JTUK

[quote name='blue' timestamp='1479766892' post='3179196'] A lot of bands including ours would love adding a keys. However in the bar band business it's cost prohibitive. No bar band I know can afford keys. Blue [/quote] That is reasonable, but I'd far rather keys than a 2nd gtr.... I find 2 gtr bands 'can' be quite one dimensional altho that is more down to the player than the 2 gtr idea. At a local level, mostly it doesn't stand-out.... depends on the gtrs and set-up, of course. 3 pieces..??

No surprise here as you only need to know what sort of market he looks after as to the quality that market expects. Not cheap, but worth the money if you need a discerning product. Always one of the first I'd ask when looking for bass stuff. OT, there is a huge push just recently for his Quads...

If you like the songs it is mostly the battle. Even country is not the supposed doddle it was...and hasn't been for over 20 years. Nashville is not Music City for nothing. If there are strong Nashvilles influences,, the bass should be great.... or the opportunity to create great bass lines...

Nope... I get a few knowingly smiles and then we are off. A Jazz suits my style, a P does not and no one says anything unless there is anything wrong. I've never been asked to play a P

[quote name='mikel' timestamp='1478811069' post='3171899'] Being an ex guitarist I thought vibrato was the slight bending and releasing of a note, and what the guy is calling a trill is a hammer on/off. Sliding back and forwards over two frets is pretty much the same thing. [/quote] hmmm the technique is a slide and used to emulate a synth pitch bend. A standout example of that is Nate Watts slides on 'I wish' and involves going between the two frets or over it if speed is critical Hammer-on is a hammer -on and will sound completely different. Vibrato is a relevant term but tends to be slower. The type of thing the term 'sting' relates to is a very fast slide and Scott D explains why he calls it that... but not really convinced of its origin. The way he uses it is as a fast slide , but he will also throw in bends as well... as you put too many in to be able to use a slide/vibrator technique in a run. Not enough time to do that.

[quote name='machinehead' timestamp='1478729678' post='3171317'] How does that work? Can you hear a difference between the two cabs if they are connected this way? Frank. [/quote] No... you want to know that both cabs are actually working..rather than assume they both are and only find out that wasn't the case when you had to push the cab hard when working as a single. Often this will be too late and you have over powered your cab The way I do it is to put the cabs in line from one amp output and swap cables to the cab around to see both are working...hence both cabs working. You could be unlucky and have the first cable working and the second but that is why you test often and vary things. I just find this way round the better way..I guess it doesn't REALLY matter as long as you devise a test to make sure both are working. I did have one cab fail during a gig and the only hint was that I knew I was driving the amp hard... fortunately the failure didn't trash the other cab as well.. I do think there is a subtle difference to one cab being out of the loop... but you aren't likely to pick it up in a gig situation..and certainly not when the whole band has started up...

[quote name='Grangur' timestamp='1478721625' post='3171243'] That's interesting. So taking what's being said here in the thread. The way NOT to do it is answering small ads. So I look at the musicians I know: 1 - Mrs G who plays piano and has zero interest in performing 2 - Mrs G's brother, who's a professional classical cello player and no interest in performing anything other than classical. So the access is somewhat limited. I could start a band, but even though I'm 57 I have zero knowledge about running a band. That said, I'm no numpty, so I can imagine a lot of the logistical and marketing stuff. I would also need to invest in a PA and lights etc. The other thing I would need is time - to invest in getting the play-list together with sheets etc to hand out, marketing.... Exactly. [/quote] I'd say small ads as largely a waste of time. Not saying it never works, at all, but you might need to be prepared to sift thru a lot of dead wood. But you need to start somewhere..........and get to know those people who play..

[quote name='PaulGibsonBass' timestamp='1478683645' post='3170818'] Speaking from my own experience of bands; those that are successful are generally dictatorships, and people will either accept that, do as they're told and think themselves lucky to be in a band, or (as is the case with most people) they'll rebel against being told what to do, what to play etc, and the band will fail. Unfortunately this is the way things work I've found. Truly democratic band do exist but rarely get past the jamming and messing about stage. A gigging band where each member has true equality in the bands direction, influence, set list etc would appear to be a very rare thing. [/quote] Nope, not at all.... You just have to play with grown up people. It all works if the band works and sounds good. The buzz is making it happen, you get the respect and you look forward to doing it again. It is no use dictating unless people really really agree the dictator knows what he is doing, which is not a given..

There is country and country and Johnny Cash isn't it, tbh. He only got away with it because it was his definitive style... I'd hate to cover it tbh... Far better examples of songs to go for...even if it is heresy to say that..

