JTUK

ok... using this pic [url="http://www.rainbowguitars.com/bass/gallien-krueger/2001rb-1080-watt-bass-amplifier/3020290b/gk"]http://www.rainbowgu...ier/3020290b/gk[/url] you have a stereo type amp. You can use in bridge or stereo... or mono, The latter means using one section of the output stage.... so beware what the output is 540w into 4...?? what impedence is your cab..? Best thing is to buy another standard Speakon and mark it as bridged cable... and then set the bridge switch to bridge and plug it into L/br ouput on the amp. This means you have full bridged power going into the 610... and I suspect the 610 is 4 ohms. So as long as you amp can power bridged at 4 ohms, you are going to have a LOT of volume on tap. Be careful here as full power will probably overload your cab... and that will get you into a HEAP of trouble as PAS speakers are pretty much not attainable as replacements in the U.K should you blow any.. IME.

GK run a nominal version of bi-amping which would in effect split a signal. You need a cab or cabs that will accept and your SWR 610 wont, so you have to run it as normal full range output. Not sure what connects you have on the back of the amp, but there must be an option for full range speakon and/or jack out. You can't use the 4 pin cable.... so a jack to jack out with work, or a normal speakon, as long of it comes from the FULL RANGE output section on the amp.

[quote name='TimR' timestamp='1398851664' post='2438166'] Have you read 10,000 hours? It's a good book. This interview with Sting is also an interesting read, just found it this morning. [url="http://www.singingbassist.com/interview-with-sting-the-singing-bassist/"]http://www.singingba...inging-bassist/[/url] I'm a firm believer that if you're reasonably good at something naturally, you are drawn to it and will practice it more as it's something you enjoy because you are naturally good at it. In that way you make exponential improvements. [/quote] Not read that, but I know of the percieved thinking of 10,000 hrs and by and large it makes sense, but then there might be guys for who that doesn't work very well and there are also guys who are something else, musically. If we have all done 10,000 hrs why aren't we doing the top gigs..?? it is because someone else's 10,000 starts off at a higher point. There is no way I'll believe 10,000 is an equal benchmark for all...

Band calenders are a total must but sometimes something else crops up and you have to allow people to take the time out they want/need without too much persecution. That is, unless the guy has taken on another band and has blatted over your diary, and then you must accept their priorities have changed and you then relegate him to the dep whether he likes it or not. Good guys are always in demand and that is something you need to get your head round, but at least you should know where you are in the pecking order of gigs. If you can't live with that, then something has to break. We have found that deps are great on the first gig as that is where all their energies and effort goes but the second is never as good. This often seals their fate as to whether they get used again and generally then not for gigs that matter, ie, the good payers, which is odd, as these are the gigs the deps wants.... but that is down to them. Now, we have a pad or chart and are quite specific about what the guys need to do...as we don't feel ours is a busking gig by any means. I will generally accept the player coming in can be a degree of wobbly here and there but they had better bring something else along too...like killer sounds, great feel, great soloist..etc There is a known circuit of players who can do it and do it well, and there are guys who just can't and you have to know who is which. As always, the minimum standard is a recommendation and then you have to trust that person who is recommending... If you are going in blind, then you need to be able to spend £150 to get someone to travel and be up to the job. No garauntee, even then, and nor are CV's.... but at least you have tried to set the bar.

[quote name='TimR' timestamp='1398810639' post='2437960'] One would hope that the 'talented musican' would know the difference between a major and a minor, even if he couldn't tell you which was which and why. Yes there are pit musicians that can read fly sh*t but sound sterile. That's theatre for you though, and why Simon Cowell gets rid of the pub singers, theatre singers and cruise ship performers that people pay so much money to go and see. There's a few productions that specifically look for actors not from schools, but I digress. As you say it's not absolute and discussing it with examples where you can't hear those examples is fairly difficult. [/quote] They may know the difference as their ear is so cultured and that can take them so far that they don't/never need any learned theory. Perfect pitch would do this.... But then we are talking about pretty special players who have that............of course, they need the manual dexterity as well, but we must all know drummers who sound and feel awful but also some others that feel so good and when they pick up another instrument they can make that sound pretty good within technical limitations. I am a firm believer that people have their own boundaries and restrictions regarding being able to play... and some have a very low threshold and will never be that good and some are just born stratospheric. If you have ever played with a world class player in any sporting/musical situation, you will get a perspective of their talent and how they just 'do' it...and what sets them waaaaay apart from the norm. Baring in mind what our norm is and what circle of talent their comtempories are. And then, of course, you have got to be aware of what sets them apart.

