JTUK

If horizontal and verical plane was so critical then a 410 would indeed suit the bass player with, in effect his own sound and the vertical plane would be perfect for him to hear and you don't need to stack higher. If the sound fills the stage well enough, the others get to hear it but not in the way the bass player might need to, so they can just exist on the fact that the bass is there and they hear/feel it just enough.. This is why I think the actual practice is fine in theory but not really relevant in most contexts relevant to my gigs. I don't think my sounds struggle to get were they need to get.. and I know our mix is pretty good and better than most that I come across..... If we are getting that picky with a supposed gain here or there, you might want to re-evalue how an array of effects, a poor bass signal, bad amp etc etc etc etc etc affects your overall sound and that most people could or may end up sounding like they are p****ing in the dark here.

[quote name='chrismuzz' timestamp='1337514396' post='1661119'] This has inspired me to make a very strong point... So on most 'real' gigs, the bass player's sound will be coming through the FOH, with the cabinet purely being there for monitoring purposes. Generally you want your own sound to be slightly louder than everything else in a monitor... Therefore wouldn't it actually be preferable for the sound from the cabinet to mostly be heard by the bass player? If their speakers are stacked vertically, everyone on stage and off will have the bass much louder, possibly too loud! The only solution to this would be for the bass player to turn down, and not hear themselves as well, resulting in a lesser performance. This is why I'm now much happier to have a 4x10 behind me. It means I can be as loud as I like without pissing off my bandmates! (Also,the audience's experience is marginally important I guess ) [/quote] If you play with a decent P.A then your bass cab will indeed act as your monitor..which is why some systems were known as bass monitors...but you are going to need very good monitoring and crew so you get your mix and everyone else gets theirs with everything capable of going through the desired mixes. I'll turn down my amp if the monitors could take the load.

4x10..2 across and 2 up...sorted..!!

It is sad, but not something I blame anyone for.. the LL can't make it work and has probably lost a bomb so somethings are more important that some bands hobby gigs. Around here, the supply is pretty consistant..if one closes, then another one tries it. Gig fees are down to around £200 for a starter but there are so many bands after that gig that you need to do hard yards and be worth your fee. I am always impressed that these business's risk money on bands and then make it work..!! In my town..you can have 7-8-9 gigs on a saturday night... in a town with a population of c100,000 and something just don't add up. A few of those gigs must have lost money, but then some LL's will tell you that his music gigs ar the only thik keeping things afloat. And a lot of bands also get out and support other gigs so the scene is healthy and vibrant by and large.

[quote name='ThomBassmonkey' timestamp='1337461568' post='1660549'] ................ You could argue that the singer should pay for it since you have to pay for your own amp but ultimately you can get a gigging amp for £200, a PA that's suited to the venues you play (especially if you're having to upgrade) and doesn't sound ass could cost a lot more. [/quote] well, you can, but my gig gear amounts to around £8k to replace as new... I'm pretty sure the gtr gigs with something like that as well... and the keys wouldn't be that far off. Drums less. So yes, the vox needs to dig as deep. As it happens the gtr also wanted to buy the P.A and uses it for his duo..and a duo gig with the singer. But the kit needs to be upto it...a par of cheap average cabs isn't good enough if everyone else invests in their sound. The very least the singer should come in with is decent cabs from Mackie upwards. If we then need to upgrade bit and pieces then mayeb the band can contribute. If you are doing 70 gigs a year you must be getting quite a sum to play with .... but whtehr the drummer sees fit to buy something thet Vox needs to even get the gig is a tough one. As far as the OP goes, I think they (gtr) wants the band to pay for HIS P.A ultimately and if it was to be a band buy, then his duo hires it or uses his own little P.A.

Let people make up their own minds, they will, anyway It is no use banging on about great something is... let people be surprised that you are better than they thought. and if that happens, be grateful. And then go home and work on it somemore..!!

If people low-ball and then sell on at a mark-up...that is tacky as well.

