JTUK

If someone puts some effort in BT's ...and employs a decent producer/engr then they deserve a premium of sorts in their fee... but they had still bettter be good...and she better be hot as well. You'll get crap bands, crap duo's and crap solo's but it isn't about what is fair fair... it is more about the market being sustainable. You can be undercut on any manner of gigs, and your only repost is..."you get what you pay for".. Just try and be worth what you charge..that is all you can do.

Don't get nervous about playing as I think I know what I am doing and I am upto the job. But, I sometimes get nervous about turn-outs especially if a ticketed affair that is ALL about whether people will pay to see us. Not talking about weddings or functions as someone else has the problem of getting people there and the audience is captive

[quote name='BigRedX' timestamp='1349159196' post='1822430'] Depends on where it was made. If it's made in Japan then most likely yes. Anywhere else then unfortunately it's probably no better than any other bass made in that country except it will have an over-inflated price due to the name on the headstock. [/quote] I'd agree... you need to hedge your bets if you buy unseen..

[quote name='Cosmo Valdemar' timestamp='1348575746' post='1815370'] I would never put McVie and Entwistle in the same bass boat, very different players. If you listen to any live Who recordings you'll hear Entwistle playing his balls off throughout. His style was perfectly suited to Alembic, and in my opionion they probably gave him the best vehicle for his tone. [/quote] See, we differ there because I thought both had awful tones... or rather they never often came across on live recordings as good.. or not that I've heard. And also Entwhistle let his sound get way beyond his technique so even if the bass could sound good.. he was too concerned wit hgoing for flash..and hte end result so many times were..awful. AWFUL, IMO. I'd put a few videos up but don't want to sidetrack the thread. I think Mcvie would have done far better with a P-bass, but there you go....

I am running my J5 passive atm... as the battery ran down and altho it lasts for ages, I haven't needed to replace the batt as we are having a few weeks off. The trick to a great jazz..as far as I am concerned, is to EQ the amp so everything on the gig can be covered with either full on, both pickups, or bridge solo'ed..and all you'd then need to do is wind down the passive presense to taste. This only requires the enhance or timbre to get dialled in as everything else is level (12:00) on the amp Fortunately both my jazzes sound very good passive and active and are compatible, but very different sounding basses so you can run the same amp sound for both and just dial in whatever variation you want from onboard. One is classic MM, the other is a vintage RW sound...and both have East U-retros to help out if ness. Love them both...as they are very playable as well as very good sounding. I can do every gig with a jazz, IMO.

Could have done it., I think. With or without charts

To follow on from this and a bit OT...a few bands round here have been going for too many years and they travel all lenghts of the country to play gigs.. It is all very well doing that... but they can't sell out a local town gig here for love nor money so when are they going to get the fact that nobody wants to see them. ........... In general, more bands on the circuit may well dilute the whole process... I think any half decent band will find a way to get gigs and get rebooked...but there are a host of bands that wil play for free and if more venues crop up, then you'll get duos and the like in their masses. No problem with duo's as such, but what you don't want is cheap soloutions for cheaps sake... and the quality of bands needs to stay high. Venues should review their rota and book the bands that pack them in.. and those bands are likely to know they are worth decent fees. What bands don't need..IMO..is anyone that will gatecrash that party with a really cheap price and not be the required standard so the venue itself no longer is the type of place that people will turn up on spec..as the rep of that place is for good bands. So, whilst on first thought, it is a good idea to have more venues, I still think the license should cost something ..if only in terms of the venue infrastructure being good enough to support live music.

Good one..

merge these threads...? [url="http://basschat.co.uk/topic/188168-change-to-venue-licensing-requirements/"]http://basschat.co.uk/topic/188168-change-to-venue-licensing-requirements/[/url]

Nice stack..2x210's make so much more sense to me.

Have you tried them against the discontinued AE112'S....?? would be interested in any differences sound wise.

Am loving both my Sei J5's..can't see me selling them at all... and I am still trying to decide whether to commision another one. Do I need 3.... that is the real question..

Without seeing and hearing it.....but you have...I'd say that was a very keen price. I'd be concerned it was fake, tbh.

Slapping can be a tired old cliched style but some guys sound fresher than a lot of others and this guy's great groove and tone helps a lot. I'd say this was an object lesson in how to make it work. Good shout, IMV

I'd have to force my fingers into a scrunched up and restricitve position to be able to rest the thumb which I wouldn't want to do for a fingering technique I use 90% of the time. Out of all the hand shapes I would use to atack the strings, flaoting thumb would appear the most unnatural so it is not for me.

