JTUK

[quote name='Monckyman' timestamp='1388801580' post='2326342'] Sigh.. Sort of like,if you think all mechanics are crap, but you know sod all about fixing cars. Just you know, practice taking your car door off at home,and then when the mechanic you use ,fixes it,criticise him and tell him you know better coz you practised at home with a19 mm socket for a bit and he's using a spanner. And a bloke on a forum said..... Come on Jt ffs,you don't know better than every sound engineer simply because you don't get the sound you think you want. Maybe you piss every engineer off by telling them how to do sound and they make you sound crap to piss you off too. [/quote] If we find a good one, we'll keep his number. If the P.A is hired in, you get what you get. Sometimes you don't have much control about what kit is actually hired...we can only advise ... and sometimes that venue will hire in an engr and the first time he actually sees the kit is on the day. No one sets out to piss off the sound, but you soon know if there is anything about them. Since it is our repuation at the gig.... then we will want to try and control as much as we can.. and that includes P.A spec and engr. The gigs that don't facilitate this are the gigs that you tend to drop... You know how to over-egg what I said...

Must say, IF we would agree to such a thing, there would be quite a decent premium factored in..

[quote name='essexbasscat' timestamp='1388748795' post='2325480'] Out of interest, what mics were you using ? I'm no expert, but I've heard that some mics are better at reducing feedback than others. [/quote] I tend not to want to see a lot of SM58's for vox altho they can be ok as an ambient mic around the kit... as in you can't or don't want to really control the bleed, so these things will pick that up anyway. But as for a controlled stage...??? err... not for me. Having said that, they are a fine workhorse in general...so as long as you know you'll get overspill. I like P.A's to have options here .... and you should get some idea of their work mode by the tech rider they should provide.

No, haven't got that rig but have played it a few times when supplied. If you like the MB cab sound ( I don't ) then adding another MB112 will deliver those goods far better than the single cab. I've heard the single combo struggle on a decent stage.... but I would also expect other single 112's to do likewise...if you follow my defintion of struggle. The guys using them probably don't though... for good or bad.

What gigs are you doing with them.....? I like a meaty monitor system

I like to hear what the soundman is going to do with it..... and since I have soundchecked my backline then if he is listening and has an educated ear, he should know what I am going for. If he wants to give me his version of bass, then I need to buy into that. I don't assume soundmen have any idea at all, tbh. I would hope they have but often they proove they haven't. A good way to sort this if to practice miking up your kit...and then once you are confident you know it can sound good... listen to the soundman on your gig for how he does it... or not :lol;

[quote name='Iana' timestamp='1388763307' post='2325776'] One of the best cabs on the market, I only sold my hd212 was because of the weight, awesome piece of gear! [/quote] I have to say that I suspect I might like the HD cabs more than I like my AE's... but I am not saying the AE's are bad cabs, far from it.

Not sure that they should be immune for any critique just because they are local. Some people love them, some people loathe them... You aren't suggesting that we all look the other way if someone thinks that they have a valid point to make.. .??? that goes both ways. If they are any good, they will survive, if they're not, they wont....same as anyone else..

Impossible to say, really, you have to be there, but you may not have been entirely to blame either. We have found that the P.A soundman's answer to this is often to just turn up the P.A when what you should be going for is a mix. This means you both have to concede there is a problem and then decide on the best way to approach fixing it. It the band decides one thing and the soundman another, what normally happens is that both parties give up at some fraught point. The soundman decides he can do nothing positive and may attend only the most drastic noises and the band resign themselves to not hearing themselves and just getting through it. What makes this much much worse though, IMO, is when sounds have to be EQ'd.... as then you are fighting sound as well as levels and most of us don't often get 2hr sound checks for band and support. The way to help here is that you know the band has sorted its own sounds out at some point and know how it NEEDS to sound... The one thing that gets sacrificed usually, is the stage sound, but then your engr better be worth that..and often they aren't... IME. The only thing I can really offer is find a sound guy you really trust and knows what he is doing and put him on the gig payroll and also practice getting the band sound sorted in very quick time...which means that you want to be hearing everything everytime. Gts and keys need special attention because they either have or want full range sounds............. You can't allow this and still get the bass to sound seperated... Basically..IMO..anytime you can't hear the bass, the band mix is shot...

Sei J5 in white with tort plate. RW board and JE pre.running Barts. It can do a very vintage vibe and made to MP's normal excellent standards. It beats out my blonde maple quilted J5 which does the whole Jazz thing. Two really great basses IMO, but the white one gets the most attention... over the most overtly flambouyant blonde, which is a real looker in itself. I have been thinking about commissioning another J5 in a sunburst/tort/RW config but that would most likely mean one of these would have to go... and I have no stomach for that....at all.

Since this is in the bass section, I assume you want a bass, I don't think any bass under £500 would be of interest so no sale in that regard...

