JTUK

I would have said Aa-gwee-laar

[quote name='Townes1992' timestamp='1331390053' post='1572239'] Thanks for the advice thus far, yeah i think measuring yourself against people you know or artists you hear is a big problem of it, its difficult to escape i guess, what with some less considerate people judging styles and sounds and gear etc [/quote] Well, stop right there because some famous names aren't the guys you should be comparing yourself to. they might not not be so great anyway and often aren't, but chances are you are thinking that 4 years is a lot of time to have put in..?? Well, it isn't, unless you have poured in hours per day everyday. As a fledgling player, I'd think you need to put in a consistant 1 hr per day bare minimum to start maiking strides.and you need to keep this up... Maybe you might be able to devise a plan to practice and learn and keep to it to improve. Rome isn't built in a day and therefore you shouldn't beat yourself up too much..but then only you knows how much time you put in

[size=5][sup]Have to go against the consensus here. You can run the 410 with the SVT ll but you have to be very wary., IMO.[/sup][/size] [size=5][sup]I am quite certain you could blow that cab up with that amp running loud...quite easily[/sup][/size] [size=5][sup]In theory it can take it, but you need to be careful[/sup][/size] [size=5][sup]And it is ok to say the bass is through the P.A so this is your monitor alone but what happens on a big stage when the band say they can't hear you. You can stay, so what, but then that impacts..or may impact[/sup][/size] [size=5][sup]on the band sound and playing. [/sup][/size] [size=5][sup]I think that rig should be able to put out decent levels but it is also emminently blowable if things get out of control... and it is when they get out of control that you may not hear the cab breaking up and starting to complain.[/sup][/size] [size=5][sup]I have played through many a tired old 810 fridge that has been put through the wars....not the most indestructable cab in the world, IMO.[/sup][/size]

[quote name='Musky' timestamp='1331318223' post='1571412'] I used to see lots of Marshalls on stage as well. Marshall isn't the most popular brand of amp for bassists nowadays, and I think they tend to get overlooked when people talk about old bass amps. [/quote] Because they were awful... Hiwatt beat out them all of that ilk... and Orange were rare and very expensive.

[quote name='crez5150' timestamp='1331376886' post='1572016'] H||H Kicked off in '68 [/quote] Did they..?? Doubt they were a player in the Industry until late 70's though

Acoustic, Hiwatt, Orange and Ampeg were names in the 70's. Before that you might have used Vox and Selmer and even Wem for bass. I think H/H came later in the 70's I think. Also, Sound Shity were about but no one in their right mind touched them..ditto Simms-watt

FWIW..I have tended to not be knocked out with Makrbass ( esp the LMll ) the higher the volume you go. I have never thought it handles that well, IME and I normally have to drive an amp harder due to the way I play.

Should be able to make that pre-shape on the graphic and then compare

Sounds a good idea. As said, HK is pretty readily available and will be a decent enough benchmark....then you will hear why PV and the cheaper stuff doesn't cut it. Not saying there is no use for that budget end...and in some ways it can be far more reliable than a better name brand using chinese tat...but the sound is pretty limted/squeezed or squashed, IMO.

I'll do two pints in the course of the evening..if I feel that way inclined, but it is more to do with having something on stage rather than needing a drink. I don't see playing and drinking as condusive so it doesn't interest me. None of the band can drink anyway and it is just not even a factor

[quote name='warwickhunt' timestamp='1331215478' post='1569546'] Agreed because essentially looks are the only thing you can't do anything about! I've bought basses in the past that arrived and played like dogs (yes I do indeed buy basses without trying them first) but it's rare (short of a major malfunction such as twisted neck etc.) these days to find a bass that can't be 'fettled' to play well and the tone is pretty subjective any way, especially wants you get above the budget sector bass market. Added to which, a change of pups and/or electrics can make a world of difference to the tone of a bass. [/quote] I just can't do that..I just have to be completely happy with the purchase in every little way... but once I've danced through these hoops, I don't sell easily at all. It took me two years to decide to sell the last one. My turn-over of basses is small, as a consequence but the only one I kind of regret was the 75 Jazz.. regret buying, that is..but I was very green as it as my first 'proper' purchase..

Inclined to agree. Or you could get an adaptor for the supplied power cord... but it means you need to go shopping sooner or later.

Sei what...??

Of course, we are only going on looks. Some basses play like bitches but look like goddess'

Ceramics and cheap... and nothing wrong with that as such, but the EBS classic line is NEO and almost as cheap-ish.... so much for the price hike in NEO..!!! Not sure I like the idea of a EBS line going that cheap, IMO as I thought the whole point of it was excellence made in Sweden/Europe..??