Needs to be posted in the 'show your rigs' thread, chris

[quote name='BottomE' timestamp='1337434929' post='1659916'] Its going to end in tears innit There are a couple of themes from the incoming emails that are grating. The expectancy that everyone should pay for gear primarily used by 3 members of the band - if my bass gear wasn't up to the deal i'd happily upgrade it but not expect anyone else to pay. Whats the difference? The use that the duo will get out of the PA has been conveniently ignored by members of the duo in all financial conversations ................ [/quote] If you buy it...or contribute and the duo use it and devalue it with knocks etec etc and general use, then they pay to hire it. No obviously they hire off themselves as well... but £50 for dry hire gets nothing in terms of a P.A, IMO...so that sounds like a £10 a gig, minimum.. depending on the P.A spec.I In our band, the singer, gtr and me own all the P.A and lights and we take an extra fee from the bigger gigs to account for the initial outlay. There does, of course, need to be some give and take... but not the pi$$... whcih is what I think you help buy the P.A and they use it for outside gigs, is, IMO. I assume everyone loads the P.A in and out..?

pubs..?? sharing..? what sort of gigs are these..?

If it was a band P.A, ie used by all, then I'd contribute to a degree..but I'd want to know if my bass was going to be able to go through it. If not, then no thanks, I have MY gear already bought. If I pay, I get bought out should I leave...I don't give my share away. If the gtr and Vox want to use it for THEIR purposes then they should pay most or hire it/pay a small fee....and ditto keys and gtr..and poss drums. Basically, I don't think it good enough for the vox to just own a mic.. and the monitors that they use are their bills alone.

Friend asked me to soundcheck them i the pub as it was a new band and he was a little unsure... After half a song, I said the drummer should come up a little as he was a bit lost ..to which the drummer repiled, thats ok, I play louder when we start... WTF...!!!!

[quote name='lettsguitars' timestamp='1337362912' post='1658906'] Flatsawn maple is fine for guitar necks. Quarter sawn hard rock maple is considered too stiff. The main thing to look out for in a maple neck is mineral streaks. These are the dark brown, well, streaks that make the wood look ugly. Basically, wood that is free from streaks and has a uniform grain pattern which tightens up towards the headstock is what makes a nice looking and stable neck. [/quote] What is the thinking on flame or birdseye for the actual neck I understand that bridseye was considered tainted ( diseased ) wood not so long ago..??? I have had both and I had no issues with them as both were great sounding with looong sustain but what that is ultimately down to, I am not so sure..!!!

Another vote for the RH750 and RS cabs as something to investigate. Not used one in anger tho....but in demo, very pokey..!! Maybe the class D thing will manifest itself as a marmite thing for bass, but I don't think we are there yet..

I stack my 2x210's horizotally as well..and I have no problem hearing them whatsover on any stage I've run them so far so can understand chris's post completely. I'd be think there was somethjing wrong with your set-up for this not to be the case. Bollocking nice rig chris, btw. will have to get over to see you guys sometime.

[quote name='steve-bbb' timestamp='1337413325' post='1659430'] talking of which .... am i the only person thinking that access to the sale forums should be ringfenced until you reach a specified number of posts? [/quote] Understand the sentiment..and I do think those forums should be for contributors but who is to say when a 'member' becomes a a contributor..??

I've used a MK combo, the 102 and it needs an ext cab from my POV. It isn't my rig so I wouldn't abuse it..but then I wouldn't abuse my kit either. The Gtr ..whose amps it is..asked me to add a cab as well. I do think the MB102 is a far better solution that the 12" combos tho..but asking a 210 to deal with 300 of bass is getting a bit risky, IMO. not matter who makes the cab.. As for Eq..never use it ..and would use the filters..and I am not a fan of very bassy tones either.... I think they are fine combos but can't see them as an answer on a decent sound stage... and I don't think others guys I've seen make them work at all...altho they seem to thin k it does, but then they aren't out front. I am not overly convinced they amp up very well either.. at a pokey ( as in powerful) rehearsal..? brilliant, tho

Our violin player hitting the stage floor with his chin as he couldn't risk putting his hands out to stop the fall as he was holding his very valuable violin in one and the expensive bow in the other. The crash sent a huuugge thump through the P.A.. and me and the drummer cracked up and the time wavered... When we played back the recording... we cracked up again..!!!

