JTUK

[quote name='skychaserhigh' timestamp='1376921987' post='2180893'] £1294 for a 100 watt valve head ? Er no thanks ! [/quote] You might as well go for a S/H DB750/751. You'll get an all round better amp and SS power stage which keeps the service cost down with, IMO, a better sound anyway. Put that with a DB212 and you have tone heaven and no contest, IMO.

It was the AMB 210 Combo... as it had the ABM EQ stage. I'd also add a Line 6 300 15" combo into the mix. That should be there or thereabouts new.

I recently used an Ashdown Evo 210 on a festival stage with inadequate stage monitoring and it did well. I am quite picky in this regard and I was sceptical before hand so I would put this in the mix for a SH price. Not a fan of pushing 210's hard and therefore I would rule out a 1x12 type for sure, on the basis that the amp will probably have to go to something aproaching 300w..which the amp should do, but the cab will be getting some grunt,

[quote name='Dad3353' timestamp='1411412281' post='2559318'] Now, where have I heard [i]that [/i]before..? [/quote] Not sure, but I think everyone nicks something from someone.. I've nicked loads and it depends who or if anyone has listened to the same thing will depend whether they'll know or not.

[quote name='Happy Jack' timestamp='1411399986' post='2559141'] Bwahahahahahaha!!! I am SO going to have to come along to one of your gigs. Anyone who writes with such sublime Liam Gallagher-like arrogance and contempt must surely be a living GOD amongst bass players. You know, I'm looking forward to this already. Please could you post a list of your up-coming gigs so that some of us can come and worship at your altar? [/quote] Wouldn't get so worried about it..we all have them. I've built a whole load of them. I wish I could claim to be so original but I'm not... and neither is the next man, 99/100.

I am not sure you can write very well or convincingly without knowing a bit about chords or scales and what ones may work or can be substituted, particuarly when the song writing process is stuck. As for knowing when to throw in your cliched rip-off parts...this is why at some point you should write out a chord chart of the song and see what the changes are but then I tend to write my lines over the gist of the songs lines so it is always important to know what the chords are, IMO. If you play with a major chordal instrument like a piano, there is no way of avoiding knowing the chords as anything other than root notes can be an issue.

[quote name='chris_b' timestamp='1411386223' post='2558919'] You [i]are[/i] missing the point. Scales are about knowing where the notes are in the chord and on the fretboard. Scales are about fluency and playing without having to plan where the next note is. Scales help muscle memory to make sure the right finger arrives at the right note without having to think about it. Scales are boring but they have a very serious purpose. Of course you can do without them but you will be less of the player that you could have been. At the end of the day, that might not matter in your playing environment. The choice is yours. [/quote] This........ and it helps in communication when playing songs as someone might throw a chord at you and all you can do is play the root/octave because you don't know what else to play. You could get by with a very good ear, up to a point, but largely you hamstring yourself and you have to play the line note by note. This is playing by numbers and that gets very boring, IMO.

XP and IE... ? Use a modern browser

I think if you paid for it in the first instance, then another copy/copies for your own use is fair game even though that might have been technically illegal. The grey area is when it gets into someone elses hands and potentially stops a sale... Well, not so grey, in fact.

[quote name='ubit' timestamp='1411303123' post='2558238'] Times are changing because a few years ago, pubs used to put on bands that attracted a crowd, certainly in my area, but nowadays you are not the main attraction. Kids come in for a few on their way to the disco or night club and if we are lucky, we will get busy spells, but to think we are what's brought them in is a bit conceited. Some bands, ourselves included, do have a few people who will make an effort, but it's not what it used to be for pub cover bands. [/quote] Really.... ? nobody bothers with pubs that are on the way to the clubs. Round here the band IS the evening and you are expected to bring in 20 or 30 and the pub will have 20 or so regulars so that should be your good night. If you can't do this, you aren't a viable band for the pub circuit. Basically the band makes the evening as some pubs will not be anywhere near passing trade.

ok..looking at that picture of the 400+. power switch to warm up the amp, standby to switch it on to be able to use. Sorry for confusing the issue, it depends how they label the 'on' switches

Building blocks and experience is what it is worth. I know a few bass players who can't handle a blues gig...and they are in reasonable bands and comfortable only in thier preferred genre. Not so much their fault but they could have helped themselves more doing time in an enviroment that would teach them a broader musical base. So, once you play rock and roll 12 bars, you'll know there is only a stylistic take to be able to transfer that to Blues 12 bars and then that a huge range of musical influnce covered and/or experienced. Move that over to a few jazzer playing 'Chicago' and 'John B Goode' has taking you some distance. I am all for bass players getting out there and playing..and making mistakes.. in order to get a basic grasp of being a rounded player. So many don't...they either miss the chance or turn it down as not their thing which is why their playing is always short-sighted, IMO. Every situation is a potential education, even if it only teaches you how not to do it

The stretch wasn't the problem, the strenght in the fingers was, iirc. especially the little finger. I would only be taking your course of action under supervision of a good physio tho.. I persisted with mobility exercises when I had broken fingers and that recovery was total and worth the hard work. I am not sure yours is quite the same. Depends what the medical advice is from a specialist rather than a GP.