Haven't been there for too long... see you sat

Can't really comment on the CN212 altho I have tried the CN112 paired up. But................ I do own the DB212, Berg AE112's and have owned GS112's. I rate the CN112's and think they are a step up on past Berg NEO's... but that was shop volume so I don't think I could have a definitive opinion on them with so little time on them, admittedly. I can say that the DB212 blows the 2xAE112's out of the water, IMO. I run mine with a Thunderfunk and DB750..altho anytime the DB212 comes out, so does the 750. The DB cab may be a pretty basic cab but it is voiced well and strongly across the range. The tweeter works well...and the tune is where it scores over the Berg AE's. You would expect a strong mid presense with the Bergs and to a degree you get it....and I would have settled for that, had I not brought a DB212. This DB cab is immense with a 5.... full and powerful but not over bassey at all. This allows the basses character to come through and the mid to hi end is there over a loud powerful band. I run my basses with actives for the most part, and you can hear definition from middey slides and slurs to snappy poppy clicks and this is not an easy thing at all for cabs to deal with. I can't or wont have the cabs running a thunky clunky sound as that destroys the sparkle and presense I need, and the DB gets it just right. The Bergs may do it with additional EQ'ing but then that is just too much hassle when flicking between basses and I am set up to plug and play so don't need or want a sound check every single gig, tbh. and then I would probably loose the bottom of the Bergs anyway. They will handle the lows, for sure, but at the expense elsewhere, whereas the DB is more balanced, IMO...for me. GS cabs will do this to a very minor degree but you need very lively strings for that and once they have gone... it is a struggle. For me, the DB has the full low end...prominent but subtle enough mids and high end. I really don't consider this a high end spec cab...but they have hit the nail on the head and it just works, IMO. I also run 2xDB210's and I consider the DB212 better voiced ...fuller, which you might expect and not shy mid wise over the 10's.. Weird, but, IMO, true so basically the DB212 gets all the gigs now that the DB210's used to. The Bergs are relegated to that lightweight awkward carry gig and probably soon to be sold.

Well..?? presume all went ok.

Awkward position to be in if a good musical friend dropped you into that situation... but this all goes to judgement of people and players and I think the idea is not to have those sort of people in your playing circle. There is a lot of vetting of people who come and go and this guy wouldn't last if that sort of thing went on. Nobody would play with him... If someone calls and says so and so gave them your number, then that referring person is endorsing that person. It really does them no good to have f***-ups like that and if it did happen, it would cause quite a problem and the referrer would be forever apologising... and that makes it not a repeatable situation. There are enough stitch-ups on gigs that you try and avoid, of course, without an idiot doing it on purpose. I think the keys was trying to proove something.... and the target seem to be someone in the band and make them sound bad. trouble is.... who would risk their reputation like that...?? You are only as good as your last gig...and a lot of damage done for no reason. If you build a name as a drop-in band..you have to sound like you know what you are doing and have great moments... there is no point otherwise and you wont get the gigs...or the money

[quote name='Pete Academy' timestamp='1388513409' post='2322948'] A few years ago, a guitarist I knew really well asked me if I'd stand in for a scratch band for a local pub gig. The songs were mostly soul and funk. I agreed, and as the gig was a week away, I asked for a set list. I already knew some of the songs, but as I was busy that week, I printed off chord sheets for the others. When I got to the gig, the keyboard player, who has been a fairly successful musician in the past, barely spoke to me. We started the first set with a couple of songs I knew. Then the keyboard player launched into half a dozen songs he'd written, of which I'd never heard before. I'm not the greatest busker, and I ended up making a hash of the songs. The rest of the gig continuedwith the same scenario...more songs that weren't on the set list I'd been sent. I hated the whole experience. Fast forward a couple of years. I was again asked to stand in for a different band, which was put together by our backing singer. I asked for a set list, which consisted of soul and funk numbers again. Guess who the keyboard player was? There were only a handful of people at the gig, and again he decided to play his own stuff, despite the fact that this time I'd actually learned the songs beforehand, spending a fair few hours doing so. I vowed never to play with this selfish twat ever again. If I was in the bandleader's position and needed a dep, I would do the following things: a) Ask the dep which songs he already knew and write a set list around those. Make him feel welcome at the gig. c) Stick to that set list. d) Not make him feel uncomfortable by playing unfamiliar songs. d) Realise that an audience would probably pick up on his mistakes, and ruin their enjoyment of the songs. e) Not let someone's massive ego ruin the gig. Any thoughts on this? [/quote] plus 1 from me, Pete... But I don't understand why people work with this guy in the first place, tbh.

I would expect the Glockenklang to retain its focus better as you ask more from the power stage. This really seperates the men from the boys, IMO... This is always my issue with some class D and other amps. They can sound great at lowish volume... but then become a bit of a fight when you push them. I notice this a lot as I always have to push an amp..... It's a pet peeve...

