JTUK

If it were me, I'd get the spec/model of the chassis in the cab that your mate wants to match/emulate. Post that detail here, and hopefully the knowledge of the speaker guys will be able to suggest a match currently in production. My experience of Marshal cabs ...albeit it a long time ago, is that they wouldn't use a particular special driver so it shouldn't be too hard a job or too expensive

I'd put Markbass above TC with confidence, even tho I am not a committed MB fan at all. Whether their production move affects them, remains to be seen. I can't see why reliability SHOULD be an issue, but time may tell. It terms of minimum spec/quality, I'd say Markbass is a good place to start... and quite a few makers don't get there, IMO.

Various combinations that I've heard work recently have been Markbass heads with either Epi 12's or the small Schroeder... but by the same token, I've heard MB and MB not work, generally. For me, the MB amp, LM type is just not hefty enough but for quiet volumes they do very well. As with the Class D types, I've used, it is when you push them that they go lacking.... but mostly whether I've liked them, has been done to the way the guy plays them. Quieter gigs, no problem as ease, convenience and weight are the reasons you carry them over all else, but for the better gigs, not so much, IMO. FWIW, I find the TH warmer and less sterile than the LMll/lll, but I can handle Markbass for quiet gigs/rehearsal, for sure. I wouldn't call them a forgiving amp....which is why people can make such a pigs ear out of them, IME.

Depends if you like to hear your bass back in headphones which is going to be a clean reproduction. If your playing technique is compatible..and clean enough.... you might be on the same page but I'd suggest the cross over for vocals isn't going to be right...and you probably can't attentuate that off the cab. So...putting a pretty basic EQ stage in front probably doesn't give you control. You'd have to hear it and decide for yourself but I think the real reason is because this is the stuff you have lying around rather than a pursuit of a certain sound.

Nope, don't do the remaining gigs.. put your own band in...

Was he offered that gig..??

Well, that is an opinion.. I'd say neither of them would have gotten a gig anywhere else.. but who cares. We can go round and round on this...it was what it was and it is no more. We do a couple of Who numbers and they are great fun to play..but as for learning the parts... no.. its a Jam, but people regard them as amongst our best numbers. ...so...???

But if you play on the click...you might not even hear it..so that can be disconcerting in itself... I far prefer a back beat. It is lazy in feel and just feels easier. I don't like a drummer to push as it can feel like the beat is racing. As with all these things... it is all about the skill and feel of the drummer It is a feel thing..if you are confused about backbeat etc..just wait until you get to the 'pocket' ha ha

There are better gigs out there for the right act... and they want pub gigs because they are easy and the gtr can get very good rates. It seems to me that you are wanting different things... he/they want any gig they can get and you want a better show which prices itself out of pubs, by and large. Not compatible goals, IMO. They have other gigs and you aren't the priority... I get that, from both POV but I'd set the goal higher and if that band isn't able to get those gigs, there is always a band that can. The act is all about you anyway...but I think the money behind the gig is the most important thing for the others so they will carry on regardless... as long as they can get some money. Wouldn't worry about it Wiz... move on to better things.

Move on.... as you say, pubs aren't where the gigs should be. The gtr will take any gig he can get ... anyhow, and if you want/need to put on a show, you've outgrown them and the pub deal, IMO.

Well, I always thought they were a total mess..... but Townsend kept it simple and the underlying collective chemistry really worked. I think they know that they can't get that chemistry again and so they have moved on... it is only die-hards that wont accept it. They can't win.... try and put two mavericks in and they aren't Entwhistle and Moon..try something different and they aren't Entwhistle and Moon. Those guys are dead... it is gone. You have a choice...listen to 'new' product or give them up...and they have a choice as well... continue or give up..?? Personally, I think you should be pleased you got what you did out of them,... nothing is forever.

I think you always have others band guys checking you out..... or even if it is just because they should support live music and the venue as much as the band itself....escpecially so if they play there themselves. But... I agree, too many 'muso' type people are pretty blinkered themselves and you never see them at gigs.. but they bombard you with events.. I find this muso bohemie thing quite funny.....and quite self centred, but then I'm not surprised either..

[quote name='Chienmortbb' timestamp='1411632947' post='2561272'] A cold garage is not a problem but a damp garage is. [/quote] If you can regulate between the two.... big IF This is why I say in winter bring it inside the house.

Depends what you are up against but I'd be thinking the point about the amp not being man enough is nearer the mark. Of course, if your gtr is running a 4x12 hard that means you are going to have to fight him with a sound that gets there rather than is there,

Lukather is so underated...

I'll make the distinction between cheap and quality. I'll pay for quality.

Sounds like you are happy with the decision you have made... I wouldn't worry about gigs...they turn up if you wnat them. As for over-exposure in towns...this is a funny thing. A band I know pretty much play the same town every week... they even joke about it themselves and FB ribs them over it... but it doesn't stop them and I assume they don't suffer ..as they continue to get booked. We limit pubs...certainly in the summer, and wouldn't want to play the same town within 3 weeks and then not the same venue..but then have never really worked them anyway... By that, I mean, we never tried to get any pub gig at anytime and basically wear the local audience down... It used to be the time honoured way, IMO, but our emphasis is selling tickets so you need to keep pub gigs down anyway. People aren't going to pay a ticket price if you give them the same gig in a pub for free too often and they aren't going to look to pay double/triple/quadruple your pub fee for their event/party. I've always found the dynamic of popularity, fee and who goes to see who play what, fascinating.

