JTUK

What is the going rate for the area... how do you stand against the better bands, do you pull in more punters? £70 per head isn't bad for a pub but what value do you add? How do you know £210 is your fixed fee and you get a equal split..?

Freddie does... the others aren't reknown for it. They get plenty of gigs () but not the slapping gigs.

[quote name='blue' timestamp='1480454874' post='3184612'] Depends on the pay, we have one gig that's a 2 hour drive, but we charge 1.5k Playing to 12 or 1,200 people makes little different to me. It use to. I think I've played to a 1200 people once in my life. Blue [/quote] I like the $1.5k bit but not to 12 people... I can't imagine the two scenarios ever cross paths, tbh. The gig would have been long long ago cancelled if tickets were that slow/poor

[quote name='mr zed' timestamp='1480376963' post='3183961'] Anyone got any tips as to the best eq settings? Also neck or bridge pickup or a combination? Whenever I try the technique it just sounds awful. Ta very muchly. [/quote] I'd say not a MM myself but that is another thread. Firstly what bass do you have? Twin pickups are better for me as the rear on a Jazz for example means you have to be VERY clean and price..because that is the nature of a Jazz bridge pickup. Go too far with the front and you are into P-Bass territory. I think the pickup bias determines what and how you platy...so until you know that, it is best to be rather neutral in the positioning. In time you will vary your hand position quite a lot but firstly you want consistancy so get a locked hand posiution that you can go to in an instant. The best slap sounds, are, IMV, going to require a scoop. People try and hide from this, but most sounds have it anyway. This means I'd start with the amp controls on 12... this doesn't mean flat, it means a starting point. Roll off on the mid controls so get a nice rounded sound. Too much bass is a killer too, so look to take that down below 12 if poss. You want a scooped bass sound when striking with the thumb so it will need to have an emptiness about it. As always, set to taste...which is yours alone. To start with, there are a few no-no's, but you can break these rules when you have got a few miles going. New responsive strings, No flats. Scooped EQ on both bass and amp. Cab with a tweeter. Develop so you can get a sound where you don't need to EQ differently between styles. It is not good having to hit a pedal, for a 1 bar fill on the fly and it is pointless doing it if it can't be heard or come across.

I've always liked the videos and the variety of players putting parts down. A few good show vids too.

[quote name='timhiggins' timestamp='1480359551' post='3183713'] I would suggest starting with slower melodic groove based things like 'forget me nots' Patrice Rushen or something like this Azymuth [which made me want to learn to slap ] tune before moving onto fast percussive patterns that can take a lot of learning. [media]http://www.youtube.com/watch?v=u_Dx_Iq0c1A[/media] [/quote] I'd say that was only pull-offs...... for the most part. Forget me Nots, whole different thing technically, IMO Just sayin'

Beware of the Gtr who insists he has to drive the band ALL the time. I prefer guys who dance around on top of a good groove instead of trying to mess with it. If you really want to upset them...tell them they are the dressing to the meat and potatoes...

Depends how far you have got with it. No one likes slap riffs anymore so less is more and you'll find it far more effective in the track, IMO, if you limit the slap to fills. For me, Flea is the worse reference because it just isn't funky. Now, Larry Graham just is, and also he has a timeless take on it. He doesn't get complicated or go mad, he just has his sound and feel right down, and you don't need to have super chops for that. All you need to be able to do..IMO.. is slot between a fingerstyle groove and slap fill ... no one wants a slap bass solo in their song, unless you REALLY want a slap bass solo. Depends who you gravitate to but pick a good reference from a groove guy. For me, if you want a popular name for that type of player, start with Ready Freddie Washington. Anything with Bobby V is funky too but it doesn't matter what plucking style he starts with, he just has it. So, now, time alone wont do it... all that does is get the speed going-which you may need-, but you can't buy taste or groove

Meet their management team.... or whoever leads them. Get detail of what their business model is really like. In this day and age of DIY, a lot of those things like albums etc don't mean a great deal. The first question I'd ask, is what is the earning potential p.a, to see how 'serious' a proposition it actually is. That is not to say it is not worth pursuing or doing, but unless there is an income stream, there isn't much of a business end to worry about, IMO.

[quote name='TimR' timestamp='1480271321' post='3182989'] Yes they tried to convince me that the two guitars sounded different. Which to be fair, they did, but everything just morphed into one hash of noise. Yes. They both played everything. In fact in some tunes one of them played everything and more. On some occasions he 'helped me' by adding extra root notes. . [/quote] Or just as bad....... set the bass and drums to play a straights 8 pattern and see how they keep out of the way. This is such a simple test that even 'advanced' players don't get... that sets alarm bells tbh and is most prevalent and tells you a lot about how they 'hear' a band.

[quote name='TimR' timestamp='1480270990' post='3182984'] My opinion of them is founded in the 80s when they picked up local cab firms and at pro theatres with Sure pro wireless microphones ££££. I'm guessing technology has really moved on in the last few years and it may be time to look at them again. [b]I suspect pros don't have a lot of time for experimenting. They stick with what works and unless there is a real need to change then if it ain't broke; don't fix it.[/b] [/quote] Most guys I know are very current.... drummers have multiple kits and may take them out on a whim or they feel the gig needs X. Keys need the ability to update sounds and there is light years between a Kurzweil of 20 years and this years latest offering, for the key sounds. I would hope most players update their sound and style...unless they have their niche. It is not always so great to stand still for long. Horn players tend to stick with something comfortable but they are all into the 'sound'...

[quote name='Fisheth' timestamp='1480271855' post='3182998'] Am I right in thinking that Ashdown are the modern Trace Elliot? [/quote] Not something I'd say, unless you mean the U.K thing.

