JTUK

[quote name='molan' timestamp='1409429735' post='2539691'] I haven't played at my own wedding but I did get to play a couple of songs with the band I booked for my daughter's wedding this year. They were stupidly good : [url="http://www.swaytheband.com/"]http://www.swaytheband.com/[/url] [/quote] My Av didn't like that link, Barrie, Deffo doesn't like it

On a serious note, if you are that tight to click you might not hear it..which can be disconcerting in itself..

[quote name='Pinball' timestamp='1409568044' post='2540866'] I love the USA Deluxe but have never come across a 5. Note: I'm a bit wary of older USA 5's after playing an awful used one in a shop, the B was terrible. ......... [/quote] Agree totally, I did think I should have quantified that better. I wouldn't look at the 5 headstock, but would concentrate on the 4+1 headstock config. The newer models with blocks and active EQ are the ones and I think that dates them from around 2010..?? This, IMV, is because Fender were getting a caning sales-wise by the likes of Lakland and the American Deluxe is a decent response to that. Beyond this standard and price, I feel you are looking at Overwaters and then Sei, Celinder etc.

Thanks, that would be nice. Been meaning to get up there so will give them a ring.

If you are going to buy from Thomann...and I agree with the sentiment about supporting local shops as where will anyone test anything when they have lost out to the Continental disocunters..??...then buy decent stuff from them.. not the stuff you'll have to send back as that is a PITA. It is worth spending a few quid over to buy local. And... most decent suppliers of kit have made it contractually impossible for Thomann to sell retail to U.K shops cheaper than they can get it wholesale. I've bought stuff from Thomann before...but not stuff I can source locally. They tend to be the last place I'll go to now. Not that I haven't had decent enough service from them... it is just that you need local shops to survive, IMO.

I have an old SWR 400 which runs VERY hot and has no fan. They added them later but you'd jump if you touched the chassis after running a while. Putting them in a flight case would need some thinking about IMO to allow it to breathe. I have had it well over 20 years from new and it failed on me once when it was knocked from a cab to the ground under power. The amp tech said it was very good component spec inside ...and they were known for that way back, so I think they were built to run very hot and used quality parts to do so. I don't think you'd get those internals very easily now as that would make the amps too exensive for the market and only the very best amps could justify it. The SM400 was regarded as THE amp along with the SM900 at the time. Eden copied it, IMO and did very well with their versions, the WT series. You can pick these 'vintage' ( pre-company buy-out ) amps up for very good money now and they will be amongst the best value around IMO.

American Deluxe J5 would be my start-off point. Might just squeeze one in for that money

[quote name='bubinga5' timestamp='1409527460' post='2540644'] does anyone find that a P bass can lack definition. i guess it depends on your amplification. i find a jazz can do it a little better. also i reckon the jazz tone has more character. only mine. [/quote] I know what you are getting at but that is their prime function... to sit below and support the music. They have character but you aren't playing the bass to be stand-out, you are playing to sit. If you wanted more of a voice, you'd use a jazz but P basses do the foundations so well, that is why backup/sidemen have one in the bag. I know other people use them out front more in the band sound but that is not where they excel, IMO. Plenty of other basses can do that...but none of them do the foundation thing as well. None, IMO. BIG, FAT, PASSIVE. done..!!!

The pub stages are the best places to play at Faversham Hop fest. The only other stage that is not MAJOR hassle is/was the Brewery stage as a) they pay you properly and b,) you have decent access and parking... the rest are a nightmare, IMO Very good two days though ..for all that. Didn't make it down to the Anchor even tho a mate was doing the sound... went to the Market instead... as thought the parking would be better.

You need access to a bass to practise so that comes first. Better still is 24/7 access. Then you go for lessons and come back to work on the stuff you have just learnt. The intructor can tell you if the bass is any sort of hinderance but a bass to play on is almost certainly going to be better than no bass at all. Having said that... a lot of basses are injuries waiting to happen ..so someone who knows what they are doing will help there.

[quote name='Dad3353' timestamp='1409515424' post='2540447'] I think we've been here before. If it's designed to work at x ohms, it's OK at x ohms. Running 'hotter' may shorten the life academically by a century or two, but is that a 'real life' problem..? Is there any concrete evidence that running within manufacturers specs shortens the life when run at 16, 8, 4 or 2 ohms..? Seems dubious to me, but I could be convinced with proof. I'm not suggesting there's no difference, mind you; merely that the difference is negligible in 'real life'. Am I wrong..? [/quote] But we aren't running those amps within build tolerances if the amp is not rated safe at 2 ohms. The guess is that some amps might be able to handle below 4ohms as those cabs are nominal anyway.. but I suggest you are risking it and it would shorten the life of certain components. Otherwise, why have that as a 'limit' anyway..?? How long will it last..??? hmm ask PF350/500 owners I think the ability to run HOT is determined by the quality of the components and amps built to a certain ( low ) pricepoint aren't likely to have many quality parts ... as that is not the nature or point of that build QC, IMO. I think there is a reason amps aren't built to go to 2 ohms...

