JTUK

I am going to go against the grain here. 2x112 can be a good rig but you'll hit its limits before you will a good 4 10 type rig, IME. There may be fine margins in it for some, but my 2x210 is definitely in front of my 2x12 as the rig of choice in every regard bar carry.

[quote name='EssentialTension' timestamp='1370697640' post='2104535'] PS I didn't get either job. [/quote] I would have thought you'd fail them if he couldn't tell the difference between majors and minors....

Nobody said it is easy...you have good days and bad days but as long as you can put yourself in a position to be able to go forward, you'll probably be able to stick with it.. but sometimes to get a pro attitude, you need to be pro about it ALL... and that might start with being able to pay people. Pubs are too much effort for the money..IMO... so you need to be breaking £100 per head more often than not to get and keep the commitment from your gigs... I guess there is easier money out there... ...

JFDI.... they wanted a vehicle to encompass that and they got it. The music they were taking the pee out of really needed that check... but what they replaced itg with wasn't very good. Still, it blew away a few cobwebs and a few decent artists came out of it. It's funny, ...they laughed at the likes of KIss but were likely all Roxy fans...!! Attitude was one thing but in the end they just wanted to dress up and it helped if they had their own movement

I've taken Sei basses in a full flight case, and locked, in the hold. I made sure I had time the other end to do a quick neck tweak if necc. Would I use the lower cost carriers and trust their handlers...er... ? no..!! as weight and baggage limits can get silly

[size=6][sub]With regards to kit...his backline is crucial...stereo or mono ..??[/sub][/size] [size=6][sub]How many keys he will carry as my guess would be the only single keyb for a funk unit would be a Stage ll..and even then he'd be struggling with synthy type sounds, IME.[/sub][/size] [size=6][sub]I'd say Nord for Pianos and Organ and a Roland type for synths... and how good is he at getting 'into' the sounds and [/sub][/size] [size=6][sub]triggering them.[/sub][/size] [size=6][sub]That is after you actually like his 'mojo'.. [/sub][/size]

The two horns can be transient members but the keys less so, IMO. To check him out...and maybe his particular musical bent, I would see what kit he has..and how he has used it...as this will point to what sort of work he has done before. Some keys are great for some things and rubbish for others, but he should know his onions wigth reards to core sounds. He needs a great acoustic piano, and even better elec pianos and he needs to be able to make a very decent fist at organs of various types. He should know what sounds he is going after..and if he knows the sounds as you probably do within a funk line-up. then you'll know what he listens too. I'd ask him who his fav players are..and if he says Richard Tee, then you are cooking.. but is if the answer is a bland generic type, beware. The type of keys he runs is pretty important but less so that he knows how to get sounds from them.. I probably wouldn't get them all together by design myself as you are introducing a few too variables at the same time and it would be harder to control the 'jam/audition' to cater for all. Having said that..if you did all gell at the same time that would be a massive bonus.

I'll go along with this. I have my A rig for the better gigs with a decent load-in or even stage crew on hand...but I still have to get it from the car.. which is a great sound, IMO. The amp is 60odd pound racked up and the cabs are the same each...ball park. For other gigs I have a very decent TF amp with Berg 12' cabs and they do well. I'd move the Bergs on tho if I see what I want to replace them with crop up and the deal was easy. It is only against the A rig that you find that little difference. I wouldn't have been aware of it had I not been able to compare the two....but I knew there was something not quite there.. So, yes..there is something in the weight for me.. for sure. It isn't a theory I can proove..but my ears tell me that so..??? and I have strange people come up after the gig and mention it as well.

[quote name='chris_b' timestamp='1370434542' post='2100724'] Mmm. Maybe I should add Dingwall to my list. [/quote] BassGear have a 4 st you might want to check out.

Don't do more than 2x1hrs max and I practice and rehearse sitting down... Why invite problems..?? Haven't weighed my basses...

I'd put Lull above both in the OP ...from what I have seen.

[quote name='WalMan' timestamp='1370435108' post='2100738'] ................ 25+ does seem a tad excessive. I while back I to learn 25 or so for a dep, that actually fell through (was asked as "our bass players's dicking us around", learnt them, then having been drawing a blank on confirming the dates & a quick run through to top & tail, was told "sorry we don't need you now" which was a bit of a pisser) .......... [/quote] They should have paid you....

Wouldn't worry about it Barrie, but you might want to offer ( or consider..) to pay a cancellation fee if there was one...??? It can only be a half fee and it might be worth it just to put the whole thing to bed... As for playing songs we don't like..... I tend to like them even less if we can't do anything with them so the band has to be on the same page in that regard and realise pretty quickly that their favourite song actually doesn't sound so good the way the band plays it... and by the same token naff songs might get a bit more mileage if something just clicks.

