JTUK

[quote name='wateroftyne' timestamp='1376055581' post='2169110'] As I suggested earlier, there's more to it than being an eyeball-melting slapper. :-) [/quote] Yep...party tricks don't get gigs unless the rest of your game is up there as well. If I had to guess, I'd say a fair few spend so much more time playing slap than they ever get to do on a gig...

Deep deep subject this...IMO. You can have been playing for 20 plus years and not be so hot or you can have been playing intensively for 10 and be doing very well. You are going to have to position yourself in your pool of players to some degree but those same players define you somewhat. People tend to play with others because they all know who can do the gig and they like this confidence. In that sense it is always a good idea to play above your level if you can..and merely by doing so, you can't be doing too bad. On another note..if you are lucky enough to play with a world class player...and this isn't always defined by a lenghty C.V...but that is another thread.. then hopefully you can pick up on what made them that player.

[quote name='dave_bass5' timestamp='1375884999' post='2166925'] Im assuming by the "musical player" comment that you aren't talking about Lemmy [/quote] ha ha.... NO...!!!

[quote name='chris_b' timestamp='1372586107' post='2127370'] If Fender want to sell parts they should brand them clearly as parts. I think this will ultimately devalue the brand on the second-hand market, which will be a shame. But then, what do Fender care about that? All businesses are in it to make money but it’s a short-sighted business decision to undermine the integrity of your own product on the second-hand market. [/quote] yep, agree.

Always comes across as a top guy in interviews that I have seen... and he is such a musical player. There is sheer technique and then there is musicality to take it to the next level...he has loads of both, IMO.

Such a shame.... another one gone. He will be a big miss.

You'll probably progress to pulling off with both at some point anyway...certainly for an easy version of a triplet lick.. I use the middle finger now for general use as I like the funkiness that that seems to give me over the index finger pull-offs.so I wouldn't worry about it all as long as you get the LH/RH syncopation going.

Glad you like the buy..................................... but volume is not the same as sound and class D's don't sound the same in my limited book.

Our regular drummer insists on using a very loud snare. It sounds great but we wish it was quieter and that blows the volume. I suffer from that more than any variance in hearing perception. When the volume winds up, I'll use plugs but I also think it a tad ignorant for the band to HAVE to use plugs when the unsuspecting audience doesn't. I'll take plugs when I go to watch bands as a matter of course.

[quote name='chris_b' timestamp='1375653747' post='2164012'] How loud is loud? My 2p is that a 210 isn't enough for a full on band gig with a loud drummer,.............. I used to play through 2 210 Berg cabs and they moved enough air to sound great at any volume. To get a powerful bass sound and combat noisy, overdriven guitarists at volume you need more speakers so you can move enough air without getting close to farting out. So a good 410 or 2 210's would definitely work, IMO. [/quote] This.. ... I use 2x210 for my best gigs and 2x112 for the others.

I think it is a balance thing that the body naturally works out and implements... I think it stabilises the right hand....and you notice you do it at some point without realising that you do it...

Will deffo listen to these samples when I get more time. thanks...

I can virtually garauntee if I trusted my preferred sound with most of my muso mates...they would not even know where it came from.. They just don't listen to what I listen to.... I can think of only one guy around here who would get/use that sound. That is not to say that everyone else has a bad sound..not at all, but they go with pretty straight sounds.. and I want something different and spikey... A band endorsement is nice.... but before you put too much store in it, know what they think a good sound is.

I'd be thinking 5kva and aim to keep the power runs as short as poss. Use decent quality feeds and keep an eye on the heat pof the cable near the power source NOT at the power destination. We recently ran a 5k rig with 3kw of monitors PLUS backline with 21kva of lights off 6 seperate 13 amp feeds.

If a venue has to install one to get a license then you need to look at whether it is worth playing that venue. We wouldn't be interested 99% of the time so we would pass.