Going to go against the flow here... I'd need to actually like it to 'like' it, I'm afraid....so a MP3 would at elast get that ball rolling. My 'mate does' this...and his band has never made it out of rehearsal..and one of the guys has just moved 150 mile away..what sort of band can that ever be..???? Here is another reason why.... recently offered to do a charity show..offered rather than put in a fee to do it.. We got shortlisted and and was asked to get so many likes of the promoters festival page. I then said ok, thanks.. but please withdraw our offer and take us off the list..as they said they were over subscribed with so many bands and could give that stage opportunity to someone else... which was fine as we would earn on that prime night anyway. But ..and I have to say this..we are a gigging band with a very good name so I am not going to get involved with a student band who do just this very thing and network just about anyone they can to get to amass the most amount of votes. If that is the way they want to do it, then fine...but are these the bands that will draw people in..? maybe..but probably not... but they are the bands that are so desperate to play..and this is not so much the bad thning... but they'll do it for free and underrmine everyone else. The bands that were acumulating the most likes..I had never heard of on the circuit and I couldn't find ANYTHING about them....hhhmmmm..!!

Yep, really doesn't seem worth it to me and you become the roadie and may not be able to enjoy the evening. If I am stupid enough to damage my kit then that is down to me...but I would be majorly pissed off if someone else did it so I don't even get into that territory of kit share 95% of the time. It may be a factor once or twice a year and both times I've used my own. as most kit on offer wouldn't be suitable ....been there, thanks. If it was a good mate, then I would expect them to treat my gear better than I do...but there is still that apsect of taking the eye off the ball.. As for basses.... you have to be kidding..!!

Yep..not good, but if someone comes in with a totally insultiing offer, then you can be equally dismissive, and send them on their way. They must have thought their offer was worth a punt as presumably you agreed a price...but yes, to them pull out is the bad form. But you are seliing, not giving it away.. As with all these things, depends how much they want it, and depends how much you need to sell.

We have a storming session and ask each to contribute 3-5 songs..we then have a vote after each play. We them commit them to a CD and go to rehearsal...and they either show promise there or we ditch them. We might get to gig stage and then decide they aren't for us in context with the gig we are trying to do. At the mo' we have 3 sets..a pub set, a private party/function set and an original set..and some songs just do not cross over at all. Other friends bands play a song and if anyone goes to to bar during it, they tend to think the song hasn't worked. From a LL POV, I would say it has..but it depends on why you/they think you/they are playing that pub

[quote name='lettsguitars' timestamp='1337253755' post='1657840'] Factory instruments are susceptible to flaws such as this. A machine churning out 200 necks a day cares not about grain orientation. You're bound to get the odd bad un, which i suspect is the reason behind your problem. There's a lesson here somewhere. Save the money you spend on overpriced clones and get yoursenz a quality original handmade guitar. [/quote] There is something in this....but you are always at the mercy of the wood choice and availability anyway.. As a matter of course..I would add graphite bars to 5 st necks esp if they are pretty thin.. but I do believe that storage and temps can help. or just get to grips with baseball bat necks FWIW..my old MM's neck was bombproof and as solid as a rock..but I strung it with 100-40's and and always packed it away flat.

Not at all keen on the face of it..but if we talk about it then maybe..but unlikely. For a start, I am not keen on using theirs..so take my own anyway...and if I can, so can they. We have a few festivals lined up and the load in is crucial..but even then I can get set-up on stage and be ready to go in way under 15...IF the crew are sorted with sound checks. I know the keys and Drums will be the time factor anyway.

We add £10 per man ( £50 on the band fee for pub dates ) for a round trip of £50 miles.