JTUK

Seems a lot of complication...esp if doubled on the cabs. I'd set the cabs at 12 on both levels... then I'd go to the mixer and work back from 12 on the input level and use the individual gain at 3/4 and then use the master level to set the level around 3/4.... but not much more. If the P.A wasn't loud enough, I'd up the master level...and then trim back on the desk. I'd read their manual to see how they advise the levels on the cabs to work... but if winging in, as above..

There are just some things that are impossible to play convincingly with a plectrum...they just don't work, and by the same notion something are harder to work with fingers..and you'd be far better off with a pick. Which way you go, depends on what you listen to, and gravitate to, and how long you are going to be majorly influenced by ceratin players/styles. I grew out of harder rock and knew that fingers were the way to go for me so I swapped over eons ago. but if people still listen to that type of music, then they will be better off down that route with a plectrum.

[quote name='blue' timestamp='1407192337' post='2518322'] I got lucky 3 years ago. I won a spot as a member of a a female lead guitarist fronted 70s style hard rock/ blues band with decent and consistant biker bar business. I'm still with them. These type of gigging band opportunities are not easy to find in my area. If your in this for the joy of gigging as much as the money I think you have to ask the prospective band a few hard hitting questions; [list] [*]You don't have your schedule on line, how many bookings do you have over the next 6 months [*]How many paid gigs did the band play last year [*]Is in an equal split [*]Is there a band fund I would have to contribute to [*]What is the bands standard fee [*]How many unpaid gigs did you play last year [/list] All reasonable questions to ask if a band is serious about bringing you on board. Blue [/quote] And this is why you need to keep the money as flowing as possible. Around here, the standard has kind of compacted in that a 3 piece blues band can get the same money as a larger band. It is not so simple to say one deserves more than another but you have to pay to try and get the best guys. You'll have polished 'CV's' after that £150 per man gig ( in itself that CV might not mean a thing ) and you'll have guys wanting rehearsal and travel exes so I see a band kitty as an absolute must. And therefore, along with other exes from the kitty, you all almost into 'wage' territory. Good guys don't come cheap...or else there is normally another very good reason. I don't think an equal split is going to be that equal.... and I would wonder why anyone would insist on it ..altho I get that deps can chance their arm and ask for more.

I am no follower of GK but I haven't heard of a trend of GK's blowing up. Stick around, someone here might be able to throw more light on that story...

Not for me... I think the Mark bass stuff I've tried and heard does ok... but nothing special. I think it will hit volumes but it lacks any real oomph. The units they used to use were well regarded but that in itself doesn't make it work. More modern sounding...or the amps are, IMO, so close but no cigar. A step on from TE though, if only because you'd expect technology to evolve for the better. £ for pound, I'd exchange/swap TE for Mark bass but otherwise I'd buy the latter s/h.

No reason why it shouldn't, IF you can play smooth and steady which was my point. A lot of pick players I know will delight in the fact that a few finger style players can't play it rock solid from 1 which is the essence of the part.

1" or 2" is the deal, IMO... but I would like to put our DXR12's against the old QSC KW12's in a proper test. Since we will run the DXR12's with a sub, I think they will outperform the QSC's... but the one thing I need to get my head around is the HF performance. Atm, I am not hearing they are worth the difference, bearing in mind we can carry a sub as well for the money we would pay for the QSC tops... and the only reason we went for KW12 was the bottom end being better than the K12. Carrying a sub/subs negates the tops having to produce much bass... which is why we roll off around 100/120 on the tops. In that sense and thinking, you could use 10's as tops... but you would suffer if there were gigs you didn't use subs on. IME, you want clean clear hi's but to be not so harsh... DSP is getting better and we haven't had to run the 12's beyond 12' o clock. I accept the pricepoint will likely tell when really ramped up, but we aren't going to try and use these type of P.A's for 350 people type halls.

Any decent 410 should easiliy handle a low B. You wouldn't need that good a chassis to be rated at 150w... so that makes it a 600w cab potentially. Having said that... if s/h, a loud-ish demo is a must.