[quote name='tonyclaret' timestamp='1398536483' post='2435084'] Isn't the CN112 a redesign of the AE112? [/quote] It may have only been intended to be an upgrade but it turned out to be better than that, IMO. Never been a committed fan of the AE112 even though I still use them but I liked the voicing of the CN112 immediately. Still can't justify replacing them with the CN's as the AE's are not my number 1 cab options, nor number 2's, come to that.

A better player is a better player.... and that guy will find a way to get round the changes because he is that better player. And their ear and musicaility is what makes them a better player. I never say theory isn't useful ( it certainly is ) but I know plenty of 'uneducated' players who can walk all over London pit musicians who can read 'fly-sh*t' Nothing is so absolute. We have players straight out on music college who are very well trained and have a decent business head on them, but that does not garauntee or usurp inate talent and it is that inate talent that you may or may not have that untimately defines you as a player. Ideally you will and can have both, but sheer talent will get you further than an 'education' IMO and it is easier to graft on the 'education' that it is to develop a real monster talent of which a large part is natural..

turnaround... as in how does the sequence resolve itself.

Why do people automatically think that a little knowledge elevates someone within a band? It may well do, but it really depends on the whole package. And just because someone plays another instrument means nothing in itself. It all depends how they play and how competent they are..and there are huge degrees of competence...

So they can't rehearse and can't do the gig..?? How sure are you the deps will cover the gig well enough for a prestigous gig that not only pays well, but will affect your reputation, for good or bad..? Not allowing theirselves to be depped may well be a sign of insecurity on their part but most players will allow it as they get out of the committment and there might be a good reason they need to be able to do that

Why is Simon Philips 'leaving'... ? never really regarded him as a member, for some reason even though he did the tours and albums,

A jam session to me is a random set of guys doing what ever they feel like doing with the barest of parameters...you might get a key and someone might set a basic groove or tempo...and off you go. Whether it works or not depends what the players have to say... and it is down to the musicianship or ideas that one person may offer up. This is much different from turning up at a gig, getting introduced to the band and getting a load of standards thrown at you which can be quite fun..plus you get paid for it. You need to have your head on though as you pretty well have to make sense of the groove on Bar 1... or it can sound like you don't know what you are doing...which is NOT the point at all. Jam sessions are either valid or not IMO, largely depending on who is playing them and the strenght of ideas and/or direction offered up. If you haven't got anything to say..keep it short and simple... You need io be a blinding player to do 20 minute solos over every idea...so 3 piece bands are not really the unit to use, IME... and if you have a few more chord/solo instruments, then you'll need either a very strong lead from someone or a basic structure to adhere to.... But as for meeting up with someone you have no idea about how they play or know much about etc etc .... er.... make sure you an exit strategy...

Don't see the point unless there is an end goal. I might consider it worthwhile/paramount to gauge whether the unit has any chemistry and whether it will work, but there will be a plan and reason otherwise I wouldn't be interested. I don't do random jams.

Funny thing about the non musician drummer remark... Two of the most talented musicians I've come across ( played with ) have both been drummers and I say of one of them.... whoever is regarded as the best player ( any instrument ) around here, and there are quite a few outstanding players, then one of the drummers is head and shoulders above them...and some. IMO, of course. but sometimes, you just have to say, there is talent and there is inate talent.

