JTUK

I wouldn't be using any of that stuff you've listed ( I very much doubt ) and I wouldn't agree that rehearsals aren't for sound as well as anything else. The gtr will have spent eons on his sounds and board and he wants to hear it in context...ditto the keys. I wouldn't want to be finding out it doesn't work live LIVE. The rest of the band will have an input into what the other guys sound like anyway...and just as they would want endorsments on great sounds... they'll take the negatives on board as well.

[quote name='badboy1984' timestamp='1366379852' post='2051824'] hmm, lots to think about now. my TC rig isn't exactly heavy so i could actually lure the 2x BC212 cabs without a problem. Is just i trying to take less as possible. The main problem is setting up the gear and sound check because my experience from last time (supporting the same band) is that the main band take up all the time to sound check and left us with no time to setup or sound check. We only playing 8-9 songs on the time we been given and last time the guitarist guy had no sound check at all and me and the drummer couldn't even hear the guitarist and we can barely heard the vocalist. [/quote] This is not a good working relationship. You should have sound check slots and pretty much stick to them. Of course, any overuns are going to go against you guys...but there is nothing to be gained in being unhelpful to the point of making the support sound poor. IMO.

[quote name='badboy1984' timestamp='1366372402' post='2051624'] the venue is not really big ...... max around 200-300 ppl. [/quote] I'd go for a stage rig that can handle 400 good watts for that sort of sized venue... and that is assuming that the mon rig will not have many mixes so you wont be in it..?? People may say keep the stage sound down...and there is argument for that...but having a good stage sound means you'll play better. If the band is going for it on stage..it is of no use trying to do battle with a 112 cab, IMO. You can turn the thing down more effectively that you can eak out volume from a stressed bass amp and cab

The thing is that a complete balls-up should be so out of character and unusial for the band that you'll stop the song..take the pee out of what happended and launch back in and proceed faultlessly to the end. If you aren't confident of doing this...what on earth is the song doing there in the first place?

We are a 5 piece so share roles and 99% of the extras are split between me, the singer and gtr...and we even put a split of the kitty against this work. It is a fact of life that certain roles are easy for some and others may just not have the time or energy to devote. Home duties would trump any band duties so you have to respect that or the band will be forever putting out fires.. The least that any member should be prepared to do is sell a gig from time to time...and by that I mean, if they rounded up a few friends to help out the numbers. If very member brought 2 couples then that is 20 odd through the door and in the beginning this is most important. As long as people are willing to chip in with load-ins and general usefulness, this little effort goes a long way. Just as much as we don't want to carry a musical passenger, we don't want a slacker to hold back or antagonise things elsewhere either.

If you can carry off a stoppage, then make a joke of it and start it again. But if the songs in general are dodgy, then you will not recover from it.

If it is the guy I dealt with thru the shop, he is very laid back about this and goes missing a lot. I'd pop round to his place and talk face to face.... as he might have other issues distracting him. He will always say he is VERY busy and I have no reason to disbelieve him. I got my problem sorted in the end..just not as quick as I would like... He might have lost your contact details... Talk to him face to face before anything else..and get the current state of play....

[quote name='Clarebear68' timestamp='1366236527' post='2050092'] JTUK - what would you define as over done 80s stuff? I'm asking as we've been asked to do a couple of sets of 80s covers at a gig alongside a DJ for an 80s night. [/quote] Round here..??? Queen, AC/DC. Lizzy/Gary Moore... typically 2 gtr rockbands. Basically anything pre-Indie comes under 80's...even if it is a little bit 70's.

Tone shaping on an onboard pre can be very harsh... so that could mean +15db of bass...and +-15db of treble. That is enough to destroy any bass tones. I am currently in a passive zone with my basses atm... but I get my sound out and enhance via the active controls if I use them. I'd consider the extreme capability of most pre's as unusable..... read sh*te..!!!

Agree, it is ALL about punters as they drink the beer the LL needs to sell. Crap bands pulling in the numbers will get far more gigs than they might deserve but we shouldn't loose sight of the fact that beer sales trumps everything else..no matter good you think you are. It always fascinates me what works in pubs... we try and do the stuff we want to a decent enough standard but we may well suffer for not having a populist set. We aren't going to change that but you have to decide what money you need/want to get and square that with what you want to play. My thing is I am not going to play a load of stuff I don't rate much for pub peanuts....but you live or die on how many punters you can get in on a regular basis. I wouldn't play to empty pubs either, so you need to square that as well. I like bands round here that try something different, material-wise, and any band avoiding the over-done 80's stuff gets off on the right foot as far as I am concerned

Unless everything else is in sync, great pickups wont add up to much.... It is always the sum of parts, IMO And FWIW, the goal should be if other bass players like your sound, you know you are most likely on the right track...

