JTUK

It does require a leap of faith to a degree...but you'd have to do that sending cash as well... as the seller wants to be paid before he despatches the goods. Most people here would not want a trashed reputation over a few hundred pounds or so, but if you aren't confident or happy about the in and outs, then pick a deal neaer to home where you can meet up. I recently drove 360 miles for 7 hrs there and back to get what I wanted...altho the petrol and time probably negated things a tad... but that was my choice and no problem with that from me.

[quote name='BigRedX' timestamp='1332751890' post='1592363'] I've never understood the need to try and stick everything through the foldback in smaller venues (<500 capacity). IMO at these venues foldback is solely for instruments that don't have their own amps - i.e. vocals (and maybe keyboards and sax) and the less other stuff you put through the foldback the better the singer(s) will be able the hear themselves. Unless your band is instrumental only the vocals are the most important part of the sound so lets make hearing themselves a priority for the singers. Everyone else should have an amp that is capable of filling the stage without extra help. [/quote] True, but it depends on the P.A and the amount of mixes. We recently had 4, which should have been ideal for our set-up and we always leave the lead vox with his own mix, ie, vox and his acoustic.. The other 3 mixes can then be taylored, but if you have a stage 100x30' that is a lot of coverage and spread and a P.A without good enough monitors to fill that is an inadequate spec, IMO. I make sure my rig can cover it and if the engr wants me less obstrusive to his FOH, then he can give it to me in a monitor. Basses covered, from my POV. Sometimes we get that spec, sometimes we don't so I always ask how many mixes.

[quote name='Doddy' timestamp='1332702382' post='1591901'] I do care how it sounds on stage. 9 times out of 10 I'm going through the PA which I'm not in control of,so I want my sound on stage to be how I want it. Ideally I then want that sound louder out front,but ultimately that's down to the soundman. [/quote] Exactly... and another point is stage volume and why I can't see the move towards tiny rigs that can't fill a decent stage....unless you have balls-out monitoring to help out, but then you'd need to know the P.A crew you are using and what they can provide. A few PA.s will not put bass through the mons so you need to fill the stage with your rig. The outfront sound is his problem. If you can't hear what the others are doing and someone misses a cue..which can happen...you have a train-wreck which you don't even know about or fix far too late.. I don't get boom on stage...and I have a semi parameter EQ on the amp to notch it out, which is about the only time I might switch it in..very rarely.

It doesn't matter, IMV...you just play the one that has the right sound, but whether that is neck-thru or bolt-on, it isn't a factor. Now sustain and resonance, that might be something, but again, neither design can lay claim to being better than the other in that regard, IME.

All sounds reasonable to me.... but it seems that opinions in the band 'differ'...so I'd ask if anyone else thinks the sound is good. If so..you may have to experiment to proove your config is better than theirs... i.e back-to-back sound-checks but if they can't hear or don't know or agree, then this will be a long fight.

[quote name='gareth' timestamp='1332618250' post='1590855'] sorry but i have never ever rated him i guess back in the days of cream, the improvisational element of his playing was new and his approach to bass at that time was in contrast to a lot of other things going on at that time don't like his tone, the basses he uses - saw him on tv a few years ago noodling on a fretless and the intonation was appalling if his hearing is failing he should stick to fretted basses ............. [/quote] My sentiments as well, pretty much and I didn't get Cream either.. but give the guy a break, he is trooping along at a decent age. Go to pay homage or whatever, if you like but don't expect anything like percieved past glories

LJ is great but not one to follow as his style is very much his own..plus he beats his hands up so much that you'll be storing up so much trouble for them later, IMV But sure, his work with Quncy Jones' production house was defintive of the time, pretty much.

Typically the traditional SWR sound and a good Jazz is hard to beat.. Not talking about newer SWR stuff as I think they have lost it.

