JTUK

It's a sop to say 'tested in (insert western country )' ..... it almost implies that we are aware of perceived issues and we have safeguarded against them. It says to me that the decision was made purely to maximise financial gains and nothing to do with a QC decision. It devalues a brand, IMO... and I am not saying that the Pacific rim can't make decent enough gear but everyone knows no one is paying a premium for that sort of gear, but companies try and maintain that pricepoint.. Everyone buys Chinese fridges as they are cheap....and you throw one away and buy another.... If companies go down that route then they should cut the price accordingly... I still don't go for that approach myself as I believe the western worker needs to earn his wage so I'll pay a premium for that reason alone for musical gear... I object to paying for Far east gear at Western prices simply because the labour costs are so much cheaper...and not remotely comparable in other regards... Be straight about it all..... and then cut your costs. If not, it is a crock and nobody should be fooled otherwise.... IMO

Yep...got to agree...such an odd ball room, I'd consider that it wasn't at all indicative of the rig for normal purposes. It the rig sounded good to your ears everywhere else, I'd 'suffer' the rehearsal room... or go elsewhere

Give Newtone a call or e-mail. If you pick standard gauges then they may be able to wind the taper to your requirements and measurements. They custom wind my sets based on the platinum gauges to taper every string... Great to deal with, IME

Sure, getting through a whole gig without dropping a note. Whether the whole band can, is less likely. And other musicians will/should certainly notice it if that is important to you. I think there is something else wrong if 'howlers' like the ones implied are common

[quote name='flyfisher' timestamp='1392137986' post='2365214'] Trouble is, how many musicians go to music college? [/quote] ha ha .... I meant it was THAT basic....

Can you live with it or not...personally I couldn't so it would be an issue and needs to be dealt with. One of the reasons why I don't do bands with old friends... they can be friends but the music has to work and friendship alone doesn't work....

[quote name='flyfisher' timestamp='1392135545' post='2365173'] Mercenary [/quote] ha ha...... ... Even at music college, they teach you that.

We have...but surely nobody WANTS to play for free....

The problem is that there are too many pubs putting music on and people get used to not paying for it. And with the relaxing of the license fee...so many pubs can now do it.... BAD MOVE..imo. To me, it doesn't matter what you play.... it depends whether people will pay to see you and bands playing for free start the rot.. If bands play for free, and people want to watch for free.... then you have pretty much bolloxed your market..

Not sure covers bands should never charge a ticket price It you want to play better and/or larger venues then this is an obvious route to go down. We will play a good couple of ticketed gigs this summer as a covers band... altho we may throw in a couple of originals this time round... and we will charge £750-1000 depending on the show we can put on... And you wont get that from a bar....

[quote name='flyfisher' timestamp='1392126671' post='2365023'] Nice reply . . . . but are they heavier or not? [/quote] Indeed.... 'they are the same' but...err... are they the same..??

Further to this.... pubs will call you expensive if you quote more than their £160-180 budget. This can be the problem with 3 piece bands who run a min of gear... They can afford to do these places ...they don't carry lights and the P.A isn't that great, being an afterthought for the vocals being the bit between the required gtr solos..... and so pubs think this is what they can get away with. I understand pubs and venues being under pressure but you have to sell the difference that you think your band can give... and stick with it. That means turning down more than a few gigs ... I always thought the relaxing of licenses would NOT be a good thing to bands and venues in general.... as any pub can now put on gigs and there are only so many punters around for live gigs. It also depends how you tap into a market... £1000 party functions are out there and so are people who will pay £20 for a band... albeit a semi name band. Those people are also the people that will pay £10 a ticket for a decent show....

Well, guest lists can be a contentous thing. You have to give the venue a chance to pay your fee so we ask them what they will provide expecting a min of 5....( for partners ) and be happy with that. We will give them away to a few loyal 'fans' if we have them spare and band's ppl don't take them up. I've known bands ask for silly numbers of comps and this is the difficulty of bands transferring from pubs to ticketed events. Their 'fans' can see them for free at the Dog and Duck so why would they want to pay £6 plus a ticket....they are the ones 'demanding' a comp By the same token the promoter knows the band plays for pub rates in pubs and can't see what is in a fee for £750 plus...... You have to sell every show on its merits.... and cut down on the pubs if you want more than pub money.

If you can do it well, then you should do it.....but it is a special skill in itself, IMO. But you do need to connect somehow... and know when it works and when to shut up.