2. I don't normally get involved in different tunings as the bass are 5's, I use them for just a little something different but apart from the sound, they are both interchangeable. Depends on what i feel and what I hear.

Wouldn't worry about it until the drums start as until then it is just notes...

[quote name='TimR' timestamp='1480257064' post='3182832'] It's down to sloppy arrangements mainly. I joined a band where both guitarists just played the same thing. Although they didn't. They were both so slightly different that it sounded terrible. If one was slightly out of tune it was pitiful. We did a lot of work on arrangements got them playing different parts. It sounded 100% better. [/quote] Sure, but the 1st thing I'd do is see what gtrs they are running as to how they themselves approach it. You know you have trouble looming when you see them both rocking twim humbuckers, for example. But as always, it is more how they approach things and it is more an issue when they both have to play 'everything'... I like gtrs who know that they can drop out of the track...

[quote name='BassBod' timestamp='1480262167' post='3182870'] Its also because the hire companies have moved on - Aguilar, Fender and TC seem to have that covered.... [/quote] I'd say Aguilar, Ampeg and Ashdown are the most agressive stage rigs here, in terms of their placement.

[quote name='2elliot' timestamp='1480261867' post='3182865'] What would you recommend as the 'current sound' go to head for the local player who is looking to improve on his once hip but now outdated lump? [/quote] Wrong way to approach it, IMO. If you stray too far from your natural sound, you just go round in circles. But for starters, to get a good sound, you need your 'sound' to just amp up what your bass in your hands sounds like. That is not such an easy thing to do and it is the reason why it is hard, or should be, to sound like your gave player. I'd take a sound/player I liked and go for style and nuance and just have that as an influence rather than clone it. There is a lot of talk here about uncoloured sound, when all you need is a complimentary bias. Without knowing what you are trying to achieve, it is hard to say. What do you think is wrong? First off...you have to hear something to know where you want to go. A lot of bass players buy what their fave bass player uses and never get further than that. I would offer that there were/are defintive match ups... TE and Status. Jazz and SWR P and Ampeg

[quote name='BassBod' timestamp='1480261043' post='3182861'] The Retro 800 is essentially the Trace idea, (12 band eq) built into a modern micro amp form. It works fine, and you can get anything you want from the eq...but not really the "signature" response that a lot of makers build into their preamp designs. I've also still got a TE MkIV GP11 preamp, and that too essentially has no sound of its own, as long as you ignore the pre-shape "slap switch". Its just eq, and you use it as you want. Nothing outdated about it, except the bulk 19" rack format and a bit of circuit hiss...but its also got a very effective noise gate built in, and a proper transformer DI. Its a very well designed professional unit. [b]Now, what people did with them, thats another thing entirely[/b].... [/quote] It is..... but also, no one is using them now. Plenty of old units stand the test of time... Aguilar and Demeter were studio pre amps from over 20 years ago, but they have transferred to today. TE had such a typical default sound that didn't... and I blame the Graphic mostly. Gtr players, who are usually far more discerning than the vast majority of bass players use old amps and maybe only the SVT comes close to that sort of thinking... but that is because the tone stage is the least important part..(IMO).... If you leave out the guy in the pub, who has a TE sound today?

They key thing though, is where you start with the outdated sound thing.

[quote name='40hz' timestamp='1480255522' post='3182817'] Genuinely curious? How do you consider the sound 'outdated'?. Up until recently I used a AH250 GP12smx and my sound is anything but 'dated'. In fact, using the graphic equaliser I would argue you could sculpt any tone you desired. From the deepest, dub tone to a bright aggressive tone with lots of sheen. Add in the valve preamp on the GP12 and you can get a warmer sound still. [/quote] Fair enough question and probably as much to do with the mind-set of the user than the actual kit, but the sterotypical sound of the amp sits in the 80's. I get that you could possibly get any sound you want... and you could say many amps have very powerful tone shaping, but that is not actually what you should want, so you are left with a default sound which sits back into the 80's. Personally, I never took to the sound even back then, even though for a while it was the stand-out gear, and it took the Valve power stage to clear down the inherrent metallic sound somewhat. The sound is outdated because you don't hear anyone current... where sound is far more critical, using one, and they haven't since the early 90's when SWR/Eden took over. It may be a tad unkind, but the Status/TE is long gone. I never found the graphic subtle enough, which is always the problem when you make them as compact as possible (and also why I avoid them like the plague) For that reason, they tend not to be that subtle either. Current sounds fads are not really the domain of the local player either but I think the default sound bias of them should be as critical as the weight issue. Most people get rid of them for that reason first, whereas I'd say the reason they lost all that ground was the sound. I'm not sure a 7 band or 12 band of the type TE typically used was the way to go anyway...but I'd say Ampeg and even Boogie fell for that as well..? Maybe an example of demand leading the design and, therefore, understandable.

Alex Al with a jazz for me, atm

I think 2 set-ups per year are the norm but some basses need more attention certainly after string changes. I think after 3 days, the bass wasn't put away properly..?? I am anal about packing away basses and pressure on the neck

No real reason.....there must be something mechanical wrong if you lose the sound. For me the biggest degrader is strings, but that is such an obvious 'fail' which you will have to swap strings. The reason that such powerful basses are used is because of the power, rather than tone, IMO.

The problem with TE, IMO, is that the GP was so integral and only valves in the chain could sort it out. That sound is outdated and things move on. SWR and a Jazz was the beginning of the end for TE, imo. Always new kids on the block..except Ampeg who are still in denial..

Why would a drummer be unreliable...?? more fool the band, in that case.