JTUK

What is wrong with getting a stand..? it is quite simple and as much an integral part of kit as anything else.. I always hang my basses prior to playing so they have pride of place backstage or on stage.

We do it to the volume of the drums. All you need to do is be able to hear everyone in the band on stage and that will transmit outfront with the exception of the Vox..as monitors will be loud and clear. The P.A has MORE that enough in it to get over the top of everyone but the trick is to layer your sounds so they sit along side other sounds rather than compete with the same space. All that happens when you do the latter is go for volume wars. Get clean core sounds and the layering trick becomes easier...and soundchecks thru bigger P.A's become easier all round esp to a soundman who knows what he is doing. You'll hear a lot about mids cutting thru..but you can't do this and be oblivious to other instruments needing that space. A mix isn't about your own sound..it is about everyones..hence, a 'mix'..!! Also, mix/plan the songs so you know who/which instrument is carrying that particular piece at anyone time. Everyone should have a sense of dynamics and to brush up on this put a few slow tracks into the show as most bands can't do slow numbers for love nor money, in terms of groove or dynamics. If you can't get a balance there and make them work then you really need to look closer at what you are trying to do.

Have to say that whilst the idea of absolute priority and first in the diary is a fine stance, it doesn't and will not stack up on a few fronts. Best thing is not to pretend it will and have reliable and decent people to cover. If you have guys that you pass work to and vice versa, it is in nobodies interest to rip of a gig but even that can be tested at times.

[quote name='Emanew' timestamp='1339867805' post='1695681'] Maple vs Rosewood With such beauties i can NOT choose A 1960 Precision : 3 T sunburst, Tortoise pickguard, rosewood fingerboard A 1958 Precision : 3 T sunburst, Gold Anodized pick, one piece Maple neck [/quote] The RW P-bass pic is a stunner.

Don't want to go too much against the flow, but....... if your vox or front person skills aren't upto it then you will only handicap the band. I see way too many 3 piece bands handing out the vox as it maximises income, but it also kills the band if the guy can't carry it off..and since lead vox are the single most important thing people can connect to, IMO, it isn't a job done lightly.

I am sure a few cabs could make a fist of it...but that is about all, IMO. But then you can say that about a lot of dedicated P.A cabs as well.

it is ok-ish from a quality POV... and if you like the sound and price, then all good.

Eden XL type series 410 or SWR Goliath 410. Heavy, but worth it. Better still would a be a 610, IMO... but it also depends what the B on your bass sounds like as nothing can rescue it if it isn't defined in the first place.

yep...earning £50 for a gig is so easy... but not everyone can do it.

There are loads of gigs you will not cover well with one skill or the other. It depends how you want to get round that.. or even if you do.

[quote name='Gust0o' timestamp='1339593924' post='1691082'] I'll confess, from personal experience, finding the right front person is the hardest task. Not only do they need to be able to sing - but they need the banter and presence to carry a crowd. [/quote] Round here it is a very hard trick to be both a front man and a decent singer. I can't think or anyone who is very good at both. Most of the best frontmen can't sing..but they can shout a song. I think you can count the number of good singers on one hand..and I've seen more that a few bands of late.

I don't see why you wouldn't do the open mic..all other things considered, if the Originals rehearsal wasn't in the diary. If it was..and you couldn't rearrrange it, then ok. I think both projects could benefit with getting a move on...so it might stir the originals act up.. and if they haven't any dates on the horizon, then they can't really miss a 'rehearsal'..??

RW..as long as it is blocked and bound.

Min 45 or maybe a 50. or don't play those notes on the G string if they have to have that weight about them.

Not sure punters undervalue as such..they just think that anyone who can play is great....otherwise they would get up there and play themselves. The numbers of times I have been in a music shop lately where older people came in and brought gtrs just to hang on the wall..seriously.. and when I asked why they didn't think to learn to play them, they said they accept that they couldn't or wouldn't be able to. Others have taken up an instrument after years of watching from afar at others.. and are belatedly trying to get ready for a stage performance. I hope they don't think Rome was built in 6 months... and that it will takes ages... but I don't want to put them off.

[quote name='mrtcat' timestamp='1339743817' post='1693501'] Play in a busy covers band. We earn ok (£250 - £800) and are getting busier all the time. Drummer keeps trying to push our prices up. Recently we've done some good festivals and functions but we've got a couple of regular pub gigs coming up which although are not mega bucks still fall within our price range although at the lower end. Got the following text last night: [color=#ff0000]Just updating calendar. I had overlooked july 13th. Can't do it I'm afraid. And I can't do 24th aug. Sorry. Can call venues if you want.[/color] [color=#000000]Surprise surprise the only two pub dates. Now I'm furious about this. To me a commitment is a commitment regardless of price. Luckily we have a friend who teaches drums who has agreed to step up but of course our drummer didn't know this when he sent the text. I also got made redundant recently and drummer knows that any cash is a big bonus to me right now.[/color] [color=#000000]What would you do? Tempted to ask our drummer friend if he fancies it long term although I know he's busy and has other commitments.[/color] [/quote] hmmmm.,.. tricky. Know of a situation where one member booked out a few too many duo gigs which meant the rest of the band had to turn down some very good gigs. When the idea of a dep was mentioned, this caused more problems and a fracture of sorts . The problem of not being available has not gone away entirely so this is very high on the agenda at next band meeting. I think lines needs to be re-established ..like how many gigs per month, how much etc, and the the band collective reserve the right to dep the gig out..if that suits. I would agree to put up pub prices..assuming you can get them and also that you are prepared to lose one or two.

[quote name='EBS_freak' timestamp='1339585454' post='1690886'] ...and despite choosing woods for a specific tone, any luthier worth their salt will tell you that you'll never know how an instrument is going to sound until it's strung up and played. [/quote] I think this is true..... so to hedge the bets, you throw in active EQ. This is why you don't want to become the guinea pig and you use tried and trusted combinations. If the bass is put together well, you can except resonance to be good...but there is still that element of the unknown sound until you plug in. IMO.

I've used GS112's extensively and once I put one cab down on the stage the footprint is determined. I was so underwhelmed with the performance of one in comparison to the two, that I take two to rehearsals. I do this with Bergs as well. This is not a problem to me as I don't feel that single chassis cabs are a total solution anyway for what I want..in terms of volume, tone or freq-range etc etc ..

[size=5]Replied. [/size]

[quote name='1976fenderhead' timestamp='1339610750' post='1691527'] When using only one, it was the top one and I was sitting so it was pretty much pointing at my face. If anything when using 2 there was a more direct coupling with the floor adding lows? I also expected there to be only a difference in volume, but the tonal difference was massive, much fuller rounder sound, LOADS more headroom, totally different beast. Best way I can compare it is like the difference between running the Catalinbread SFT in 9v or 18v, but even much more evident and bigger improvement in this case. I then went back to one cab and tried to increase volume and EQ it to get close to the stack sound and couldn't get nowhere near! [/quote] Indeed, which is why I've always said use 2 and if you were only thinking one, then don't even bother.

Not sure SWR build them like that anymore....which is why I kept my SM400 from eons ago. I don't actually need or desire the slight breakup, but neither have I heard a convincing simulation. Thunderfunk use one and it is ok for my needs...on those rare occasions.. but I am glad it is not a deal breaker.

[quote name='mybass' timestamp='1339590254' post='1690997'] I would always go for two separate boxes over one large. [/quote] For carry, yes.. if crewed, who cares ..??

I think sometimes the human ear just lends itself to more forgiving sounds... Valves...for example.. might round off harsher sounds more naturally or blur them and the ear accepts that as 'better' or more pleasant.