I choose from SM400 into 2xAE112, or run the TF550-B thru them. I favour the latter for the small portable gigs. I can run a DB750 into DB212 + 2xDB210 for total overkill (900w into 2ohms ). More sensible is DB212+DB210 but the power split drives the 210 harder and I don't think there is really anything to be gained from this. My default A rig is a DB750 into DB212 as that does everything. I favour the headroom from the louder amps.. and I don't have any GAS at all.

Don't know your cabs specifically but Epi's are soft to me, and EBS are more refined and hi fi even...altho I don't think that extends to the Classic line. If you need something closer, consider TKS just over the water. As a view on 212's typically, they should easily do what a 115 and 210 will do. I find my 212 stronger and bite better than a 2x210 config so I would expect it to do better than a 115+210. It depends on the cabs you get of course but I find most 115's I hear to be an outdated sound/approach and 212's fit in far better..

I'm surprised as you often mentioned these bands in threads...so the thinking was that they were something you were proud of. But..................... with things such as passion and emotion, there is not much you should fake, so if it wasn't working, it wasn't working...on whatever level, so you did the right thing. Good luck.

I'd say a GS112 picked up for £200 s/h would be a very good buy...IF... you wanted a a bottomey sound. Too much missing in the middle..even with a horn for my tastes, but I am sure many could use them. Paired, for £400, which is what I sold mine for, you'd have a very very capable loud rig, I wouldn't say 40 odd lbs per cab is heavy as the handle is very useful .., others may think they are...

Loved an SVT rig thru 810 and also a big Boogie 400 thru a 1516 but I think Aguilar DB just do all that so much better these days. IMO.

[quote name='Conan' timestamp='1391182029' post='2354275'] Interesting. You are obviously an experienced player, and yet your advice goes against that of nearly everybody else. Also, how many of us actually have our own "sound"? Our own [b][i]style[/i][/b], yes. But [i]sound[/i]? That changes depending on the bass you play, the state of the strings, the shape, size and type of room, how tired you are and a million and one other factors (without even mentioning amps, soundmen or PA!!). I suggested that the OP use "some sort of mid to cut through". I also suggested that "sacrificing his type of sound for the good of the band" might be worth a try. Of course, as with many other things, if your band mates are ignorant, self-obsessed megalomaniacs you may get nowhere with this strategy - but the OP suggests that this is not the case. [/quote] I'd be interested to hear the sounds some people think they play with... and put that against the advice they post to see if they actually know what they are talking about. A lot of players will use a scoop of some sort as it is an easy sound to typically play with. Also, if you are mixing with other instruments you do not want a full on sound that obliterates others... as you end up with a wall of sound and leave little room for anyone else... This will be a mess.................. This is why people have to be very careful when taking about 'mids'.

Don't get carried away with mids as you'll find most people who talk about them as some sort of holy grail can't play with that sort of sound or indeed even use it themseles...possibly, unknowingly.. Mids ...and that covers quite a frequency... can deal in very harsh sounds that you need to be very clean with. You'll likely hear a lot of stuff you don't want or can't use or is just not player friendly. Most will suggest you use some sort of mid to cut through when really the problem lies elsewhere in the band mix. They may even suggest you do this...and sacrifice your type of sound for the good of the band. Fine idea, until you realise you are the only one in the band doing this. Of course, you may well not get anywhere with a band sound now anyway, so the lesson is to learn who is a team player and who isn't...and who to get rid off. A band is a band is a band... and if you can't talk this situation through and get a good result, time to move on from that band. So, I would say..get your own sound up and work it out with the others. The drums should stay out of your way/layer and so should the gtr... and don't get me started on keys. Every instrument is capable of blowing the mix... so make sure everyone is the band is aware of this..

I feel naked without 5 strings, ..or even MY basses, There is so much that would come to me that I need to be comfortable to be able to just do it. It just wouldn't be interesting to have any imposed straight-jackets in my world..

[quote name='BigRedX' timestamp='1391080406' post='2352944'] Why what? Why the poster? - presumably some dullard thought it was funny. Why the 1-string basses? - because they can. I really like my 1-string bass, as it really makes me focus on the notes that count. [/quote] Well, it is funny, but why on earth would anyone be that interested...or at least, I wouldn't. I'd go and do something else. I don't need those confines to make it work... It would be a gimmick at best.. IMV... Now, give one to the Gtr...that IS an idea..!!

but, why..?????