This is killer.... https://www.youtube.com/watch?v=QRAMBbDZ3oE starts around 2;35 when the track gets going. Or Ethan F is a master at it too

Stick with it...it is pretty tricky as you need to be very quick and precise and depending on which finger you use...can put you 'out' of position. The best at it, IMO... are Alex Al and Ethan so follow them. Thumb behind is best and the first 5 frets are a real bu**** but it is one of those things you have to put the time in. Not many players can pull it off well...

Bearing in mind a bridged amp of 800w will only do 400w per side. You don't get 2x400w=800w This is the problem with bi-amping which introduces sub in the equation potentially which is really the last thing you want, IMO. Nice idea, but in practice, no advantage at all.

[quote name='govons' timestamp='1478688687' post='3170894'] by the way another question is related to head amp. I always use only one channel to go to the cabinet, is this can affect balance of power or something like that? [/quote] No, it wont affect balance on a solid state amp. Both outputs should be equal. I usually daisy chain 2 cabs out of one output as then I can hear both cabs working better...and it might be good practice to swap around the cab that you imput to first...as that will show up a problem with that cab/cable... If you use 2 cabs with 2 outputs from the amp..it is harder to hear if the line if down. As always, assume nothing, mix it up and check outputs and cabs and cables

Only liked them with a great band so it is Pulse and Delicate sound for me

I must say I like the 212 more than 2x210's but I think the 410 is the same box dims as the 212, so I think the 410 would probably shade the 2x210..?? But I also run a 212 +210 and it is even more fab

No, but I played a few. I'm not totaaly concinced by the quad concept but I wish Martin all the best with them... He does make a good bass tho...

I had AE12’s with a Thunderfunk and it was a good sound. I rate the CN cabs as a slight improvement over the AE’s, so both good cabs. I rated TKS s112’s over the CN112’s (as well as the Aguilar SL112 NEO’s) I rate the DB212 over the TKS112’s altho I have NOT tried the TKS cabs with the DB amp. There are many varibles as to amp, cab config, but I can’t see anyone being disappointed with the DB cabs. I’ve used DB212, DB210x2 with both Thundefunk and DB amps. The Thunderfunk is not a DB750, but it is a more than a fair amp. I think the DB cab config will improve it. I’m not sure DB112’s would be worth the change tho…but definitely 212 or 1x15 and 210 would, IMO.

[quote name='blue' timestamp='1478616589' post='3170313'] Guys, there is just not much depping over here in my corner of the world, even if there was I doubt I'd be called by anyone. Blue [/quote] That sounds strange. I'd have thought those people would need guys to call on. If you talked to Greg--if he is cool about it, don't ask HIM for a dep job, ask him if he knows of anyone needing someone. No one likes to be sand-bagged for a gig.... especially if they hardly know you.

[quote name='blue' timestamp='1478578015' post='3170017'] Not so much that, in the 5 years I've been in the band we have never used a dep. We had to replace a drummer, but the guy we replaced stayed with us until the new drummer was up and running. When someone blocks a date we don't book it. Seems like depping is used more in the UK. No, I stay out of band management stuff. I'm not good at it. We recently added Jefferson Airplane's "White Rabbit". I was against it, I thought it was dated and a bad idea. Turned out to be our big crowd pleaser. Saturday night the whole club sang along with us. That tells you what I know. Blue [/quote] This is catch 22. The band and/or yourself do not subscribe to using deps..but the territory you want to get into, means depping is the way it works. You get a call for a Tuesday night. They are trying you out on a non critical gig. The problem here is loads of his 1[sup]st[/sup] call guys are free that day..? You might not get offered that date, so they have a Friday. This is a more critical day as there are more gigs on Friday so busy people can be busy. They go through 5-6 names and no one is free. They call you. You aren’t free either, but for this ‘opportunity’ you have to make that gig..as you don’t know when you might get offered it again as a newbie in the new pool of players…which is what you want to pursue. You ask your band to release you..and they aren’t happy. They want dedicated guys who only play in one band. This is not a reasonable stance IMO, as you can’t hold back people from better gigs…and neither should you. But bands can be selfish, this may be an issue they want to make a stand on. Your choice, for a stand-in gig, that pays you no more than you are getting with your regular band, but in a ‘potentially’ better pool or players with potentially better gigs..?? and you may lose the gig that actually makes you a living at the moment..? What do you do…?? The first thing is to get into the land of deps. This makes you known to more people and more gigs. What you have to learn to do if manage your diary. It may sometimes be seat of the pants stuff, but there is no way round it. The good bands round here have good players 2 or 3 deep…and use deps, as the better players in the pool are after small tours and so those gigs become all important. What you have to get away from it the idea that taking a gig means you HAVE to do it. You have to sort out the band with a dep…but you don’t or wont commit to a Saturday 3-6 months away and be held to it. You can’t do that and good bandleaders know and accept this. The benefit to the BL is that they get a good supply of good players to call on… and they may get kudos from having a known player on their gig… The benefit to the player is that he can make up his diary and swap things around. He has gigs that will give him his weekly money, and he is free to take the gig that looks better on his C.V as and when. And the end of the day, the full timer, needs to make £x salary. The question is, is he happy to do that with one band and play safe… or if he keen enough to shoot a little higher knowing it may bring a better payback… Most of these guys I know doing this, have very small overheads and can and will drop everything for that special gig. Fortunately, all the bands he works for, know and accept this and are pretty grown up about it. What you DON’T do is leave someone in the lurch..so you can spend as much time, or more, on the phone covering a gig you can’t do, as one you can..? This is the way it works. IME.