Glastonbury is a line-up that will pretty much happen not matter who is on the bill. I could see them doing it but it only makes sense on the back of something else..like a huge grossing world tour and then it depends who NEEDS to do that most. Sounds like Liam G has major sucking to do with his brother. Can he hold that together long enough..??

Don't know Pete, but glad you got it done... Sounds horrible so top marks.

All makes sense when you run from a USB power adaptor. If you want to run HD video, make sure you have a big SD card and you are not running from the batteries. That way you can set the device up and leave it. Otherwise if the device is starved of a good power supply, it will shut down prematurely...not un-naturally but unless the recording attended, if will too late to do anything about it.

Singer songwriter type skills can do plenty of busking type seasons as you can be a one-man show. This means that you ARE the act, rather than selling your skills to support an act. If you were able to do 5 solo gigs per week... you could prorbaly quite easily get £100 per gig if you were good.. that is just on the basis of a cover act. Far easier be able to do and control that than as a sideman.

Point to point wiring. The emphasis today tend to be on circuit boards which potentially means you are swapping out a big board. If these bespoke boards, then getting a replacement is/maybe an issue , or if they are standard, they are likely to be shared with low cost brands. My thinking is that I want as much of a point to point amp as poss, made in the west with decent/hi spec component parts, but then these amps aren't likely to be cheap.

[quote name='Phil Starr' timestamp='1398446897' post='2434290'] the whole beauty of a project like this is that you are building it and you are in charge. If you want round ports not a shelf then it's an easy substitution, in all probability we will use the same port area so the lengths will be the same. My intention for this design is to make it as easy as possible to build so people will be encouraged to have a go and will then almost certainly be successful. The big advantage of a shelf port is that you can get B&Q to cut everything and all you need to do then is stick it together. We'll give enough details to do round ports too. My cabs will almost certainly be 3/4 ply. we'll also give enough details to adapt cabs for other drivers and to design your own kickback. [/quote] Sure...I can see the ease of build and to make easier adjustments to tune whilst you settle on a final design, making perfect sense. My wishlist would include 18mm ply and round front ports in an ideal world, and weight-in at around 40 odd lbs But then I'd also get a decent cabinet maker to put it together for me so the shelf port would not be a feature just because it is easy to make...from my point of view. But as a thread and a design exercise, this is a good read.

What do you want a cover to do....? Roqsolid are ok...they do a basic job which is to protect against minor bumps and keep the cab clean. I think having one will keep value in your cab over a period of time. I also have Berg and Aguilar covers and they are much heavier/padded but also nearly twice the price. You want any more protection than a 'carpet type cover' and you are into flight cases. As long as you load into a car and are aware of banging/bashing things, they do ok.... if I had someone else loading and chucking things about, then I'd use flight cases. You pay your money.......... ??

You need to get a sense of how long the battery will last and I have basses that will run for a year on the same battery and then I change it as a matter of course. I don't leave a lead plugged in but my basses can also run passive as well so when I hear the battery going, I have that option. When the battery does go.... I start to get pops and cut outs through the amp and this will panic you into shutting the bass down and it is an obvious sign as well. If your bass has decent wiring, then I would expect a year to be an easy target for batt life and there is no need to a warning light either.

My feeling is 1st CN112, 2nd SL112 3rd AE112. I've played all 3 but own the AE112 so have far more time on that model, whereas the rating is down to recollections of the other 2 playing them in shops. This may be a little unfair as it is easier to pick more holes in cabs that you have played over a longer period of time. I am not in a desperate hurry, but I'd trade my AE112's for the other 2 and also for the DB112 and all things considered the DB112 would be my top choice. ( I use a DB212 )

[size=5][sub]You shouldn't really have to worry about getting any amp repaired and if they were point to point, that would be easier.[/sub][/size] [size=5][sub]You may well find a lot of boards are pretty popular in a LOT of amps.... so the heritage of..say, Behringer, might spread[/sub][/size] [size=5][sub]further that you'd like..??? [/sub][/size]