[size=5][sup]Well, it is a nice looking bass. Not sure why you would have sold it in the first place. [/sup][/size]

£3k...? Sounds a lot but you can easily spend it. First thing you have to know is what is the sound difference between quality and general stuff. I've posted before that most bands have awful P.A's and that doesn't give the vox a decent chance. So assuming the vox are decent and can stand a good P.A, then you should listen to bands with a HK system. This is decent enough and I would suggest the minimum you should contemplate if you are going to play a place where this stuff matters. Most function bands that draw decent money know the value of a good P.A and will invest in it. Priority number one is clarity and top end sparkle on the main vocal and then also on BV's. Mid priced stuff that will cut it are Martin and HK. You can pay silly money for that or get lucky with e-bay. Not so up on current RCF stuff, but JBL's are not the kit they were, IME... EV is ok and entry level. Some people do ok with Mackie but some of their stuff is marginal, IMO. If it were me with £3K to spend, I would search for cabs for £1000.. These would form the basis of the high end. A couple of EV SA300's for monitors, so £500 there. Amps...?? 2x600 watts. this is where you can scrimp to a degree as the critical component, IMO, will be the cabs..ie ..you'll hear more difference there than in a TOP amp. Don't like the sound of Belringers desks myself so a Soundcraft or something as minimum. 16 ch sounds fancy but you need to work out what you will need. You could start with 8. But I still maintain you'll hear more clarity from the decent cabs alone that any nonsense from Desk or amp.. If you are good with e-bay you might be able to pick the desk, amps and cabs for £2000 or so. The rest in for mics, stands, light rig etc .. After you have made sense of this lot...then consider subs. You need to be able to balance your backline before getting into mic'ing up tho ..as a bad single mic'ed up is still a bad signal rammed down people's throats more. If your backline sounds very good..then mic'ing up becomes easy...if it isn't, it is a nightmare you do not want on every gig.

Sounds a terrible tale. We don't do rough pubs and are known to be more than a bit picky in this regard. We need to put something into the gig so that sort of place would never work for us... We die on our feet when going through the motions... and that is from the band outwards

[quote name='GRAHAM SG1' timestamp='1331113032' post='1567676'] In my experience, most audiences want to hear a mixture of sounds, if you play a good variation of songs then you have more chance of giving them what they want and going home happy . One thing that does turn an audience off sometimes is an endless supply of meaningless long guitar solos that do not resemble the song being covered, I would think many of you guys are familiar with that situation, that is one reason I choose songs that do not have much scope for too much guitar over indulgence !! My first band was a blues band and after an hour or so, many people turned off and left the pub bored ! [/quote] One of the very best bands round here just uses popular songs and most from the blues genre as a vehicle for solos from the whole band..but mostly sax, gtr and keys. It helps that they always have excellent vocals as well but I think people will listen to something special even if it may be a bit left field. They don't empty a pub

When I put the band together I had a bit of a vision about the songs and type of way we would put them togther, so altho we concentrated on covers, we wanted a certain style and we were able to make the set our own. This changed when we got seduced..against my real wishes..to take on more functions and had to pander to that market. This has lead to dancey songs leading the way which dilutes the position we started from. We have found this also makes us more popular in the pub type gigs I favour, so it is a loosing battle for me. I still think we retain a band style/sound though as we do dictate where the song is going and what it is trying to do....so not a complete failure but time together is against us as well... so the set has widened and the artists we cover has broadened as well.

[quote name='silddx' timestamp='1331075793' post='1567422'] [b]Alright, so we know this sh*t happens for most of us, although it doesn't seem to happen all the time, what is this feeling of magic? What is it that makes you feel this way playing with other musicians (as opposed to listening to other musicians and feeling some magic)? What is it that makes it feel different to other forms of musical magic?[/b] [b]Is it the re/creation of something already in your mind, or is it the magic of something you haven't imagined yet?[/b] [/quote] Nope...it is when it just hits the spot and everyone is pulling it that way. We aim for it on tracks in rehearsal so that gives the song its brief and definition and where we want the band to take the song at a gig. Then it depends on how we are all feeling and how the band is gelling that night. There are levels of getting 'it', as well

[quote name='kevin_lindsay' timestamp='1331100006' post='1567538'] Sei Bass McIntyre Guitars Enfield Basses [/quote] these are quite a big miss, IMO.

Depends how discerning your audience or client base is...and that is probably determined by the fees you can charge. FWIW..P.A is the single most important piece of kit IMV..if you accept vocals are the most important focal point of a band, and this is where so many bands don't pay enough attention. Assuming that the vocals itself are sorted, then you need very good reproduction, so discount PV and the like. This is cheap pub clobber and hardwearing enough but the quality isn't there to take on good function work., IMO, the minimum standard cabs you should be looking at are EV and there e-bay is your friend. If you are really lucky you might track down some Martin Audio ICT300's but you will also need a controller...plus desk and power amps. You can see that £1000 is a very tight budget but buy well once and you'll not have to do it again for quite a while. Subs come later...as I doubt you have the collective experience to make the most of them, tbh. If money is really tight and you aren't ready for decent gear, then hire is a good option, but then that also depends on what you are hiring. Maybe hire in the engr for a few loss-leading gigs, so you see what the standard requirement is and start the steep learning curve. and then you'll need lights. Sorry to sound a bit down on this but it doesn't sound like you are ready for this as yet.

Have to say that black very very rarely works for me. I am trying to think of an example of that colour that I would accept, tbh. My next bass will be a sunburst over a nice grain of ash, tort plate, plus RW board with white binding and MoP blocks.

Not so much....altho we have our moments, IMO. I am constantly pushing for things to improve but that is construed as negative by some others in the band. I have to reign it in as for one thing, its gets boring and that in itself is the negative side. I am heartened by the fact that I am probably musically arrogant and I know it is good..I just think it could be better. But considering the time we put in and the pay days, you have to be reaslistic. So..in this case, audience reaction isn't that much of a comfort..altho you'd complain if you didn't get it... Yep..constant battle for me....