JTUK

If you can live with the carry, then I think subs add quite a lot to a P.A... We look for tight sub bins...currently want to demo EV Z!12 types, which are active and compact.. but have had decent enough results with Carlbro GAmma type stuff, to go with QSC tops. I'd certainly get decent sounding tops..and you should hear them... and then maybe see what you can live with subs-wise. Mackie subs were not so good for us with the Martins and a big lift to boot.. The current thinking is that QSC subs ..altho compatible.. aren't that great, but they do elevate the tops to an overall improvement worth having...but the subs are night on £2k per pr..??? and we can't/wont carry them all the time. Our sound tend to be pretty decent with tops only so the subs aren't really going to work that hard...so we can get away with one, I think. For the bigger gigs, we will hire in... The only thing about 18"s and 15" is that who will want to buy them of you..??

JBL should be ok, but IMO, it isn't the JBL of old and we have had a few silly horn units fail on us which is why we didn't buy JBL ourselves. If you have only been running tops, then anything with subs will likely be an improvement on your old P.A ..and it is very common for people to skimp on vox in terms of sound and actual singer as well, considering this is the KEY focal point of a band. I think RCF are doing decent stuff these days..they always used to, but it was very expensive, so look at their active 12's but now their cheaper lines are still better than average. EV might be a tad behind..if looking at the gear in the same sort of pricepoint. Forget SX300's as that is backline Key stuff, IMO.. and not upto function band work in larger halls. If you are considering the 215 tops and subs, then consider who is going to load that all in.. let alone carry it. If you are going for tops only and thro in keys and little extras, then you'll need GOOD tops... QSC isn't really good enough unless you add the bins and then you have the carry factor[i]. [/i] I would say it is a decent solution for £3k for a 3-4k rig with subs though. If you are talking about £1000 for your tops inc amps, then £4-500 on a pair of good Martin Audios out fo E bay is the way to go. They will slaughter pretty much anything I've mentioned in my post, if you can get a controller with them.. and handle keys and vox very well. We ran ICT500's which are miles better than QSCKW12's, IMO... and you might be able to get some smaller ICT300 for about £400-ish as well Doubt you will get F12's tho..and you still need an amp, for that money..if you don't have a good one. Early Mackie is ok..not the later stuff.... but your money could be spent better elsewhere. The final thing is that you need a P.A for 200 people in a smallish room/marquee....and should be prepared to hire in/add subs at that point.. Any larger, put the P.A hire on the bill....

I'd want to avoid them... and it pisses me off otherwise. As I said, I am not much concerned if they go unnoticed by everyone else... Our unit is pretty good..as are the dep bands, and I just don't want to see or hear it happen from my POV. If youn have a cetrain reputation, you probably come under more scrutiny, if only by bitchy muso's, and in a pub, we'd laugh at it... Not on a bigger stage though..so not making them at any time is the goal.. An impossible goal, but a goal nonetheless. But sure, if we played faultlessly, but without passion or soul, then that would be noted as well...

[quote name='Raymondo' timestamp='1354270859' post='1884236'] I play for free every gig lately... .oh we get paid but as i live in Nottingham and the gigs are in Coventry or Birmingham I book a hotel so that I can have a beer or three! so petrol.beer,hotel....much more than the 50 quid I get from the gig....but my girlfriend ( I want to wite.. comes with me... here but I know what you lot are like ) goes to the gigs too and we just treat it as a night out [/quote] Sure, if that works, it works. I just have to come away from a gig with money in the pocket. I've belly-ached about it so much that it is ingrained. ....and tbh, I am not impressed with 'free' bands for whatever reason.. But there might be a gig round here that I'd do for free, ...but a few beers on the tab would be nice... but the gig itself would be paid.

Well, you can have a little fulff here or there..which may well just be a little string fluff, where you haven't fretted it convincingly and so it doesn't come through as much as you'd like, and that would piss me off. I don't much care if the audience notice it..I did, so that is it for me... By the same token, I am looking for a spunky performance from the band, and altho I might notice a fluff from them, I would smile it off...as in, I noticed it, but don't really care too much, it's gone anyway... If I watched other bands, I would likely notice if I was watching that player... but otherwise might not hear it.. but again, if the performace was getting there, I wouldn't really register with it.. Train-wrecks are different..and that is a bad mark allround. How seriously you take it, depends on the nature of the gig and how big a wreck...but wrong chords are a no-no, IMO.

It wouldn't get my 7mill

[quote name='TimR' timestamp='1354205926' post='1883615'] Luckily for me, so far every band I 've played with has done Mustang Sally in C. [/quote] Ha Ha... But it would hardly matter, there are plenty of standards where the only shout is the key on the count-in...and you'll be expected to nail it, groove and all

TF and DB are a very good match, imv

Well, at least you know .... but you should tell him what the bill will be and get it before you play.