Be careful which ART's you get and what for. I think some ART's are ideal for monitoring as they can be very pokey and directional... which is exactly what you want for monitors, IMO... but FOH they are waaay too spikey and harsh and just plain uncomfortable to listen to for long if they are blasting at you. At first, you think this is a good thing as they cut thru glass, but they are also very wearinfg and you just want to escape them...

If the song is crap. then play with guys who can pep it up... or discuss how you can make it work better. That is what rehearsals are for...not to learn the thing, but to make it work.

[quote name='seashell' timestamp='1407108024' post='2517479'] Rebel Yell by Billy Idol manages to be boring and difficult all at the same time. Difficult because it's so bloody fast it makes my fingers bleed. And don't tell me I should try using a pick or I shall get grumpy. :-( [/quote] A lot of finger players find fast 8 type passages hard, 'Dakota; is a typical example, as they can't get it to run as smooth and driving as with a pick which would make it easy as it is a simple up and down stroke. Playing 8's smoothly with alternating fingers is one thing.... but when the line is exposed with no gtr double, it is doubley important. A cheat would be to use a single digit pluck...

I know exactly what I want in players and I don't try and fit square pegs into round holes. Musical chemistry is easier to achieve, it is the band chemistry that is harder. When we lost a drummer, we found we had to loose the gtr when new drummer came in. The result is the band has stepped up a notch but lost some consistancy... The trade-off is our highs are higher, but less forthcoming, ..so we are probably a weaker albeit far more capable band, on the whole.. I think a lot of bands are just a group of mates...and that is also the worst position to pick from... altho it depends what you want to do or are hoping to achieve..

I'd be very interested how they x-over as I can see that cab being so bass heavy that the 10's would be pretty useless..

There would have to be a VERY good reason why someone would check a phone at a gig...it is bad enough the audience doing it,

It is a lounge bar gig... played in hotels and bars but defo not pubs around here unless those pubs have that sort of clientele but the people who would go to them aren't buying big drinks so maybe there would have to be a food pub. For that set, we had a monday night residency which turned into buffet musak.. Occasionally, you'd get a few functions out of it,

Never had that but I guess a wrongly packed string is feasible... Don't know where you'll get singles so contact the maker/distributor

I'd call that a set of Jazz standards... played by crooner guys. Not saying it is good or bad, but I've done many a 'Jazz' dep gig with those choons.

Really liked the PF sound in a shop demo...( Andertons ) but wouldn't buy one. Smoother than a Markbass ( which I think are 'generally' harsher,) but I would have to try one ( PF ) at volume before I went any further. I couldn't have the reliabilty issues either

I'd love one if I did enough gigs that justified the expense. I had thought about an older SWR Goliath snr but thought better against it as they are too old. My compromise is 2x120 or 212 plus 1x210. Stangely enough, I think a tilt back wheeled 610 would be way more manageable than a 212 or 410 on castors. Not a fan of Ashdown 810's that I've used but they may have been tired old units and I think there are better cabs than Ampegs around...but you may have trouble finding many who make 610's.... If Aguilar made a DB610, I'd have one.

It starts with the song choice... I'll always find something to do with a bassline

If it is going to get loud, I'd be in no doubt, I'd be coupling with another cab. 300w of bass is a lot of load for 2 10's... so I wouldn't drive it hard as when any distortion kicks in it is hard to hear what is stressed... I don 't believe amps of this type amp up too well anyway, so to help it... ( and I generally rate this type of combo ) I'd get the load down to 4 and the cabs doubled up.

Buy/hire a proper flight case.... as long as you travel, you'll need one as bags are for self loads into cars only.

Doesn't really work as an idea to buy a 5 str just as a thumb rest. What are you going to do if you want to play the B...? Deal with the technique idea.. or use the pickup as an anchor.

Should be fine and a 115 should be a better match with a 210 than a 410, IMO on the basis that the 115 is going to be around 300w @ 8 which is what a useful 210 will be, typically. I favour a 212 underneath but I run the 212 at 4 and a 210 at 8. You'd need an amp to go lower than 4 ohms tho so youe thinking works, IMO. I would also think about another 210 but it might stack a little lower.... but the plus may well be that the combo has enough bass but not too much. Depends on the cab units you are thinking of as well, in that regard.

Costs incurred due to the luggage not arriving on time should be taken up with Baggage control, IMO