JTUK

Both of mine are equal in quality. The reason I start with one over the other is just a preference on the day. They will be strung up with the same set of strings and I decide whether I want a vintage sound or a typical MM sound..

[quote name='chris_b' timestamp='1371033871' post='2108812'] I'd disagree with the last part. He won't have a magic wand, but it is his job to give the band a good monitor mix on stage. [/quote] Again, agree. The band needs to be able to put on its best performance and the sound coming back at them is a key part of that. Of course, you do have to try and deliver come what may..and then have the post mortem, but the idea is to be able to hear everything... If you have a mon mix to do that..then you have to give that the lead... if you have to do that via your backline, then you are starting off on the back foot somewhat, as the P.A is small and the venue is small...so you have stage bleed issues, potenially. But there is no use having a fight about it if you put the sound in someones else's hands... you have to work together. Whether you work together again, is something more in your control...and another issue. We always have a chat with the engr, get him a beer or arrange food etc etc ...depending how much influence on that we have but a beer/drink is a good start. Of course, I'd prefer it if he said Orange juice or anything non alcoholic as these can be long days.. :lol; If we have a food rider/tab... we would invite them on it..but then if we get one..I expect the crew to be sorted as well. Little things to get the event off on a decent footing..

[quote name='chris_b' timestamp='1371027898' post='2108703'] I don't do these 5 bands a night gigs so I can’t comment on those. My bands only do proper gigs where we turn up and deal with the sound guy as an [i]honorary[/i] band member for the evening. 90% of the sound engineers I've met in the last 20 years have had good ears. But then none of the guys I play with have extreme sounds or styles so I guess we're pretty easy to work with. Anyway, for best results neither should be telling the other how to do their job. [/quote] Agree with this. We have a couple of multi bills this summer where the load in will be the issue... but we try and make all our sounds decent from the off so would not expect us to be hard to mix. If the kit sounds good and the general signals are good, then you aren't looking at much more than line-level. We will give the gig an easy mix number to start with should we not have enough time for a decent check and then it is fine tuning from there on. You can keep things simpler by putting the instruments in roughly the same place so you don't have a load of gear to move round and waste time getting signals into monitors that are all over the place. If time is an issue we would give the P.A a stage tech rider just to cut down basic stuff getting missed when time is very short.

With all due respect, £600 is not high-end and neither are U.S Fenders. I'd say a hi-end bass is £2000 starting... but that is not to say they will be the be-all and end-all even then. It depends where you position hi-end yourself,

Also, we have posters who 1st lanaguage isn't english and as we all know english is easily to be understood at a basic level, but so much harder to write it...so I cut them some slack... plus, I don't spell or grammar check myself and this is a very informal medium so I never worry about how correct or not, I might be. I am no fan of txt speak, but this is just for banter so mistakes between 'friends' is no biggie for me.

There is a reason why engrs will use their DI box on your amp...as you split the signal before the amp stage and take twiddling with it out of the equation....for the most part.

The whole point of a sound check is to set the volume levels for the set... and it bad form to turn up thru the gig as this prompts everyone else to reset their volume..and you can guess where that leads.. As Chris says, explain to the gtr what he did and why it isn't helpful.. The engr may recover and adjust...but you wont likely know until it is too late and the mix may have been blown by then. You should play the soundcheck as you mean to play the set...there is no point in the drums playing light at sound check and then smashing hell out of the kit when the set starts asthat defeats the check. It takes discipline to trust the sound check and not wind it up from the backline...and this is why you don't ideally need a signal chain that you can increase the gain on.. This discipline is more critical when you don't know the engr and crew..

[quote name='iconic' timestamp='1370866304' post='2106490'] Hop festival wouldnt be the hop farm at paddock wood? Ahh memories [/quote] No, not sure what happened to that..they might have had difficulties...?? This Hop festival is in Faversham and it is to celebrate the gathering in of the hops as the town is a major Brewery town for the south. As these town fests go, it is massive but altho people will come from all over and even internationally, it isn't recognised locally much... but then it can't get much bigger,...???? the pubs are rammed and the brewery can't produce much more beer, it doesn't need any more promo. Heard one or two pubs took £25000 plus per day so it was like 3 xmases at once for them..

f*** Dr John..!!!! keep him/lock him up and wrap him in cotton wool..!!

