JTUK

Outside of a pedal, No... The only advantage I can hear is the actual way you'd play the keyboard as it is so hard to get bass gtr part anywhere near close, IMO. For the gigs I do, it is another set of kit to carry set against the sound and feel I'd gain in a few numbers. So... it is not for me..

[i]The problem seems to be the signal into the mic. [/i] [i]If she doesn't like the mic up close, you have to use a mic that can catch [/i] [i]the signal from a distance...and whilst a SM58 will do this..it also brings [/i] [i]into range other sounds which you can't control. This is why people use a close[/i] [i]mic technique.[/i] [i]This is why SM58's aren't a great choice on a small stage as everything will bleed into them[/i] [i]and you lose control of the sound. You can, of course, use this ambient pickup to your advantage[/i] [i]but most are oblivious that putting a mic faurther away from the signal source may invite[/i] [i]feedback whilst you try and get enough level up to be able to use it. [/i] [i]I am not sure the simple act of selling you a mixer will solve the issue, until you reconcile[/i] [i]getting enough signal into the amp source and balancing it with other signals.[/i]

[quote name='stingrayPete1977' timestamp='1410957382' post='2555019'] Good luck to you though and if you ever get beyond playing for free for the possibility of a pint and a few CDs sold and any of your songs become popular I'll be sure to suggest to the band that we trot them out for you [/quote] And I'll book you...you'll not mind playing for free then as well, will you?

Well, I think I know the South East ok..and Kent pretty well and Swale is very very vibrant so I am quite bemused to what these people are looking for or judging on. With the excpetion of the London outskirts, the town of Faversham has probably the best music scene, closely followed by Deal. Maidstone is a big town/City but no one I know wants to play it...the parking is the centre is a HUGE turn-off. You can tell how good Faversham can be when bands will travel down from the Estuary to play it and local bands from other towns can't get in as the standard is high. The town Hop festival attracts 20,000 people over the weekend and the pubs have 4 times typical Xmas takings that weekend. Not a town any local band can ignore, IMO.

[quote name='tom1946' timestamp='1410719959' post='2552324'] Phil, the Titan looks ideal, will it be powerful enough? Not sure what 150w + 50 =? [/quote] Don't epxect too much from the Wharfedales... it is cheap kit, but not the worst cheap kit, IMO. The 150w+50 probably marks the LF and HF split so 150w to the woofer and 50 to the horn. Vocally this will be ok for quiet amplification, with maybe a gtr as well. If the signal in is mixed you might be able to add keys but the vox will likely suffer. Since you don't sound like you are needing any volume, I think they will do the job

A lot of things are done via FB so it shouldn't be long after the fact that the charity figures are announced. Our best gig this year was not in fact a charity event but they have posted the best charity figures I've seen on my FB page. Some others... I don't recall seeing. If a song and a dance is made over a charity event, I would expect the same song and dance made to publish the donations. Many are genuine..quite a few are not, IMO. It is quite easy to get cynical about charity events and that doesn't do the genuine ones any good at all. The ones that we have been involved with have had an expenses package.

Decent cable and decent connectors, so that would be Klotz and Neutrik for me. There might be alternatives to Klotz but that is your standard, IMO. Obbm makes them, iirc as do a few others. I get mine made by a local studio engr. Expect to pay around £25 for a 6m cable

[quote name='Roland Rock' timestamp='1410864935' post='2553954'] I haven't played that particular rig, but I get the feeling that if you turn the volume knob up on the Mesa too quickly the cab may explode ;-) [/quote] Yep, 2x210's for that amp, unless VERY careful, IMO.

[quote name='blue' timestamp='1410824608' post='2553687'] On the side issue of pay, I have noticed that most bands are up front about pay. I will often see in ads [i]"If your looking for a pay day every weekend, this ain't it."[/i] Blue [/quote] Fortunately this doesn't wash with most around here. If the guys are good, you'll get other demands as well. They will want travel exes and you'll end up putting them on a minimum deal as that is what they expect and by and large that is what they can get. There is a limit though and if you put out a decent paying dep gig, you'll get a LOT of guys with decent CV's apply as well.

I think this type of thing does pretty much cheapen our little enterprises so I don't tend to like to see it myself. I know I am not going to stop it either but I do think some people don't really get what is going on. In that sense, they are being taken advantage of...and I would always 'teach' the younger musicians to have a bit of respect of self-esteem. I am glad that most music college players we come across have a business element to it so they don't play for free. I know you won't like this idea, but if councils who may be called upon to grant licenses also looked at whether the bill was free, it might decide whether a lot of these events could exist. The ones that we have gotten involved with has had loads of council soldiers on site asking all sorts of questions and making demands.. Have to say, once they have gotten past all that.... the events are generally ok... and our bill and dealings are insignificant