I can't see any problem with the way you handled it. The only other thing I'd do... if you wanted to help the guy... is spell out why you couldn't tolerate his behaviour...it was threatening your gigs. Players with these problems seem to have lost their bearings and they actually don't see the problem .. otherwise they wouldn't behave like that... so if you spell it out, you may be doing them a favour. Some people do need help...not saying that is something you have to get involved in... but you should tell them what YOU found unacceptable. Then it is upto them...??

I am not sure anyone said 2xDB112 sounds better than a DB212 but I'd expect them to sound very close. FWiW, I think my 8ohms DB212 sounded better than my 4ohm but we are talking very small margins and altho I'd swap back, maybe we are just talking about small cab varibles between the same models that every maker has to entertain. It doesn't drive me mad or anything, but I'm convinced it is there in the equation. I think Aguilar is at the top of its game and they have well and truly stolen Ampegs clothes and I'd say you'd have to go some to better their line-up. The DB cabs compliment their amps very well...

[quote name='molan' timestamp='1411511501' post='2560340'] One thing I've noticed is how many people in bands aren't particularly musical anoraks. A lot of them 'like what they like' and aren't open to new ideas or looking beyond a very fixed and often quite limited musical genre. By definition this might mean that they aren't 'into' music per the OP even though they are competent musically and out playing public gigs ............... [/quote] I find many bass players are like that as well. They know what they know, and play their thing but they are pretty insular from a bass playing POV. I think the term 'anorak' in this context isn't so bad, and these players do not seem anywhere near as open as some on here. I'm surprised how little they know in general musical terms and experience as opposed to knowing the in and outs of the kit...which is probably a bit too far in terms of anorak-dom, but yep, limited outlook so I don't know what they get out of playing bass, tbh..

I'd be first in the queue to maon about unpaid gigs, but have I got all this right..? They want to 'make' it but will consider doing a festival date ( which I presume is to impress and advance the band etc etc ) without a bass player and not advise the promoter/booker.. ? I can't see the promoter/booker being impressed by that and that is not giving said gig much respect. And if the gig doesn't warrant it...why are you doing it anyway? I'd be asking for more deatils on the London gig.... I'd be doing that on everything else the guy put up as well, as it happens, but if I wasn't convinced the London gig had a LOT going for it.. I'd be saying I was unavailable for that...on the basis that time off work, loss of leave, monies etc etc ...all on the back on the fact that you weren't asked. I might even be washing my hair that evening, as that seems to be as much respect that is forthcoming from one or two in the band coming your way. The way things seems to be presented and organised is just one big disaster gig waiting to happen, IMO

Are we taking bets..?? looking on the lighter side of things.

Once a dep has been booked and confirmed the band is commited to paying the dep fee come what may, ie, they might not be finally required. If you need to cancel then you are hoping the dep will waive it, and sometimes they do in good faith, so you'll go to them again but to book someone, waste their time ect and then say nothing...well, as said above, thankfully, you found them out just in time.

$100 a man for a 4 hr gig is a lot of work. Seems the U.S market wants its pound of flesh. The fees that places pay is a common theme amongst muso's here and pub work is certainly not considered as the mainstay income, altho noone can afford to totally ignore it amongst guys trying to make a living. Their goal will be to get a high paying function ( which they MUST do pretty much every week ) plus private lessons or maybe in a School and then topped up with a few pub type sessions. Music schools are increasing and my town probably has about 5 and one or two of those will boast of having 100 pupils. If you talk to the rehearsal studios they will guestimate that there are over 100 bands in my town of 100, 000 plus. Every week people will complain about the money not being there, but quite a few full time muso's will have mortgages so they must have been able to produce a decent enough proposition to the bank to get one. I wouldn't work at it full time as it doesn't pay enough money and I know what people have to do to get what they do.....but they love it, I assume. I think it is work just like anything else so schlepping up to a gig on weekend, where you have to leave at 2:30 in the afternoon and getting back 12 hrs plus later is hard week-in week-out. You can get the big function date/wedding for £2k plus, and some bands are geared up for that but it is still a struggle to do 40 plus of those a year and if you don't/can't/wont hit those figures, you have a huge hole in your earning plan. The old pro's will take a pub date if they fancy it, but I assume they don't have to. They might also have little requests like they don't carry kit or set-up it up which is quaint but not sustainable. I find the playing levels between those guys now and the better standard local muso's to be pretty close ..or closer than you'd think, but every now and then, one of them will come along and you understand that you can be outclassed.when they start to really play. Having said that, you'll get guys with very good CV's and you really have to know what they excel at as you REALLY wouldn't want to book them for a Rock and Roll gig etc. Fees and players is a fascinating subject, IMO but basically everyone likes to earn better money but sometimes it just isn't there. It is no good an ex name asking for silly money if they don't bring the people in so you soon learn what the market will stand. That pretty much applies to anyone.

$100 a man or the gig..?? As for the quality of player... many guys with very good CV's are out there turning over money. £150 a gig..which is what a function will easily pay will get guys willing to travel from 100 miles away. Local guys on gigs round here have played with Groove Amarda, Take That, L42, Nik Kershaw, Paul Young, Bryan Ferry AC/DC, Texas etc, etc etc and you can get these guys for pub money IF they haven't got anything else AND you are a good gig. Some of these guys are still getting the top gigs but most have made their money. The younger guys will take TOP rated gigs for the same function money as the older dudes will go out for so this has pushed some of the older guys out of London in terms of the going rate. The relationship between player and booker is based on trust so you have to do as well as you can for these guys but they still want to get out and play for a decent gig.