Don't play most of the songs mentioned anyway...but then again, I never ever know the lyrics to a song, just as I wouldn't ever listen to the lyrics on the radio. Lyrics are the last thing I'd connect with... so I couldn't rule out songs on that basis

Might get down the Mill later...I think we are on a crawl ha ha

[quote name='police squad' timestamp='1332596537' post='1590459'] what do you use JT? [/quote] I have Thunderfunk, SWR, Aguilar and Bergantino. I would have thought AG GS112'x2 would be a good start for bass cabs. Light enough, IMO and great lows. Shame I sold some recently. Or you could look at TC..very pokey for the weight, IMO.

Come round and try one or two of my rigs, whizz. or look into the EBS classic range.

Charity gig and things were a bit chaotic so didn't get a proper soundcheck. We thought it would be ok as we have used the P.A guys before, but it wasn't....so even though it was for a good cause, I will not be at all keen to make that mistake again set-up wise. It went ok.... but that is not really the point, it could have been better. I don't you should take these chances for ticketed affairs..even if that was for charity.

ha ha

I don't think there will be too much extra value in the bass...so if he gets a decent offer, then sell..if he doesn't then don't. It doesn't seem like he is that fussed himself anyway.

The hitting the skins hard has probably been drummed into him through two things... the need to be consistant with your snare sound..which generally means hard or precise, and he has played in very loud bands and doesn't realise that there is room in the mix for him with out fighting for it. We tamed one by playing extended songs/sets until he admitted he was tired after gigs etc...so we told him he didn't need to dig a trench every track.. he got the message and plays much lighter... The trick or skill is to retain the energy and feel/grooves.....which sorts the men from the boys, IMO

[size=5][sub]Been using Comfort Strapps for nigh on 20 years.-- I have history with my back-- and never felt the need to change them.[/sub][/size] [size=5][sub]I have the 20 yr old one and a newer one and you can't tell the difference in wear and tear, IMO.[/sub][/size]

[quote name='Doddy' timestamp='1332359854' post='1587353'] I'll be honest about this point....I know a ton of players and teachers with degree's and grades who I consider to be pretty poor. I think it's more important to find a teacher who knows this stuff and is out there doing it. Experience,for me,wins over certificates. For me,I would discount any teacher who uses tablature predominantly and who bases the lessons around teaching songs.There is nothing wrong with interspersing songs in the lessons and using them to reinforce examples,but not as the primary focus.I'd expect a teacher to be able to read and write music.....there is no point teaching something and not being able to write it down,as chances are that the student will have forgotten it by the time they get home and you will have forgotten it by the next lesson. I'd also expect the teacher to know some theory-not necessarily the more advanced stuff(although that helps) but at the very least major/minor scales,pentatonics and maybe some basic modal scales, and a knowledge of chord tones. There are also the intangibles like personality and how you conduct the lessons.Are you able to convey the information clearly and patiently? [/quote] agree.

yep, Hi Whizz

Just tell the guy that you have a new project going, you need guy A and guy B and you are trying a few things to make them work. He might not like it, but you have at least told him..and put him in the picture. You might also throw him a bone and say you might like to call him if the project requires it. Being left out will more likely to hurt his feelings, more than anything.

[quote name='police squad' timestamp='1332327320' post='1586589'] hello Thudmaster, yes it's me. how's things? wiz [/quote] get off this forum...you only want to buy cheap stuff..!!!

Turn the whole unit in a dep band..and that way everyone understands the deal... It is hard keeping that all together though unless everyone is a dep as someone always gets upset when a gig has to drop off or can't be comitted to. and normally it is the guys who are ony in one band. Find your self a good dep so you can place him where you can't be. easier said that done tho... and then you'll have to prepare a pad, just all basses are covered.

As long as you put them in the picture.. They may not like it but they must realise that anyone any good is likely to be in demand and in more than one band. You may have to placate them with a first come first serve condition, but then will you be happy with that..? as in a £70 against a £200 gig..which one are you expected to take/honour..? People may say first come, first served but it is not as easy as that if you have bills to pay from this sole income.