I think the term 'Blues' is waaay overused these days so I take the use with a pinch of salt if lumped with other styles, ie rock, funk, blues' But If someone describes themselves as a 'blues band' only , then I expect them to be pretty authentic and correct with the description. But both parties, bands and bookers, have a responsibility to describe themselves without ambiguity..... as it saves a lot of hassle in the long run.

As a working unit this isn't really going to work thta well, IMO. You need to hear the cab and decide whether it can do a decent job... so try and demo it with a more powerful amp to determine it isn't a bad cab. If the cab passes that then concentrate on getting a better more powerful head. If you like the Ashdown/LAney combo in terms of the sound then look at a more powerful head. A amp/410 unit should be able to deliver a good 300w potentially otherwise it is not worth lugging around weight-wise.

I don't think other players tune into A bass sound as such.... and even though some bass player friends say they like my sound... they have quite a conservative sound themselves, so whilst it is nice to get a compliment, I don't think they really know too much away from the norm.. I think the keys and gtr in my band get pretty good sounds off their kit but I am not tuned in to the little nuances as they are... and vice-versa.

Pass.

You might be able to tweak a bit more out of it by seeing if the gain is clipping but I don't think you have much left to go volue wise, anyway. Try and demo/borrow an ext cab and see if that helps as well.

Adding those parts hopefully for the better will not add much value to the bass so I'd get an extra bass. If you shop wisely and get a good one...you will still get money back if you have to sell... plus you still have a bass

[quote name='cybertect' timestamp='1374851357' post='2154084'] Although Fleetwood Mac famously trash that particular rule and make it work, with Mick Fleetwood playing ahead of the beat on drums, and John McVie on bass, playing slightly behind it. Charlie Watts and Bill Wyman had a similar sort of arrangement. [/quote] Hugely successful sections but not one to really preach about..IMO. I think the Stones are acceptable by virtue of being around so long and institutionalised ...I have never liked Mcvie and Fleetwood altho they were part of a group who had great songs. I can't really watch..or rather listen to either. FWIW, not a fan of playing ahead for the most part, myself....far prefer backbeat drummer

[quote name='stingrayPete1977' timestamp='1374861383' post='2154244'] Unless like some of us you are happy to entertain an audience with less than the perfect setup at every gig you ever do, then you can just stand a bit nearer your amp and rock out, hopefully the crowd will get up and dance and all will be well in the world for the 40 mins you play for [/quote] Yup... gigs I'd generally avoid.

[quote name='TheRev' timestamp='1374792216' post='2153435'] Sounds like a monitoring problem. If you're used to setting up your sound for pubs/music venues, transferring that sound to festival stages can be a bit of a nightmare - this is something that I'm still working on.... It sounds like you like to use the whole of the stage during the gig, so when you soundcheck, you'll need to pace across the stage and let the sound guy know where you need the bass in the monitors to buffer the levels coming from your rig. I'm surprised that the rest of the band didn't ask for more bass in the monitors, if you really were inaudible on the side of the stage opposite your rig. If you're not lucky enough to be able to get a soundcheck, which is often the case at festivals, then you either have to sacrifice your stage presence and stay close to your amp to be able to hear yourself, or, you trust that the sound is good out front and your band is tight enough and can cope with your bass playing potentially not being as in the pocket as it could be while you go walkabout. I don't think there's a bass cab that will fill any given stage without monitoring, so chasing that is probably a waste of time and money. As for getting a good monitor all across the stage.... well, there's a reason why the bands that headline Glastonbury get 40 minutes and 30 stage crew to sort them out. [/quote] You'd also have pre-production meetings to sort out all the kit you want, the stage set-up on the stage size. Min stage sizes...or you may build/bring your own...and that is before you get to synching the light show... it goes on and on.. but that is why you need to know what your kit can do and on what stage..and what help you will get and ...on and on it goes again The last thing you want to be involved in is.... 15 min turnarounds..

I was going to say £70...maybe with a stone as well.