JTUK

[quote name='FuNkShUi' timestamp='1464947448' post='3063969'] I think it comes down to how each of us play, and what we consider "loud enough" Some people play with a light touch, but want to sit on top of the mix. This isn't going to be enough for them. Some might play with a light touch, but like to be more in the mix than on top of it. This could work for them. I often go out to pubs when i have a weekend off to listen to different bands. It's amazing to me how some of them set their sound. There is no mix as such. Just two separate guitar players, and a bass player with no consideration (it seems) for how they all sound together. Granted, this is more of an EQ issue than volume, but because they dont consider the overall sound, everyone seems to try to push volume higher to be heard. [/quote] This is all too common and whilst the bass wants to go light..and that POV is understandable... the gtrs and drums often don't. What you often get left with is the bass amp can make a sound but it can't support the band very well... so the balance and overall sound suffers. So, just from a bass POV, it is a struggle..and that is before you get into EQ, players styles and how the other players see the roll in terms of sound..and whetrher they consider anyone elses.. IMO, it is the number one mistake from pub/local bands and it is probably becaused they have never discussed or even considered it. So then, band sound is pot luck because nobody really knows what they are doing or what they want to sound like, individually or collectively.

You have to be reasonable with your expectations.. I very much doubt it would underpin a band in any sense that you'd be satisfied with....bar a very quiet one. Volume isn't the consideration in that context... it is about how the bass is heard. I always like to 102 combo but you needed to consider where it could do a job..

What was your backline and how big was the marquue...I guess you had a 5kw rig... which soon runs out of steam outside. But as I say... you didn't have the budget so not much more you could do really. In an ideal world you'd need probably a load more power, For example, a marquee for 800-1000 people would need 10k upwards if you wanted to hit the back... which for a function type gig, you probably wouldn't, IMO.

This is the point of diminishing returns.... as in how much can you beat yourself up over a non engr FOH sound when you only get limted chances to 'correct'.. If the budget wasn't there to pay for an engr you trust and like... as long as it went well and the sound didn't stink, that is as good as you could hope for. Sure, you could have sounded great... could have gone the other way too.. In situations like this, I'd do full backline and sound good 'on stage' and bleed into the P.A. This set-up takes a lot of discipline to not adjust levels and you hope to keep it all together. Onwards to the next one..

[quote name='taunton-hobbit' timestamp='1466959174' post='3080004'] I'm watching the Pyramid stage live on I Player, and wondering quite how it can take so long to do the changeovers? Seems to me that there's a lot of manpower involved here - I'm expecting that by now (this is 2016) everything this side of a drumkit should be (literally) on wheels? Please tell me if I'm wrong (don't bother pointing out 'this is a festival', please) [/quote] I was told by people who work the festival that they 'employ' 37,000 people to put the thing on..??????

[quote name='Woodinblack' timestamp='1466953981' post='3079947'] I saw the first bit of adele and she was off key which surprised me. Maybe her monitoring was poor. I don't really know her but people rave. Got bored so went to watch something else, and came back for the end. She certainly rabbits on between songs doesn't she, but I guess that is her choice and what her fans want. At least the last song she was on key for, so that was better, but yes, not my sort of thing. [/quote] I found the clip I listened to quite wearing on the ears.... so switched over. I quite like some of her studio songs normally but that didn't work for me and couldn't put up with a whole set of the same. She has a great voice IMO, in a lot of ways, but I bet she is a real hard work for the BV's ...

Tried a few the other day.... and there are now fender type basses in terms of looks. Plus the pickups have been remodeled into twins rather than the one big block. All of the ones I tried sounded great... Hipshop bridges and Glock pre amps which are what my bass will get and one of the reasons I went down there. The passive only basses were good too.

Caught a few minutes of Adele... which wasn't enough to make me stick around. I usually try and catch it but the line-up doesn't inspire..??

What you are looking for is a good 'connect' throughout the bass...and a good bridge can play its part. I'm looking for a Fender 5 st retro fit as the main problem is the current incumbent is not top loadable so I'll be looking at a Hipshot...which looks all rpund a more substantial bridge as well.

Mini amps don't do it .... but have their uses. You can't have a skybox on a 610 tho

[quote name='Mykesbass' timestamp='1466835398' post='3079196'] I'd still want to stick to what I had agreed. I guess I have something of that "show must go on" mentality. [/quote] Experience or just been doing it too long etc etc... says do it properly or don't do it at all and don't waste anyone's time. My thinking would be 'what sort of show were we thinking'.... and I don't believe all gigs are good gigs. We obviously differ, but the key thing would be that the people I play with don't.

[quote name='Mykesbass' timestamp='1466791858' post='3078938'] Different folks, different minimum standards. Mine would have been I've agreed a gig, I play it. [/quote] ok... what about what the other side agreed to do...and sounds like they didn't?

