JTUK

Typical 15..will be lucky to get 300w out of it..and then you need to ask what sort of sound would that be anyway. Average type 12" will rate at 300w so paired you have a more capable cabinet which can get close to pushing 600. Depends what you REALLY want, but the low end of a 212 should be all you'll need. It should be full but not overly bassey.... or muddy. Typically, you should expect tighter... as a useable description. Whatever cab you end up with, you'll still need a hi-mid or horn to get any useable top out of it... or at least I would. Even Berg AE112's can go missing in that regard, IME.

[quote name='chris_b' timestamp='1392744712' post='2372261'] I suggested this 30 years ago and several times since, but I've always been told to forget it! Unless you're playing at the O2, the reality is that anyone putting on a band usually has higher priorities than the music. [/quote] True, IME..... even gigs that are more shows like a break...even to the point that we offered them a bill with no increase in cost and they wouldn't go for it as they wanted a break for drinks sales... And this was a ticked show for a Covers band... We felt we had to do something different to justify the tickets and the money we were getting... but the venue wanted to 2 sets.. What actually happened, in our view, was that the break that they wanted for drinks sales, shut down the show to a degree and people left so they lost those sales anyway. We were pretty convinced we would have kept more people in the venue if our 1 set suggestion had been implemented. It wasn't a disaster by any means... but we thought their set plan wasn't helpful

Funny... a band I know picks songs on the basis that if ppl go to the bar during that song, they bin it... seems most odd thinking to me for a pub band.... We have had discussions with venues about paying a continued set as it helps us plan the show better but they want a break to maximise beer sales ...so we are going to try a stripped down set of numbers in the middle of the set, where the break may be..... which should help us pace the gig otherwise we are in their faces all the time. We are thinking this as the drummers can't keep up for the set....(they are very fit but the gig is very tiring) so I can see the point that LL/pubs want a break.... but venues don't, so much...

hmmm I'd get someone to look at the mechanics of your back with you hold the bass... I think a good physio would be best...but someone you have talked to over the phone and explained the problem. My physio always checks out my stance and posture and can see something in the way I stand, walk or balance that points to an inherrent change ...that is too subtle for me to notice. The body will always try and compensate, IMO, so this may have been developing over q period of time. You need an expert.....to understand and correct this. Pain is the symptom.... and you shouldn't ignore it.... When you make an appointment, tell the person what you want to achieve with the treatment sessions.... and if they don't make sense or convince you on the phone...keep looking IME.

I don't recall us doing a charity gig without being paid...unless the cause was organised by one of the band and then they would be the one forfeiting their fee...... so I am not sure you should expect a band to do their thing and hold them to all sorts IF they have denoted their time for free.......... Charity do's can be quite relaxed or they can be very corporate where the audience will get to spend a LOT of money... Did one of the latter recently and we reckon it must have cost a minimum of £15k to put on....so god knows what they raised...

You shouldn't get involved in charity gigs unless you are committed to the cause... as the event is often very close to someone heart and discussing money/times is deemed 'churlish'....even inappropriate. Maybe it was more a social thing for the band.... The success of the evening would be counted by the people who organised it... so if the band did it for free, you can't really whip them into shape over playing times. Can't really tell what was the deal from this distance........

The point of a soundcheck is to set the tone and stay with it..... you really really can't twiddle after this point and if you are running two or more basses you need to have them sorted within this tone stack as well...ditto FX's... That is the work you do in setting up your stage kit....If you don't know the engr and he is unsure about you, then of course, he will want to take this 'variable' out of the equation. He isn't going to want you to have in line front FX's either... This is just making things hard, so.......?????

It is good that the main man is prepared to write and defend his products here. I will still have my thoughts about the tried and tested move ( by many ) away to far east manufacture...