We listen and see how much they will pay us. They may make an offer of expenses and the gig will cost the band £250 minimum as that is what we will pay ourlseves on that gig. If we decide to subsidise the gig to that degree, less any exes, then there will be a good reason for us to do so. Will we listen to any proposal..? no, not really. We aren't going to haul in everything and make the day, but we might be part fo a good effort if we know and trust the organiser. Basically, we will be looking to see where his costs are and what we can add. We will also see the history of these events to see what their charity record actually is. We like to be advised how much the day raised and who they contribute too but mostly we will do a ticketed event and charge a fee on the basis that the event will be a profit making enterprise and they may make donations off that. We also take note of how is on the bill and if a band is playing a 'potential' paying gig for free, we are asking why? They may be desperately keen to get in on the bill so it is a loss leader for them but free bands are often free for a reason and the main reason is why you don't want them on the bill, IMO. After a while, we've all been around, we know how things work..we don't get caught out so much and one of the ways to do that is by seeing how much time and money is invested. Some basic requirements of a gig cost and we are one of those.. it is the way it is. But.... this charity thing has got a lease of life of its own... the number of pub beer festivals with free bills... ??? If someone is selling tickets of £5 for 1000 heads, I'd be wanting to see where the money went and I think it is pretty stupid/gullible of bands not to want to know that[i].[/i] I also note that a lot of the bigger events are run by event companies and to be fair, that in itself is not a bad thing IF they know what they are doing but then they should aso know the value of bands that make or break these things, rather than stick their own band in.. I think bands should ALWAYS ask a lot of questions about a gig and pretty much know the score before they play it and if they don't.... then that is their look-out.

[quote name='JamesBass' timestamp='1410787855' post='2553103'] Has anyone else ever found this to be a very hard song to learn and play with other people? [/quote] That is because a lot of bands make such a pigs ear of it. It is driving and pulse all the way through with little or no let-up. If you listen to Torres now, he is almost lazy on the beat which they make work but if your drummer can't keep that going properly, you'll be chasing it with the bass riff line which is what makes it hard going so often. Just hope the crowd will sing it for you so may not notice

I recently used this on a decent sized stage without good bass monitoring [font="4ea7face23a7549807c1c660#781500"]MAG C210T-300 EVO III [/font]307W 2 x 10" + tweeter bass combo and I think it would do well with a fairly loud band. If you had it thru FOH, then it would be fine but it would handle a pub as well on its own, within reason. I had my doubts it could do it, but it did. I've also used an older Ashdown 115 combo with an Evo power stage and that did well enough as well for a small one handed package that will do a lot of gigs. Pointless, IMO, trying to get much smaller as you will hit more compromises than it is worth.

I've depped it a couple of times so I doubt I listened too closely but it is a hard song to keep driving and hopeless unless the drummer does the same as well. Not a busking song, really. Plus, you really need to sort the vocal key out as that is a killer.

[quote name='kevvo66' timestamp='1410725810' post='2552477'] I play in a trio so my voice is important too the sound ,so it goodbye ciggies [/quote] Focus on that... make sure it is the most important thing and you can use it to break the lure of smoking. I think you'll get other benefits of course, but put the most tangible one first, your voice. I doubt it is easy but will power wins, I think. Make sure you have yours topped up. Good luck

If it isn't working, it isn't working. You don't seem on the same page. I'd say this is the situation, this is what I can and will do and if that doesn't work then I have to leave.

I don't know where to start... worst time ever and everything had looked so good and the organsiers had made SUCH an effort. I am mentally scarred...

So sad, my fave key player after Richard Tee. Glad I saw him live, and was just watching the Crusaders on youtube the day before he died.

[size=5][sup]Not our policy to do a charity event for free and it was one members argument that he would put money in the pot for a charity if he so desired,[/sup][sup]but he was not going to work for nothing,. I felt I couldn't argue against that, so that became our stance.[/sup] [sup]I find the events that charge money are the better gigs..almost invaribly, and that includes the few pubs dates we do.[/sup] [sup]If someone has spec'd the tent, the stage the P.A and lights, they aren't going to skimp on the band fee either as they likely know the value of [/sup][sup]service and product. And if he knows he has a cost, he must know how many people he is aiming at and if he is realistic he will be relatively sure who is coming..within reason. That concentrates the task, whereas the more frivolous may be more hit and hope.[/sup] [sup]Basically, the more pro minded they are with regards to cost and to do things 'properly', the more serious we take their enquiry[/sup][/size]

[quote name='chris_b' timestamp='1410606287' post='2551185'] I use one of those aluminum, foam filled, camera type cases for my TH500. £30 from Maplins. [/quote] I have a case like that for the Thunderfunk which I racked, so I will use that.

I think they moved away from valves as they saw the market was in SS. A good 20 year old amp is nothing in terms of use, IF it has been designed and built well and had a few services. On that basis, I wouldn't expect one to miss a beat in that time and far beyond. The other thing is that it should have been a quality amp in a time before Far East builds and cheaper component spec so this should help longevity especially as it a top range product at the time. Definitely pair it with the 1516 cab, IME as I feel it is a more sound cultured cab than the Ampeg fridge.

If you watch him, he will pluck the note with a thumb and then alternate with the finger. Very easy for octaves and the fingers are active on decent tempo bass parts so the thumb rest doesn't come into it. It would be very hard to play the parts he does with thumb only,....which is why he doesn't. It is the very root basis of what Wooten has taken on only he double thumbs and use 2 or 3 fingers. Sting's technique isn't that advanced where he can play fast parts so it would have its limits upto 16th notes. I like it tho..he uses it to great effect.

I think it works especially when he incorporates the finger as well...

[quote name='chris_b' timestamp='1410601831' post='2551108'] ................ For the last year I've played an Aguilar TH500, which is the only D class amp I would recommend. [/quote] Agree with your last point Chris, ... I think the TH series carry on the Aguilar tradition of studio sounds which they made their name on.

I am currently really enjoying running my bass passive thru it. As said, it isn't super bright and it wont be my main gigging amp, but I like it so far. All my cabs have horns and the basses have an active option so I think it will work well. It makes you work the EQ section rather than go to filters on most amps, and I am also liking that. Since it is so small, I might sound check it tonight but very unlikely to use it outside a pub.