JTUK

[quote name='BigRedX' timestamp='1346687926' post='1791936'] Don't you listen to the whole band though and add what's need both sound and note-wise? A good band mixes itself as it plays. That's why you spend time in the rehearsal room fine tuning arrangements, so that all the instruments slot together in the mix. There have been several posts in the past moaning about keyboard players invading the bass players sonic space. But sometimes there's nothing better than getting a big fat synth sound holding down the bottom end while the bass guitar gets to do something melodic higher up the neck. [/quote] I do listen to the whole band mix on stage ..I am very particular about it and our general band mix is very good ( we are reknown for it ) for small venues with very little enhancement thru the P.A I give the stage mix the maximum I can even if we have multiple mon mixes and a mon engr... but I can only look after the stage mix in, I am in the hands of the expertise of the FOH engr and all I can give him is level... We forge relations with good engrs but in our recent experience, they aren't as common as you would like... Yesterday was the first time in the last few months where we have been happy and confident of the sound crew. Case in point..direct DI from my amp... and the stage guy plugged it in for me.... he went post EQ but didn't adjust the output level... I have levels of both post and pre DI and it was down at 4.. I asked the FOH after whether that was enough for him..to which he replied he thought the signal a bit light but he worked round it.... Fortunately we had people go back 100mtrs from the stage and they said the mix there was great.... so I was pleased they dodged that one Obviously, I took their business card and hire co details

I'll have 3 core sounds and my trick is to go between fingers attack on the rear pickup and a general Jazz sound and keep the levels consistant. When there is too much going with a new engr, he will likely have his hands full without me adding to it. But, fine, if you want to change sounds and then wonder why the sound has dropped out of the mix. It can be tough enough to get it there in the first place so I don't chase the engr around ...I want the bass to be there from the start and to have it stay there

[quote name='chris_b' timestamp='1346685486' post='1791902'] I don’t care how the original sounds; I'm the bass player so all the numbers I play get my tone. I must be doing something right because, while I’ve been asked to turn up and turn down, I’ve never been asked to change how I sound. [/quote] agree............ and you get asked to play a lot...so that is the endorsement that settles it, really, IMO.

Nice Rig

Closed the main Brewery stage at the Faversham Hop Festival...too many bands I wanted to get round to see and too many venues but an excellent weekend, very well run and rammed.. The town must have sold gazillions and the local bars must have had about 10 xmas worth of takings..minimum..!! I never saw one not full all weekend

Only gig two and they are both expensive so this is another reason why you don't want to be sqeezing into pubs...

Not surprised certain companies would think they can call this shot...and like it or not music is a lot about image over substance. Doesn't say much about the lot of them as people but I agree about staying dignified, at least in public. Hopefully, you can get the chance to serve some COLD revenge......so find aqnother band and onward and upward

Fly the key pads in on a click.. As it sounds like you don't want a full time, full blown keyboard

When you talk about mates rates not all the band will be mates with the mate in question so to them it is just another gig. If the mate is close then you can waive your fee but nobody expects the other guys in the band to work on that basis.

ho hum... £80 tops.. not that I'd pay that.

SWR baby blue but not a loud pub rig.

[size=6][sub][quote name='flyfisher' timestamp='1346358673' post='1788400'] I guess a lot depends on whether you gig for money or love. We've played at quite a few mate's parties for nothing more than free drinks and food. [/quote][/sub][/size] [size=6][sub]You can have that POV, but some gigs can be a PITA so I make a point of always walking away with something.[/sub][/size] [size=6][sub] [/sub][/size] [size=6][sub]As it is, I do it for the love of it [/sub][/size] [size=6][sub]Lugging the gear and the hours involved mean it is a LOT of work... and some times, too much work for the money, so it is better to [/sub][/size] [size=6][sub]say it will cost this much or get someone else. Mate's parties have that extra little pressure, so I can take them or leave them tbh..[/sub][/size] [size=6][sub]and I'd rather attend as a guest.[/sub][/size]

[quote name='stingrayPete1977' timestamp='1346356045' post='1788339'] We are just getting a fresh band together, pub set and wedding set yet to decide and learn but we have all been around the block so started by having a meeting without instruments first to discuss it all, pa situation undecided but at least out in the open right from the start, practice venue was discussed and we have got a function room above a pub right in the middle of us all every Thursday night for as long as we want as long as we do three free gigs a year for them? I think that's a fair deal, what do you lot think? [/quote] I think it is a fair deal for now...until you come to do the gigs and walk away unpaid. Put some money in the pot so you have a pay out at the gig. Nothing so disheartening as coming away from a gig with nothing....zip, zlich..!! Good the P.A issue is already out there.

