calfornian guys passed through in the early '70's... including the Eagles. They all bowed to Jackson Browne as a writer.. and only the Eagles broke higher. He did, of course, write 'Take it easy' as well.

Luthiers wont import the woods..they will go to a company who specialise in that. They may also ( hopefully ) subscribe to an ethical policy... and that may even be law, but mostly you are paying for a one-off customised hand crafted instrument. I've had 3 and they've always delighted me in a way other production basses just can't..

A £3k bass direct from the luthier should be one hell of a bass, as you aren't having to pay retail costs... The luthier should make a profit but he doesn't have to factor in 30% or so to a shop/distributor. If that bass isn't waaaay better than some production bass you've brought for the same ballpark money, you have really gone to the wrong guy...and badly, IMO. When I had my first bass made, I told the luthier what I had looked at, and he said there was no doubt he would make me a better bass..and he was 110% right. Now, these could only just be words from some makers and that is where your homework comes in.

[quote name='discreet' timestamp='1418154822' post='2627518'] Practically every note the bass plays is underscored with a kick hit... it does make a big difference to the perceived sound of the bass. [/quote] This is standard bass/drum syncopation ... no biggie.. it takes the P bass to sit there, IMO

Can't get my head round this... the GS cab is renowned for it big lows over all else...and IME, those lows overshadow the rest of the cab. For me, this makes it too dull... and the space between the chassis roll-off and the horn doesn't or can't rescue it for my purposes. The DB is voiced more consistantly thru the mods IMO, as is the SL which gets that NEO thing going quite well. oh well......

[quote name='Jenny_Innie' timestamp='1418155700' post='2627531'] ............. I get the fact that the 2x10 would be different - but I'm guessing, if you order one of those, it'd resell okay - so you could give it a spin with little risk. [/quote] Not really.... You'd not get the 'new' price for a S/H cab, IMO. Better to see if they'd do a refund after a trial ...??

[quote name='Marvin' timestamp='1418154426' post='2627509'] Better get an Ampeg rig as well...would be churlish not to [/quote] Got to say my rig out-Ampegs Ampeg as it happens...but point taken.

[quote name='discreet' timestamp='1418153666' post='2627499'] Nice... though a fair bit is down to the tasteful, creative, accurate and understated drumming. [/quote] Recently saw him and not so knocked out with the drums tbh... but on that track I posted, it is just the way the P sits... which is why everyone uses them for that gig... ( and you'd probably not get the gig without one nothing does that as well as a P... and I'm a jazz man..!!

Well, apart from the obvious as mentioned above it might just not sing very well which is the problem with buying blind.. I hope that isn't the case, but I am prety sceptical that a production made bass 'thrown' together is garaunteed to sound good, let alone great. No doubt some do..but by the same token, some don't and they can totally clash and just be 'wrong'..IMO.

[quote name='Lozz196' timestamp='1418143009' post='2627310'] And quickly as well. Very easy to get a workable sound with a P-Bass. [/quote] Anyone care to tell me this ISN'T just the bollocks..!!! [url="https://www.youtube.com/watch?v=R6Wz076V1Fg"]https://www.youtube.com/watch?v=R6Wz076V1Fg[/url] Classic P... and the reason why I want one...

Not sure what you mean... I sold my GS112's as they only sounded very good with new strings as they were voiced too dark/low for my tastes and style. I thought the cabs were good at what they were meant to do...ie, big and low, but that wasn't working for me. A soon as the strings went off...the cabs didn't have enough clarity or cut. The DB version was better and more mid voiced. I run Bergs now with a TH500 which gets 'rave' reviews from muso's around here but I have something in mind that will work better and you'll not need a horn.... and will do a Geddy Lee thing quite easily, IMO..

But the gtr isn't being reasonable it seems...he isn't discussing it...he has told the OP how it WILL be..?? If you don't know what the boxes are ..and he wont tell you, it is likley they aren't anything that will get much cash. The issue is how much hassle you want to go thru... I think I'd take 4 boxes off him..knock them out for as much as you can... and walk away from the plank.. and make sure he gives you the boxes and the £63 at the same time. £250, 300-400 for the boxes..?? I assume they sounded ok when you used them in the band..???

[quote name='stingrayPete1977' timestamp='1418149703' post='2627427'] ha oh right, [/quote] I couldn't believe you missed that... being a bit serious there. As for dropping in at the last min... then you'd tell the band that you'd work from a pad... but I'd probably not want to take it from a band that couldn't blag a 90 mins of stuff at a pub gig without it being obvious the gig was depped...

Dry hire rates... typically in your neck of the woods. I think you could get an engr for that as well if you had regular work to offer... [url="http://www.nicepeopleproductions.com/PA_Hire/pa_hire.htm"]http://www.nicepeopl...ire/pa_hire.htm[/url] edit... for some reason google St Albans came out Norwich..??? but I think the sums stack up. To get an engr and transport for £250-ish you may have to scale down on the quality of kit... but since the engr has to work with it, that shouldn't be a big problem. You want to be getting away from Mackie and into and beyond the HK pro systems.. and you may have to find a freelance engr to do it.. ie cheaper..!! We moan about a QSC/RCF rig for £180 local but it seems a good enough deal. To buy that rig would set you back over £4k at new prices with SH desk and mics that aren't that special.. That is why hire is better as you'll get goodies like a digital desk and 50mtr snake and an engr to help set it up, break it down and do that crap the other end as well...!!

Depends what you want supplied.. and what type of gear..? If you want 16 channels, snake, all mics and stands, cables and monitors all transported and set-up, you'll probably be looking at a min of 4k out front and £250 a night..??? And that price might just get you over the likes of HK, which isn't bad, and should probably be your base standard.

[quote name='bass2345' timestamp='1412481367' post='2569210'] Hi. I guess that if a note doesn't sound clean it's probably because my fretting finger isn't close enough to the fret line. Is that right? Also, even if that is right, I'm still not sure how to make sure all notes sound clean in fast and/or complex pieces like the basslines for "Under the Bridge" by Red Hot Chili Peppers or the intro to "Lousy Reputation" by We Are Scientists. Any ideas, please? [/quote] So many varibles.... Flea isn't the cleanest player anyway and you don'r know what process it has all been through to get to the final article... I am guessing you haven't been playing for long so don't be too hard on yourself.. Get the note to sound how you want it and then get that consistant in a bar and then 2 bars..and work on from there. Slower at first...as fast and hard gets very messy, very quickly