[quote name='stingrayPete1977' timestamp='1370856462' post='2106227'] No website or anything? [/quote] yep.. all that. I just don't feel the need to promote it here.... which is why I don't bother with anything at all in my signature. If I do invites here, it will be local 'friends' via PM but to my knowledge no one here has been to any of the shows, so it doesn't seem worth doing anymore than that on here.. ( The nearest is a members drummer who came last week to a rehearsal gig for new drummer , ha ha !! ) Altho we are out every week until mid-sep, IIRC, there are only a few open dates and only 2 that I'd push. I haven't got the stage time for the Hop festival main stage yet..but I am assuming we will get one as we have been on it for the last 3 years. Those two days would be worth checking out as there must be about 70 band slots all over the town over 2 days and if the weather is good you'll get 20,000 through the town, they say.

Beck blows down doors pretty much everywhere...and keeps pretty fresh, IMO. which isn't easy to do with a career spanning decades. Probably a player that every gtr player checks out from time to time.

Most of the band have been with her for years so that should be Hutch Hutchinson...??? The Road Tested DVD is worth it... and you may well hear a difference between that show and the more recent Bonnie Rait and Friends but both are worth having in your collection, IMV.

[quote name='stingrayPete1977' timestamp='1370803707' post='2105805'] JTUK often tells us tales of these terrible bands but we never get to see his [/quote] Let me know when you are down this way... we are pretty busy over the summer.

[quote name='discreet' timestamp='1370799912' post='2105729'] How did you come to this conclusion? [/quote] Because I see a lot of bands play around my way

A 70's Fender is no real recomendation of any sort of quality, IMO. If it plays and sounds as you want then maybe go for it and it could be worth more in the future. But my '75 Jazz, 3 bolt was easily the worst bass I ever owned ...but today people would ask £1400-1500 plus for it..??? I think the main reason '70's basses are becoming collector-ish is because 60's are so hard to get.

Yep, stringers don't need to show on the front... as it destroys the idea of the AAA facings, imo. You can leave the back with the neck thru construction showing but on the front the only thing it does is point to the fact that the facings don't/can't actually match up Book-matched is book-matched, IMO...

Depends on the attack of your right hand, mostly, IMO. If you have a strong grabby technique then you may overpower your strings. I use a 118 B st but only get away with that set as I play light and I now use compression to stop me chasing and digging it too much. I like the feel of the 42-118 off my left hand but don't suffer from a lack of weight in the low end. I don't think gauge has much to do with that....in itself, and i think the 118 is perfectly balanced in terms of tone across the strings on my basses. So, in short..it is more than just one component or change that makes the deal

No, haven't found that..but the £1500 plus doesn't garauntee you anything either. Depends also on your reference of sound and do you put much credenence in it. I would put more store in gettings reviews from a keyb player or gtr who had his own sound right down, and a few X pro players and engrs. But...again...depends if you buy into what they are selling/saying.

You'd think hw would have wanted a footie theme in his band ..?? but the guy sounds a complete plank and you did well to find that out at the start

Start with root, 5th octave played over quavers/8th notes.

But.... if you see local bands the bass is more than likely going to be the weakest... either from a technical point of view or they don't know what the EQ section does or even what the notes are on the bass and what constitutes a scale or chord.

Think yourselves lucky...we have to close the evening at a local festival after a tribute act of that kind and I think there will be plenty of attitude ..which is not what you really want at those type of gigs. I might be wrong but since they call themselves U.K no 1 ect ect. not expecting anything else...

Very keen price.... can't imagine how you'd p&p it for £1.99

yep...agree. I wouldn't even bother with a single 112 .. the only time I'd only take one out would if I just needed a sound up for a song arrangement session with no drums, but I could also use a MB 102 combo for that.