You only need a handful of songs to know if you have enough to work with. If I were to hold an audition, I would pretty much know the guy could play...and all we would be looking for is the 'chemistry' ... so within a few songs that is sorted and you are down to exploring things. You can run through more songs just for fun..and to see where they can take them... but it is asking too much for someone to 'learn' more than 5 songs if the project doesn't have legs. IMO. If someone asked me to learn 20 odd songs, I'd be thinking I'd got the gig so it would be worthwhile.... We did recently audition a drummer tho who was recommended ...and I should have known better...and a drum teacher to boot, from a respected drum teaching franchise, IIRC.. but we were ready to walk after two songs. After a while, you know what is going to work pretty quickly... The whole point of an audition is to proove the idea has promise.. not to play the track perfectly, ..that is what subsequent workouts are for.

[quote name='Damonjames' timestamp='1370295552' post='2098896'] Ill throw into the mix that I already have a 610 so trading down at this point seems unlikely. As stupid as it sounds I think the 810 would be easier to manoeuvre with the built in handle and wheels! [/quote] There are pubs and pubs, in terms of size but generally it isn't the size it could be the sound...and not from where you hear it, but from the punters POV. And if you don't run them with a very decent amp... the cabs can be hard work. To get perspective of how they can work... you think you are just loud, but the windows in the pub are rattling and people have stopped breathing and I am not sure this is what you really want or need.... And if you don't use the volume... what is the point..?? so yes... IMO...too big for pubs..!!!

I don't think I'd be putting a lot of volume into the cab myself so would take the power handling 'figure; with a pinch of salt. Go carefully

[quote name='Damonjames' timestamp='1370248975' post='2097963'] It's like you are reading my mind! That rig would cure my search for "tone", but like you say, it's not the most portable of rigs [/quote] Not so sure it would, IME. The SVT sound can be quite boxy, but it is the sheer oomph that saves it...which is down to the amp. The cab, in itself is no great shakes, typically, but it is a reference sound and does stages well, IMO.. Recently played through a variation of this theme... and the amp..(not the SVT).. couldn't really save the cab. The sound on stage would have been useable, but you wouldn't want that sound to be the only sound you hear out front...IMO

Our current drummer played/toured with this unit with Paul Geary on bass, IIRC. I think it was regarded as a very tight gig at the time.

Work on the basis that all extras outside of your playing role are chargeables. This is why our band costs £275 per gig to run, minimum. You may have to swap one cost for the other, and after all, you are IN a band, rather than empoyed by it, but the workload.costs need to be spread. If everyone takes an equal role then great, you are bartering one off against another, maybe..but if an unequal load, then make it an issue to the point that people understand this is work that needs/has to be done by someone. We pay kitty/admin/PA and therefore have to look to split the gig fee 6 ways ..the 6th share pays out the extras.

ho hum...

[quote name='chris_b' timestamp='1370165760' post='2097058'] If it sounded that good I'd want to take it to [i]every[/i] gig. Why have it if you don't? The reason why you guys are saying you would only carry this amp to specific gigs is the reason why I would own something else, which would also sound great and that I[i] could[/i] take to every gig. [/quote] I treat it the same way as lighter/smaller cabs... in that I can tolerate the compromise, but I know it is there. My B rig is TF550-B and Berg 112's ...so it is by no means shoddy IMO.. but the DB rig is the DB's. If I do pubs dates, I will take out the small rig..but for decent stages and better gigs, I will take the A rig. We aren't talking bad sounds here ...just good, and bollocking...IMO I'm happy with that...

[quote name='Bill Fitzmaurice' timestamp='1370176256' post='2097211'] Make sure the fault is the amp and not the bass. [/quote] This... Get you whole signal chain checked out

[quote name='bassmachine2112' timestamp='1370172700' post='2097148'] VT pedal,straight into PA and forget about amps and cabinets-cheaper still [/quote] But at some point you are going to need the sound to come back at you... and that leaves you at the mercy of the FOH engr...who cannot hear your stage sound.,...or if you are lucky, you'll have a mon engr on stage ..but you still need to hear the sound back and be able to communicate if anything needs fixing. This is less of a problem if you get an hour plus for soundchecks.... but even then, the drums and other instruments will not be able to bleed away the time...

Everyone will have their own picks... For me is is about feel, sound and I like them to last more than a few weeks. People can give you pointers about certain characteristics but there is probably no way round trying a fair few brands and gauges ..and hoping you get lucky and find what you like without too long a search... and with too much cost

Looks great.... enjoy it.