[quote name='blue' timestamp='1478552396' post='3169898'] The hours are a challenge. Managing 4 hours of material is not easy. Last Friday we did a typical 8-12 and still had a respectable crowd at 11:30. That's not always the case.In this case the bar/restaurant has a good reputation for live music. People cone there specifically to see bands. 4 hours will never change for Midwest bar bands.You will play 4 hours until you are willing to tour and can fill at least 200 seaters as a headliner playing 1.5 hour shows. Blue [/quote] 200 seats is not that big a jump. It should be achievable....BUT... not if you play the same area for free. And you can't cut the gigs down as you all want/need to earn. Getting enough of those gigs is tough tho... Needs a strategy. And that is why I always say there is too much cheap music available and punters are too used to not paying for it etc etc but we've trod that path in threads often enough

[quote name='blue' timestamp='1478551006' post='3169874'] I am the bass player for one of if not the best and busiest progressive rock and blues bands in Milwaukee. Blue [/quote] That is good.... do people in the town accept and agree on that. Is that accepted by other musos and bands? Do they come and check you out?

My mate in Florida is exactly the same.... can't do 4 hr gigs anymore every though they earn quite well and they aren't a bar band. I think a few gigs will pay around $3k, iirc, but they have to have a 5 piece with 5 lead vox as they really struggle. so, even if the money is ok, the hours are killer... Not sure how that works, will have to ask why they don't or can't cut the hours.

[quote name='blue' timestamp='1478549313' post='3169849'] Good advice and commentary. I hope I'm not the only one on Bass Chat that is always looking for upgrade opportunities. Blue [/quote] Surely you aren't....? but also, you can't be playing with bands that aren't good..?? as this is a trial by association. You get to play in a pool of known people, the bands and players are regarded and that becomes your level. You are expected to add to the bands you play with...you have something to bring to that party. If the band isn't rated, neither will you be. The only way to get out of that situation is to be a big stand-out...but the question will still be, why are you playing with these guys..?? At a certain point in the gig... everyone will be interchangeable, as in different versions of good, and then it becomes down to how well they get on with you, etc etc

[quote name='blue' timestamp='1478548023' post='3169832'] All so true Pete, and to be honest I don't know if I have what it takes to play with Greg. [b]Greg still plays some of the same bars we play. He's approachable[/b], he doesn't seem to be a jerk. I'll run into him sooner or later again. Blue [/quote] Start right there...ask him if he knows of a gig... he might be wary, but he cant and wont promise anything, so you'll still have work to do.... but he might know who is looking

[quote name='blue' timestamp='1478547624' post='3169828'] The local heavy hitters have an established stable of bass players they use. I guess the question is how you get in the stable. Keep in mind this is a clique of musicians that are native Milwaukeans that have worked together for years. Blue [/quote] Sometimes you can't do anything about that... cliques can be self serving and very closed off. By the same token, they are a known entity or better the devil you know. The first thing is you should know them and they should know you. No one is calling randoms but if everyone is busy them someone knows someone and you get a nod from someone who puts your name up. This is why you don't want to be nailed in by just one band. I think a good move would be to be a booker and if you are offering work, you get everyones number and they all have a reason to talk to you, firstly...then you are an ok guy, then you are friends etc etc... But, you have to be reasonable about the level you can operate in. Getting stepped into $600 gigs is one thing, going for national tours is another.