[quote name='Kev' timestamp='1464200888' post='3057534'] Many would disagree with that Get out there and try some cabs and see what suits you. I have recently purchased a Vanderkley 112 and it is an excellent cab. Can't imagine needing to run a second, either. What size gigs are you looking to do? [/quote] This is a common mistake plenty make....IMO... the sound they get in itself might be ok...and sounds good until the band kicks in and you'll find the bass, although heard, has no chance of underpinning the band and providing any top end defintion, to be heard. Basically, in the context of the band, the bass is AWOL. It seems to be a goal of so many bass players to use as small a rig as a possible, but just off the top of my head, no one I can think of, makes it work. The only guy around here who does, runs a feed into a full range P.A with good subs....but that is a whole new ballgame.

To me, it is simple.... what sound do you get back and do you like it/can you use it. To many people over compliment their signal chain anyway, IMO... which is why they are forever 'chasing' sounds...some of which they have no chance of getting or being able to use..

[quote name='Light Grenade' timestamp='1466707186' post='3078094'] These look lovely, going to investigate a little further. [/quote] I would.. S112 is a really well thought and well built cab. They are little tone monsters, IMO... and the guy building them really knows what he wants from a cab. I think the other cabs in the range are good too... but the S112 is a little jewel, IMO.

I prefer a wide space at the bridge and a P-Bass nut. You are looking at a custom build, then you'll need to know which one suits. I don't think you can commision until you've worked which one will work best. I still think the McIntryre is best bang for buck..

Some basses just wont do certain sounds... and some peoples style wont get it either but if the bass wont do it, you're not off 1st base.

[quote name='tauzero' timestamp='1466519997' post='3076453'] Some pubs are doing that. Sadly, the agencies they use don't seem to want to use us, despite the venues themselves loving us - I think they must have their little list of favourite bands. [/quote] Or they have a deal where the agent gets a % of everything the band does.... so they put them in everywhere. I just tell the agent the price to the band... and that prices us out of pubs as far as they are concerned..after they've put their end on top. I'd rather that £50 extra went to the guys anyway... so don't often get involved ..as don't see what they do for the money.

He's great..he plays lines that you notice and he kicks the band along. For me, it is nice when someone can do that...

[quote name='Lozz196' timestamp='1466434297' post='3075771'] And in the mix they sound pretty good too - the gnarl/drive seems to disappear (unless really pushing the gain) and just ends up with a nice, present forceful bass sound. And as said, one that just hits you with a slam. Fully agree with JTs point about the Tonehammers too - I love mine, and they`re pretty near especially when paired with the Sansamp, but when you play through something like an SVT, or even an Ashdown ABM, well you feel the difference. [/quote] Yep, only reason I sold the TH500 was because of headroom which I need more than most. The tone was fine and I was understanding about its 'limitations'.. Everyone liked it...but I have a louder variant which also suited the lightweight need.

[quote name='chris_b' timestamp='1466414626' post='3075565'] Set lists are fine. . . . as long as you know how to construct them and you're starting with a list of the right songs. It's obvious you're not going to please everyone but if you're playing well you can change some people's minds. In my experience people walk out on cover bands because they don't like cover bands, the band is too loud or the band is crap. It's hardly ever the songs. Unless of course you really have chosen a bunch of terrible songs. [/quote] I always think we pick the songs to suit the band and then we plan the set to suit the gig. But we do what we do... but since the band had a few gears to go through... we wouldn't be thinking we'd lose people. If you lose people, you've got it wrong..whether you can recover from that will be your problem.

There were two for sale a good few months back... you might be able to find that by the search facility and make him an offer.

[quote name='cheddatom' timestamp='1465820187' post='3071202'] Isn't it just volume? If I'm understanding the term correctly, I tend to get that experience when I'm turned up arguably too loud, through whichever rig I'm using. I mean, anything will "punch you in the chest" if you turn it up loud enough (and if it goes loud enough) [/quote] No... it is exactly NOT just volume. The SVT experience will put that into perspective but until you'd tried it ..people wont quite get it. Tone hammers go loud but they definitely haven't got it, for instance.... but it is pointless arguing if people think they do their job. When you know, you know. BTW... an SVT isn't about a great sound as they can be tonally lacking, IMO, but they set a standard for bass rig monitors for what they do on a stage. No one says, crap, I've got to play thru an SVT/810 tho..

[quote name='leschirons' timestamp='1466342384' post='3075072'] Probably would have played the gig, putting me / us, in a position to give the promoter some stick about the quality of HIS performance. [/quote] Ok... but where would that get you...? You've told the promoter he is crap... he probably wont book you again after that, you probably wont want him to..?? What would be the point..? Walk... have minimum standards and stick to them. The only possible value of this gig wold be to learn not get caught again..BUT..if you know all this thru experience then you might as well evaluate the complete waste of time so far and don't waste any more. I'd be making it clear to the guy in the band who took the booking that his part in this saga was not acceptable either.... but I'd also think he wouldn't need telling anyway.

[quote name='Cosmo Valdemar' timestamp='1465907878' post='3071976'] Why is this good practice? Serious question. [/quote] Good practice not to be a slave to playing open strings as that wont transpose very well. If you play fretted, key shifts are just another position on the neck around the same shape. For this song, most will play in the original key but if you cover a lot of music then other keys come into play. You've heard the one about how to shut up a gtr..?? give him a horn key... Same would apply to bass..