[quote name='51m0n' timestamp='1348830883' post='1818788'] Ah yes, sorry, I see what you mean, you can if you dont move your anchor when you play on the D string, and rely on the plucking finger coming to rest on the A string to mute it. But this defeats the object of moving the anchor in the first place - which is to keep the plucking hand as close to its curved fingered relaxed shape as possible at all times, rather than opening you hand up further and creating a sharper bend in the wrist at the same time in order to reach for the strings that are now further away from the plucking hand thumb (which is what your relaxed hand's fingers want to rest next to). So you have compromised on plucking hand ergonomics in order to keep that muting going on. Of course if it works for you then tip top, and carry on and all that. I cant do that because I have tendencies towards RSI due to the code monkey elements of my day job [/quote] I don't think that defeats the object at all..and Nitti's anchor does move..as he re-anchors up on the next string.. which keeps things consistant..which IS THE WHOLE POINT, Shirely. You want a default return position..and if you move up the string anchored as he does, this gets the job done on a 5 or more string. I would say..IME.. that you don't need to anchor more than on the B and E anyway but if people have masses of ringing strings..either because of an inaccurate strike or sympathetic string droning..or whatever..you need to brush up on what you do to the point that they don't ring.. It may well be that the player bounces around a lot and this can make the strings lively.. but anchoring the B and E is/should be enough as the stretch is pretty close. Of course, on a 6 or larger... all the consistancy is gone due to the stretching the RH will have to do... As for RSI... stretching or abnormal positions is not good.but I do think that the movement of a digit is far more precise than a whole artm/shoulder movement and that you would have to anchor the arm somewhere anyway.. just as you want to do in slapping .. The return to the default and comfortable position is always the most accurate way to go about these things. I am not sure why we are all keen to impose one method above another, tbh..my main concern is why some can't fathom a system that works time and time again to a pretty effective standard. Most of this is standard muscle memoey as half of us will have had to recheck how we actually do achieve all this now... For me, my muting..as such as it is...is LH and RH...but both with the fingers..and the thumb comes into contention on the lower strings largely to reduce a big stretch...as playing ocatves on the A..whilst anchored on the B is just imposing a limitation that isn't necessary. The upside of this is that it also doubles as a mute At the end of the day, we all get there in the end....hopefully.

[quote name='Doddy' timestamp='1348793988' post='1818484'] It's not sloppy playing to need mute the strings. It's not uncommon to get sympathetic vibrations from the lower strings,and if you are playing on the upper strings how are you going to mute them with the left hand? You need to use the right hand to do this. Muting of the strings should come from both hands, depending on what and where you are playing. But the need to mute the strings you aren't playing isn't due to sloppy playing....I certainly wouldn't call Jaco or Patitucci sloppy and they mute with the right hand all the time. [/quote] If you like. Can't be bothered to argue If you need to mute ..then devise a technique that can do this job. Don't care if you see that need as left or right.. It is all in the playing anyway...but that video is not inspiring at all...or particularly demontrative to any degree, IMO.

[quote name='51m0n' timestamp='1348764926' post='1817923'] No thats moving but anchored - floating is where the thumb never hits an anchor point but remains lightly (very lightly) resting on the strings:- [media]http://www.youtube.com/watch?v=PPVMBPmrblU[/media] [/quote] Have to say that that is a completely nothing video.....IMO but there you go..! Why would you need to mute strings you aren't plucking..?? that is just sloppy playing. I can understand muting the string you are attacking but that is what the LH is for A floating technique has more relevance when you actually using the thumb but then you will still likely be anchored either by the thumb on the string itself as in double thumping or by the little finger of the right hand for Caron's type of attack Other than that... who cares..?? if you think you can see the benefit then go ahead.... but the faster movement would be the indivual fingers rather than the whole arm from the shoulder as depicted in the video.

[quote name='bertbass' timestamp='1348764933' post='1817924'] You won't be happy until you do what your heart says. [/quote] yep..... altho a Ampeg thru an large Ashdown sealed cab is not so very bad...to start with. And then look at for a 410 from £350 sh..or better still, a 610

[quote name='Coilte' timestamp='1348733678' post='1817383'] Well...yes it could do, if you are prone to wrist injuries due to having it bent most of the time. Granted, lots of people play with a bent wrist and get away without problems, but others find that they experience carpel tunnel type problems, so the FT is ideal in this case. I use FT all of the time. [/quote] In that case, you'll work out what works for you. but muting or lack of it just bad technique so people should put more time into what they already do.

Depends on your 'loud' but 2x112 is the minimum way to go, IMO. so that is an extra carry but it depends how far you will compromise your compromise

Depends what you are trying to do..some you want to have achored, some you can't. But does it matter...? you do what you do and you work it out. People don't have to be led down certains paths all the time.

My basses are 5's.... I play 5's

[quote name='Chris2112' timestamp='1348605631' post='1815991'] This is an essential factor for me. The Low B must be present and useable. On some basses it feels and sounds like an afterthought. Never played a Status with a bad low B (graphite ones, anyway). My Warwick Thumb 5 string is the bass that had brought me back to 5 strings after a considerable hiatus. It really is superb. [/quote] Always said the B defines a bass..or not. Cannot imagine what use a 5 would be otherwise, but....... good B's on too many basses are far from a given, IME.

What gigs are you trying to fill..?