It underpins and supports the band sound so well with a big fat passive sound. That is why it is the workhorse it is.

The Jazz is the more versatile for sound, the P does one thing well..but oh so well, that many jobbing players can't not have one in their arsenal of basses.

I do this with a 4 ohm 212 and an 8 ohm 210 and the former is rated 600 and the latter 350/400. Works very well, imo for a large rig but you'll need an amp to run to 2 ohms.

I use a DB750 and that has the same sort of EQ stage and it has a great slap sound IMO

Eden 212 and 210 with an Eden head. Should be able to pick all that up for £1000 or less, s/h.

Very well attended Rugby club beer festival. Good fun and we did ok albeit with a few tech problems. They said they'd want us next year so we did enough. Diffcult to gauge what we should have played in a 50 min set and we could have gone for dance, sing or ball-out rock but we left an awful lot of closers out, IMO..

[quote name='waynepunkdude' timestamp='1409418180' post='2539573'] [url="http://www.goosebumpsmusic.co.uk/"]http://www.goosebumpsmusic.co.uk/[/url] found them [/quote] This band is very good at what they do which is swing jive, IMO. You wont get anything else from them...and I doubt you'll get them for less than £1k not that I know their pricing policy but they tend to ape another band of that ilk and they'd be a min of £1200, I'd guess. [url="http://hullabaloo-uk.com/"]http://hullabaloo-uk.com/[/url] Neither of these bands are set up to do modern altho they could just about pass off a modern track but sound-wise, they are in the style and era or swing, jive. croon. IME

Our old gtr could play bass well enough but was stylistically limited in that he played with a pick and there was only so far he could go with that. Couldn't play in the pocket either so apart from a suggestion here and there on an original that he co-wrote, he stuck to what he does best. A gtr who thinks bass is just the low 4 string of a gtr seperated only by an octave really doesn't have the imagination or guile or nous to play bass.

The way I read it is that you are already finished with your covers band ...you just haven't told them yet. Not sure the original route is the way to go as it is tough out there but if you have a nucleus of good ideas then get together in the studio..

Good that you say that, as I recall the old TE as being functional..albeit, good for the time, but more importantly, bombproof. If the new drivers are better, then that is good, but I still have a historic fear of blowing up speakers so I always take power ratings with a pinch of salt especially where bass is concerned... We will see. I'll pack a 210 and go from there. Parking and access being the main key to me using it..

It's all EQ and how you play them.

[quote name='andydye' timestamp='1409050349' post='2535743'] ...tell a promoter that 'yes I do have a bass amp but no it's not for all and sundry on the bill to use, I bought it, it's mine to look after and I don't know the other cheds from adam so they're not chuffin using it'...? ...any ideas? [/quote] I know a band that is travelling from the south coast to near Hull ( 5 hrs drive ) to supply all the gear for a 4 band line-up as they are headlining so they set everything up, break it down, and will probably take 24 hrs all-in on this to arrive back home...?? They have been going for some time/years.. At what point do they get it that no one is buying what they sell..?? What sort fo band turn up without instruments..?? I can understand a gear share to a degree, but this all sounds like happy amateur hour and I can't see what the attraction for a gig like this is.. for the life of me..!! Don't like gear shares either... I have all I need to do a gig and I wonder what sort of joker doesn't.. Having said that...if we had a sensible chat and I wanted to help the guy, they may be able to use my rig but I'd have to be confident they knew what they were doing. People who turn up thinking I am their roadie who is hanging round whilst they do their thing...ha ha .. really..???

Obviously paying £200 instead of £280 is attractive and the LL might think that earning £280 profit to pay the band is not worth it when he can get bands that work cheaper. Not wortht he differene considering how many more wet sales they need to achieve. That is how 'cheap' forces the prices down. I have always thought there are too many pubs able to put on music on a whim and they aren't set up for it. I'd be all for pubs being able to do 2-3-4 free music nights a year, ( free in terms of no license or registering and electrical check etc ) and then they have to comply to a set of local rules to be able to run more regular nights. This would be geared to making sure pubs approached this properly. We tend to like pubs that have security as that means the LL/pub have considered the evening needs to meet certain costs... and are all geared up for it.