We use active and they work very well. Rated 1000w per box and they put the sound out there and we can load them with keys.... which are a pretty meaty signal, gtr bleed and maybe a kicj and O/H. Handle it all and we always sound good until we cook the mix when we get to the end of the second set.. Glad we went active as our c-audio amps weighed a ton and we had nowhere near the 2000w ( potentially, ) two QSC cabs say they put out. Since all our gear travels in cars, this is our best compromise set up, but the only thing we used that was comparable sound-wise was Martin tops (410's) and the heavy grunting power amps. So, active for me as just so practical...for the buck

[indent=1]Retirement move and a place on the beach....[/indent]

oooohhhhhh So cutting

[quote name='Conan' timestamp='1392389542' post='2368074'] Not meant to be confrontational, honest! I'm just interested to hear where JTUK gets that opinion from. It is rather a sweeping generalisation, but maybe he has seen/heard a lot of bass players with awful tones... [/quote] Well, I do see a lot of bass players.... and a lot of them don't know what they are doing... IMO. If I said that applied to 80% of the bass players than I see...and "assumed" that that figure was typical and therefore may transfer over to any place that accumulated bass players, then yeah, you could apply that here. The difference is that I don't get to hear them here so can't know who that applies to specifically but reading a few posts here and there, you get a kind of feel of what to expect.

[quote name='Conan' timestamp='1391285602' post='2355462'] I'm not sure what you mean. Are you suggesting that some of us don't actually [b][i]know[/i][/b] what sound we play with? [/quote] yep...pretty much, and don't know how to get it or what they want to do with it

I would also say that Ex military can be fab players and disciplined... so a very good combo, IMO.

I'd call back number 1... as you want a section player so solo chops 'less' important. The high note thing is a concern but if he is out of practice this may be the first thing to go... If he is willing to put the time in then he is the best bet of the two, just by reading the OP... IMV or just re-advertise very quickly and keep the first guy sweet with a view to a call-back.. You do need a strong hand to play this game though ..... i.e you are a viable gigging band with a reputation..?? I guess it depends how weak is weak..??

Fluid....... [url="http://www.youtube.com/watch?v=d2XdmyBtCRQ&feature=kp"]http://www.youtube.com/watch?v=d2XdmyBtCRQ&feature=kp[/url]

Hang them on the Hercules stand that I gig with and I have a music 'room' set up and they get played everyday. If I am going away for more than a few days I will store them in cases and be less obvious to find if burgled...

It is because your profile area is what determines the space issue.... not the threads you posted so having access or not to those posts/threads or not makes no difference

It's up to the OP and his band..... but I don't see how it would be good for anyone to continue like this. Band meet time........... and bring the problem out into the open and make him aware of 'concerns'..and see how he reacts to that. He may well have all sorts of mitigation, but the band needs to decide whether there is a time limit on any improvemnt of just run/limp to the end of the year carrying with it any damage the issue causes..............

Agree entirely that bands are only there to sell the beer. We don't play toilet pubs tho................ and the pubs we do play generally are musical people. But sure, if a LL hated the band that sold out his beer stock that night witrh a rammed crowd taking £6k that night, he'd LOVE you guys :lol;

Unlimited reduced..???? Guess that venue wants it to look well attended ... If it was sure of a sell-out then it would not want to sell 'reduced' ## Local Covers band round here sold out a 350 plus venue in 29hrs.... ...not an original song in sight............... The website says "sold out" so I can't be sure, but I think the tickets were £10 ea..

2 absolute key points..... Buy S/H and by seen and played. The B defines your bass...and you never know how good or poor they are until you hear it. then....... I'd make £700 your start point for looking but the higher the better, IMV... Laklands DJ, if you can find one, and JO's are good albeit 35"..... A £1000 may point you in range of a Metro and other cool stuff and then I think you could be in a different league, bang for buck...

I run my old SWR VERY hot with no fan...they were designed that way but also needed more than pretty decent conponents to do so.... Maybe you guys are onto something.... but you'd also think that Ampeg could have covered this themselves by this time...

Good story..... I've been to my 'local' Gtrgtr store and whilst they have a LOT of kit and are happy for you to try it..... I didn't think the quality of set-ups was at all good. Mind you, setting up 50 basses or so...would be a PITA...so maybe a bit harsh from me.... but it doesn't make me want to go back there too often.. just sayin'.... Oh well, I'll take my own then.........