Mate's rates is £420 aboslutely minimum and that assumes the mate of the mate doesn't waive their fee...but that doesn't go down too well either. So.. to settle this, our min fee is £420 to mates, come what may, for a local booking. Beers and food are expected altho none of us cane the drink Agree about the communication point..get it agreed now, for the next timwe.

With a full 88 keyboard they might want to get down the register once or twice so you sort that out pretty quick and if he doesn't get it...you have the wrong player. You want a piano player over a keyboard player but with that you'll likely get a very active and educated left hand... but if he has done band work before, he'll know not to step on toes. A good muscian isn't an oblivious musician

Occasional....?? Go and pick-up/nick one from another band. That way you'll know they can play and you cut down the time-wasting auditions type things

All dayers are ok if you can break them up, real and eat..and it is a brain storming rehearsal... and one you are not going to repeat. The unit should pretty well expect to top and tail the whole set then...

Never bury the bass in the mix...especially at an audition.. you have to be THERE driving the thing. Nobody will mind the odd mistake as that can be worked on...but if the bass isn't there then that is a bigger miss.... if that transferred over to a gig..

Does Class D suck....?? hmmmm.. jury is out for me. I've tried micro Aguilar, GK, Markbass, TC etc and we are currently doing the active P.A thing ( QSC) and none of them knock me out. The best was the TC 750...but that was thru its own cabs which would be the package for me...as I think there is something in the internal mapping that needs the cabs The controller element being a key compoent, probably. I am not looking for micro as anything upto 20lbs for an amp is prefectly acceptable... and I'll probably end up with a DB750 for the stage rigs but am coming round to the theory/hunch that a good sound needs oomph and that oomph comes from the weightier components. This little train of thought has been emphasised by the better cabs..to my ears..being made of wood rather than composite. Can I explain all this..?? err. no...I just trust what sound good to my ears in the confines that we trial the kit.

No..not being harsh, IMO.. Being in a band takes compromises and deep breaths but those incidents seem a bit too deep and unrecoverable. There are generally a few things that are deal breakers and the breakdown of trust and respect are those stabs to the heart that may be not fatal straight away, but sow the seeds to a breakup anyway at some point.

[size=6][sup]I've heard the NEOX range is good......even though I am not convinced about NEO..for some strange reason.[/sup][/size]

I've used the 600 version ( 600watts, my arse ) and the best thing you could say about it was it was new and borrowed so I didn't have to carry if but it was poor EQ wise...as most Ampegs are, IMV...it is just that everything else is right with the BIg valves jobs that you don't need to twiddle the useless nobs. This is where Ampeg has earnt its corn and the laurels it lives off....but there you go. The only thing I can offer is that there is no legislating what some people do to hired amps, so it may have had some nasty abuse in its short life. In my recent experience, rehearsal amps need constant looking after or servicing as most seem to 'surge';... I wonder what people do to them...??? I never take for granted anyones offered backline and refuse it if at all poss... and I wil extrend that thinking to rehearsal amps as well.. as nothing is worth the sound you have to put up with..IMRE, of course

The cab dims might not add up the same between 2x112 and 212's but they will in regards to internal volume..which is why there shouldn't be much difference. But you can only go with config that suits you for the reasons it suits... the overriding factor might be weight...or size or ease of carry or just that you feel you hear the difference The true test and preference would be if you heard 2x112 and 212 through the same amp and the same model of cab. Assume you heard GB 112's..??

NIcely laid out site... and a work in progress, but it is pretty much all there bar whatever content you choose to fill it with.

Some people get a sound from Ashdown.....by and large, I think it is poor stuff...or more politely, not for me. Even the 810 fridge didn't really cut it.. Your combo should sound good through the 410 and/or the 115... but not the 115 on its own.. unless it has a tweeter. Even then, I still think the amp works as though the pipes need unblocking.... and the LM11 doesn't really have the oomph at 8ohms and at volume.. Why the Ashdown can't run this, I don't get... I would expect the Eq to be lacking but not the power. Are you sure the Ashdown works ok..??? For a punchy loudish gig..I would think you MB combo would do much better paired with the 410. I have heard so many single cab MB rigs and none of them really do it, to my ears. I used to wonder why my mate runs MB amps with Epi's..now I know. Just saying... I'd certainly get it repaired and fired up into 2 cabs tho.. for those bigger gigs.