Yep...just to re-iterate. Valve amps have to be run under load so make sure you know a few absolute NO-NO's with regards to running valve amps. They aren't very kind at all to anyone taking liberties. You MUST run it under a load at ALL times. You must run it with the correct load so, 8 ohm cab should have a ohm selecter on the back of the amp. You turn them on in stand-by mode and then wait for the amp to warm up before switching in the power stage...which is normally the second on switch. If power is switched off ( i.e power-cut ) ..switch the amp off and start again. Valves and voltage supply are dodgy bed fellows so reset the amp and start again if the power is fluctuating or unstable. Valve amp users hate the venue limiters with a passion for this reason. This is why valve amps became unpopular and second to the more resiliant and robust SS models. They did not become unpopular because of the sound 99% of the time.

[quote name='Grangur' timestamp='1411229148' post='2557730'] LOL, thanks guys. I guess I knew that already. What worries me a bit about it is the level of "transferable skills" I'd be getting. I can't even claim to play Johnny B Goode in a style that others would recognise. [/quote] This track is a rock and roll tune and that is the style that most play it in. There isn't really much point to it otherwise, tbh. You could swing it and that is valid if you know and want that style but you should determine that at the start of playing it. If you don't think it sounds rock and roll then tell them that..and they need to work at it. If you can..and you should... play this with rock and roll attitude, then this will serve as a style template for other songs of this kind. These are everyones building blocks... you are just learning them a little later. It sounds like some haven't learnt them at all and have been playing for years. Yep... look for other opportunities for when the time comes to dump these. And..FWIW.. what was the band member thinking about jumping on the drums..? Does he play them ..?? or did he just think he could? That sounds like a total waste of a rehearsal to me and you should make better use of the time. I would have cnacelled the rehearsal and learnt new songs in someone's front room getting the chords and changes right..??

It is building blocks. You are playing with others so you get a perspective of how some people work. It doesn't sound great but it is a reference. Of course, it should be easier than this but until you have options you don't have anywhere else to go. The other good thing is that you are getting a sense of what works and what doesn't... and it sounds like that is something the others haven't learnt in all their time playong???. As long as you can take something from this then that is the pay-off... To be blunt, this is the standard you are pretty much at atm.... so if you can improve to a point where you don't think the way they do things is good enough, you can dump them and move on. Music is about a lot of things but it can also be about excellence and you are getting a taste of what is decent and what isn't. Take stock and use this to move forward. If you know musical terms and meanings like 'swing' etc etc ...that is good as they are the pointers to how songs should be played and in what styles. Somethings are subjective but as long as you know what rock should mean, then they are your core building blocks. Besides, the more you get from this unit, the more 'experience' you can take ( good AND bad ) into the next one. You didn't have that before.

[quote name='bassmasterwraith' timestamp='1411137318' post='2556841'] The only reason I've not got a 751 is I can't afford one [b]and it's a little too loud[/b] [/quote] This is pertinent. The DB amp is a weighty beast in terms of putting out the sound and there are quite a few gigs I do where it could be too much. Volume is one thing but the sound carries very well and I've turned drummers green a few times. Pure payback from my POV and gratifying just the same... but the amp can be 'mixed' well on the stage/playing area but be knocking down walls at the back. This is why it isn't a pub amp and you shouldn't have one, IMO, if this is the vast majority of the gigs you do. It can overpower the gig easily and if you are self mixing, and you wont know until it is often too late. This is what the TH500 is for, IMO.

Is that the same playing as Ealing drum studios

There isn't one, IMO... but the TH is a decent little amp for smaller places. Like other class D's it will struggle to add real weight to your sound, but volume and tone-wise, it is a good effort. The only things that I recall getting closer, would be the MB 400's or SVTll but the DB amp is better, no doubt, IMO.

Sunday afternoon plus early evening round here are the most popular gigs. The best two music towns will have 4-5 bands at least, playing from 1:00 to about 10;00pm. You can go on quite a pub crawl if you want. Off the top of my head, within 40 mins drive, there would be at least 10 gigs on a sunday, to go to. They are also pretty popular with the bands as they finish early, generally which means it is not a late night to go work the next day. We have an issue that weekend day time gigs impact on our families, so we try to limit them. But, in reality, we could be out every sunday if we wanted to.

I would have liked that without a shelved port. But rather hoping the S112 idea comes together. If you are stocking them, then..???

Handle as opposed to a strap? Must admit, I always like handles..just so much more substantial and I know in the era of a lightweight cab, a strap might be ok, but there are too many threads about straps not being upto it. Not sure I would buy a larger cab without a handle, altho my Bergs have handles and they do ok but then they haven't had a heap load of work and go in the car very easily.

Not a GK fan so would be more inclined to go Markbass out of the two. Having said that, I don't like them ( MB ) wound up even tho the flters are useful in getting a sound. I find them..and filters in general, a bit plastic, which is why I've moved on to a normal EQ section. Currently enjoying a TH500 running passive as I find that quite an honest and uncoloured sound ( you have to like that tho ) which any amp with a filter/mapping control will not be, IMO. Think a rotary and sweepable version of the TE pre-set and that is what you have with filters. Can be a quick dial-in but not for me at this time.

I think you should expect them to last and perform well if kept in a dry and reasonably stable temperature. I would suggest the cone and the suspension and any terminals do not need too cold and/or humid temps. So whilst keeping them in a garage during the summer is ok.. I wouldn't leave them in a garage all winter, myself. And the older the chassis are, the harder it is to get cone kits or find replacements so you have to get modern equivalents ..which is possible, but why make this a factor with a degree of care..??

[quote name='thisnameistaken' timestamp='1409769405' post='2543180'] That's because the Jazz does a lot of sounds. [/quote] Indeed it does. For me, there is the Marcus Miller Jazz sound, Jaco and the vintage 60's sound but there are so many others and that is without getting into whether you play with a pick or not.