[quote name='stingrayPete1977' timestamp='1366221897' post='2049856'] To be fair if you can't play freebird in four years time I'd probably have a look at golf clubs or football boots [/quote] Freebird would be far easier than picking up golf or football I know we all learnt it at some point, but is there anythng hard about it...??

True bi-amp...which isn't what the GK amp actually has, IMO.. is the ability to split the signal and send his and lows to specialist cabs and you need a variable cross-over for this. Nice idea in theory but not really that useful, when all said and done. You end up with twice the gear..as you run a stereo rig...for the same power...so hence, marginal gains, if any. IMO.

[url="http://basschat.co.uk/topic/184027-gallien-krueger-700rb-ii/"]http://basschat.co.uk/topic/184027-gallien-krueger-700rb-ii/[/url]

[url="http://basschat.co.uk/topic/205091-fs-gallien-krueger-neo-212-ii-cab/"]http://basschat.co.uk/topic/205091-fs-gallien-krueger-neo-212-ii-cab/[/url] and try to find GK head to suit...

Lets pick something from the Clasifieds that may do the job.. What is important..?? power/watts..?? weight..?

[quote name='xilddx' timestamp='1366152721' post='2049131'] OK cool. So why did you talk all that sh*te then, inferring incorrectly that he had not enough passion, and telling the guy to give up because he said all this new information sometimes feels too much to handle? Believe me, I have great passion for music and the times I have felt I can't handle all the information being fed to me are very many. It's because of passion that I kept doing it and didn't give up. If a tutor had told me I should just give up because I didn't have enough passion I'd have felt crushed and even more doubtful of my abilities. It takes a long time to get over that, I am still greatly lacking in musical self-confidence because I appreciate the possibilities of our chosen art and craft are limitless. [/quote] See, now I wouldn't. I would follow my own path and I would work it through. I know enough about myself to know that I haven't a snowballs chance in hell if I am not committed. Of course, later on, you may come up against REAL class... and that is a reality check, but I started by following influences and practicing a lot. I found huge holes in my education when I joined a function band at 17 so I plugged them. I just did a lot of varied stuff...altho metal or hard/heavy rock never ever interested me. At no point would someone tell me it wasn't working... but you get to know that if no one comes calling. I think I have decent ears..and it all starts from there, as far as I am concerned. I could be quite brutal ...but then I don't need to cultivate work for continuous lessons and I wouldn't want to waste my time. I guess I am very critical...but I am harder on myself than anyone else... I've learnt to soften things as no one wants to hear the same old speech all day every day. I guess I trust my instincts... of course, I do.

I have the TH pedal... I use it as a DI option only tho...

Teaching is just like music..it is all about the connection. IMO.

Tried this one in a shop the other day... PF-500 and HE-115 portaflex. Lovely sound at shop volumes.... and my only concern would be would it amp up well. This always sorts the men out from the boys IMO..but at least you got the sound right at one point.

[quote name='xilddx' timestamp='1366118623' post='2048524'] Really? It depends who's doing the explaining. I know people who did crap at school in a subject they ended up geting a degree in. It's usually down to the tutor. Motivation to learn can be quickly killed by a poor tutor. [/quote] Nice try N, but you can just tell that music is going to be hard work with some. It is not like objective subjects.... it is far more involved than that..as you know, of course. If you have to be spoon-fed every inch of the way, whenever is that person going to be ok left to their own devices. Ok, I learnt pre online..by some way... but you pick things up or you don't... That is fine, just don't expect me to get involved. And no, I don't teach anymore...

I remember Kent A showing how certain pickup makers ..or bass makers wanted their pickups wound. The surprise was that you'd think more winds and the more power from them would be what was required but people like Ken Smith and Bartolini all had their own takes. With a bit of experimentation I came to the opinion that I liked ...by far... the less winds, thicker wire approach. Way more character in the sound, IMO...

Depends how I read it, depends how I tell it. but there are pretty banal questions at times that I think if you can't work it out, you'll never get on with it anyway.

[quote name='molan' timestamp='1366063958' post='2048037'] Coming to a dealer for a straight in-store head to head soon: Bergantino CN112 Bergantino CN212 Bergantino HD112 Bergantino AE210 Aguilar SL112 Aguilar DB112 Aguilar DB212 Aguilar DB210 Vanderkley 112MT MarkBass 121H MarkBass 102P Bag End D12D ATS C312X1 ATS C310X1 ATS UL210C Now that could be a fun afternoon running a string of different 10's and 12's all in one place! - hope the orders and sales don't overlap and that they all arrive for a full on session at more or less the same time! [/quote] All in one place....!!!! worth dropping in for that. Keep me posted, please.

Wider gauge wire, less/more turns and better magnets all contribute to a sound. Maybe there are better quality wires..???