[quote name='BassTractor' timestamp='1388503223' post='2322766'] Are you brave enough to tell who you are thinking of? I criticised said gentleman in an open fashion, mentioning the exact anti-BC behaviour that I was critical of. You yourself were among the many people who came with vague accusations that did not contribute to anything, except for entering vitriol on the forum. Threatening? Vitriol? Hereby I ask the mods/administrators/owners whether they would be so kind as to comment on whether it's OK on BC to accuse people in the above fashion. I have openly and with reason criticised one person for his, IMO appalling, behaviour on BC. The amount of FLAK, namecalling and false accusations (vitriolic even) that I have received as response to that, has been out of this world. However, NOBODY has reacted negatively to those responses, and almost one year later, people still keep coming back to it in similar fashion. Here is the exact PM I sent Bassman Steve. I think there is no threatening or vitriol. I'm open to being corrected. Start PM: " "Cretinous outpourings", eh? Oh, the irony... So it's not OK for people to openly criticise with reason a person who has lied, manipulated and threatened, but it's quite OK for you to use words like that about people you do not mention so it gets hard for them to defend themselves, and without offering your reasons for your harsh conclusions? " End PM Now, I guess that if one really wants to misconstrue what I wrote, one could say there is vitriol in the "irony" bit, but threatening? FWIW, I never intended any threatening, but I did want to confront Bassman Steve with his writings. [/quote] Who pulled your chain..? My comment about 'brave comments' was general... so no, not anyone in mind. why...you feeling guilty or something...? FWIW, I have no wish to reopen the debate in question so I suggest you, too, let it go.

[quote name='chris_b' timestamp='1377955900' post='2194053'] I don't like 2 guitar music or bands. IME, they nearly always turn into a racket, at least when compared to one guitar or guitar and keyboards. I have spent most of the last 20 years playing with one guitarist and the sound has never been thin. Empty in places, but never thin. I think you’ve missed a trick. [/quote] Pretty much the same... but then good keyboards players are like gold dust. If you MUST have 2 gtrs, think about the styles you need. I think you could pretty much forget 90% of the whammy bar kiddoes as they aren't there for the band, for the most part. You should be able to suss them out on the song choices alone... and ask them how they would approach the song. Or.... the easy way...ask what gtrs they have or would bring... What you want to be hearing from both is... acoustic, strat/tele and Les Paul. You can then dish out lines/parts as each would have the tools.... If they both turn up with Ibanez triple humbuckers ( lol)... then you have the train wreck.. Massive generalisation ..but it wouldn't be too far off... I'd want BV's from both as well....

Hmmm People make quite a bit of money out of charity.... ( that is my cynical view ) I would set a few targets. How much to raise and where does it go. What sort of event do you want? You could ask a pub the fellow was known in, to host it.... that is most of your venue concerns dealt with. How many people could you reasonably expect to get. How many bands do you want/ Bands are notorious for playing for free ( which is good-ish for you) I am against long all dayers, generally, as people don't know when to turn up..and can't really be expected to last start to finish so maybe 4 bands from 1830 till midnight....?? Also, just because a band is free, it shouldn't automatically qualify them. If you can't get the people in for the event/person alone, you need to bring people in and that is the bands job. If you get a venue to provide a bar...are they going to contribute to the charity..??? The thing you are up against, if people don't know the fellow, or buy into the charity thing...is that they can see free bands in a pub anytime..and not be hit with all sorts of begging buckets...? To save yourself a lot of trouble... just do the next few gigs for free...advertise them in the guys name... and hand over your fee straight to the charity.

Since you cancelled your party, I'm at a loose end tonight.............

[quote name='Bassman Steve' timestamp='1388491125' post='2322533'] I'm reminded of the cretinous outpourings of the critics when Guy Pratt was pleasant enough to introduce himself on here a little while back. [/quote] Well, it is the internet and people get braver when not face to face........... but yes, not one of the finest hours on here.

[quote name='Roland Rock' timestamp='1388218505' post='2319506'] .... Back on topic.. Also, I think that when it comes to five string basses, it's really difficult to get a good sounding B string on the budget end of the market. This may be largely irrelevant though, as I suspect that most people with five string basses will use rounds. [/quote] It isn't easy to get a good B out of a LOT of basses ...IMO... so not just at the cheaper end of the market. The last thing you want on a B st is a thump upto the 7th fret... it should sound balanced to the E and A... and that really isn't easy to achieve and plenty of name basses don't/can't.. If you can't slap on the B... it isn't clean enough a sound...and it doesn't matter if slapping isn't your thing, it is the ability of the B string to resonate cleanly... All strings go off in terms of fatigue, IME..... so I don't get the idea of any string on a bass for 5 yrs. Sound notwithstanding.... the string will be shot and feel terrible to me The main thing that retires a string is when the life goes out of it... You may be able to refresh that to a degree with cleaning, but a lot of strings will not clean many times now. I am not sure the metal quality is there anymore in many brands either. Understandably, string companies might not like the idea of cleaning strings. Just my 2p..

I am still waiting for payment from beginning of Dec ...but the company had to resend the cheque so being very good customers, I will wear this. 90 days is utterly ridiculous tho..... but if you agreed, then you've agreed. It is nice to receive a nice wad that you have all but forgotten tho...

I think it is very important to have the correct fingering but that is for you to want to go down that path. As for the guy and the lecture... wasn't there anyone more interesting to want to talk to..??