Moves should be natural or not done at all... I only get apprehensive about tickets and attendance not the performances itself..

I think you are sold on the EAD 212....

[quote name='chrismuzz' timestamp='1354157563' post='1882930'] Interesting.. I get the low/low-mid rumble on some stages. Does using a sealed cab completely eradicate this? [/quote] It might give the cab a different tune, and that might cut down the lows... which is why the 810 cab is so well used on large stages. You really DO NOT want wallowing bass bleeding into everywhere in the mix. It is THERE but not everywhere. Of course, you have have TOO much bass You look or hear, industry standard bass monitor rigs and you will not find a boomy cab. SWR, from 20 years ago with their Goliaths, etc..Eden XLTs.. and the iconic Ampeg fridge... I use 2x210 with a HEAVY amp and the sound can be FULL..but never boomy.

I wouldn't cane it straight away... but I wouldn't not use it either. Maybe a week of home practice, every day...that sort of thing

Not sure about this approach. Maybe ask the others what they want to hear and how they want to hear it. You might find the drummer, for example, wants BIG bass, and likes to feel it etc etc .. Players like to inter-react with each other and hear the sound the way they want to. If you trying to give the gig the beans...there is no real way round that..you need to be putting out some volume. Some gigs just don't work well with a small stage sound..

A mate of mine swears by his 2 Epi 12's... and sounds great

[quote name='chris_b' timestamp='1354096148' post='1881908'] Actually Peter Green was the best of the lot. [/quote] back in the day, maybe... but not on a relatively recent gig, I'm afraid, which was a shame. Beck is still out there and can conjure up some magical stuff... he just doesn't seem to have a plan about what he does otherwise he would or could have been bigger than Clapton in the God-status, IMO. His playing is worthy enough, of course, but he doesn't seem to embrace a large audience.. for one reason or another. He is the sidemen in a front-man gig..??

[quote name='Doddy' timestamp='1354052999' post='1881537'] Jeff Beck. I've always thought that Page was often quite sloppy (Plus,I'm not a fan of Zeppelin). [/quote] I'd go for Beck.. who can also look a bit cack-handed, but the sounds he comes up with..???? Very inventive and individual player... Gotta love them both, tbh..

Have a look at Epi UL series. They seem to crop up here quite a bit and you'll have light weight and quality in one package. For church rooms, I'd be thinking of a 210, but maybe the 12's will be ok as well, alth not my choice in a 'fat' room on the face of things... I would also think Markbass as they are fine at low volume.. Not sure about the yellow and Orange colour scheme tho

It doesn't sound whether you know whether this combo can cope with the line-up you are putting into this gig. I suggest you think about doing it with just the combo...as you say it is a small pub.

You joke... I wouldn't buy a bass or amp from half the music shops about..let alone Tesco's..

I don't like the singles of either... so I would always pair up..and in that regard, the 2x210 wins every time for me, over 2x112. I think a 112 is lacking, and the 210 will be as well, but not as much. I think you'll reach the limit of what the cabs as singles can do...and would not work for a powerful band. Since I couldn't run them as singles, my opinion will not really count for the OP.

Not sure what is going on with the 4 band semi para settings. It is said that the TF is hard to get a bad sound out of... and I agree. As much as the SWR SM series ( which shares the same EQ concept) was capable of very good tone shaping, it took a lot of time to get one, potentially, whereas the TF is plug in and play... and if you want to alter something..you just find your way around the timbre and enhance and you are there. Both my basses really suit this amp and it is a dream. The only thing to beat it is the DB750 series, IME.

A fluff or two if I am having a bad night..which might just mean as much as me coming off a note. I wouldn't be able count mistakes per gig... more like 3 gigs per mistake or somesuch. I guess it depends on what is a mistake..?? a wrong turning or section..?? Not many of those noticable ones

ok for their era... Will do as a practice amp and acoustic gigs. Can't be bad for £10...

[quote name='Doddy' timestamp='1353957469' post='1880284'] ..............I might listen to the tunes a couple of times without picking up the bass,usually in the car,before learning them,so I know how it goes.Then it's just a matter of getting it under the fingers. One thing that I think helps (at least for me) is having some knowledge about chord progression and harmony. Many songs use similar progressions (I-IV-V, I-VI-II-V etc) and if you can hear and recognise them it makes life a lot easier. [/quote] This ...................is the shortcut to busking a gig but helps out on more regular gigs as well Once you know the sections of the song, you just need to hear the changes and develop your hearing of the intervals. Most changes are pretty obvious in terms of bar lenght as well... so this way of sectioning the song means you can have a pretty decent crac\k at it just from hearing the thing on a radio or some distant reference.