JTUK

[quote name='la bam' timestamp='1325180318' post='1480686'] Its only when people in the band who havent previously booked gigs for the band give it a go, they find out just how difficult it is! Its not easy at all - we try and shy away from pub gigs nowadays thanks to the uselessness of the majority of venues - a lot really are clueless, but there are some good ones out there, Im afraid in my opinion its less about the band and how good you are, and more about how well you sell and market yourself nowadays that gets you the gigs. [/quote] Well..yes, but lets not kid ourselves... we are playing pubs to sell beer...and if a crap band can do that better that anyone else, they'll get booked and paid better...likely enough.. The going rate around here for pub bands is £200-300 for 2x45's... I don't include pubs that pay less as they haven't got their act together, IMO. Times are tough but pull an audience..any how you can...and the pub will love you. Of course, Landlords might prefer this music or that..but its also Business... and that comes first even more so now. . We are pretty new but we have gotten past the " have you got an audience" question as people have heard enough about us ( mostly ) but pubs baulk if you get too cheeky with the price.

Simples..If you can put the other bands away..and you know that, then sure, headline.....( altho I agree you can't call yourself a headline act unless you pull the main crowd.... ) Ask yourself why everyone else is giving you top spot...?? others have alluded to the poss reasons and I'd want to know how the gig works to make a final decision

[quote name='risingson' timestamp='1325166909' post='1480425'] Bass and drums = the foundation of everything in a band, without them things start to fall to pieces. [/quote] That is because the dressing on the top...gtrs. keys etc ... can mostly do what they want without having to make someone else sound good or complete. And that is because we have taken care of all that, for it not to matter..or rather, matter less. The trouble..as always..is when you try and build on sand..

[quote name='thisnameistaken' timestamp='1325165317' post='1480402'] [b]I've always said a band can never be better than its drummer, nobody ever takes me seriously when I say it but I mean it![/b] I'm off to jam with a new drummer in a couple of hours, music college grad apparently so hopefully he'll be just the ticket. New band on the horizon. [/quote] I'd agree with that...but I'd stretch it to the lowest common denominator for all as well...but sure, drum chair is very important. And I never assume someone will work up just because they have a decent CV..... Not wishing a downer on your new gig, tho........

Headlining is all about confidence and then being able to pull it off...if you can, you do...if in doubt, you don't. It isn't as though you have your own crowd to swing it... so it would be a NO from me...unless you know the bill and can cover it. We stormed a set and blew the headline away but their crowd saved the day for them...and they wont come near us again...BUT...even I will admit we lost out that day as they had more of their people in through the door and they went down very well. It was agreat night all round really. The upshot to the day was we have been back a few trimes as headline and were able to build on their crowd coming over to us... but I say we got blown off that day... albeit not musically.

From what I have seen, the Real OV finish is very very decent so I am saying that a refin down to wood and respray would top out at Sims at around £400.. I am guessing at his prices but I have seen the work and I'd pay that for him to do one of mine.

ha ha ..I have a bling quilted maple and even that is a bit OTT for me these days. I prefer my solid white J with tort, TBH. It would be great with a nice sunburst but it doesn't bother me THAT much to change it What I would say is that the White J gets ALL the attention, even though the quilted maple AAA top would suggest otherwise. I would think that £400 for a Quality refin would probably still put the bass up there as a good deal at £1300...and you needn't have it done straight away anyway. Plus the neck detail therefore becomes a nice little subtle finish..rather than a stand-out look-at-me thingey A refin is the easy part... you can't graft on great tone..

[quote name='LukeFRC' timestamp='1325157287' post='1480290'] Price isn't the issue though is it? it is already a great price. It's a question of can I afford this? Y/N Could I get a better bass for less or similar money? Y/N If I bought and wanted to sell later could I make the money back? Y/N Do I want this bass? do the positives out way the negatives? Y/N Would I play this less than a sunburst fender PJ? Y/N Would I mind it being different than the rest of my collection? Y/N Any no's mean possibly not the bass for you! (I was tempted but would have to sell a bass to afford it so didn't get past the first question ) [/quote] ha ha not helping..!! The only think I can offer is that Wot is a trad Fender guy ( probably) ...so how will this sit on gigs..? I'd decide on what it is worth to me..offer it..which means a tad lower that stated, and leave it on the table for him to dwell on..and make sure I am entirely happy to let karma deal the rest If he budges, then it is meant to be..!!

If the coil travel is impeded, than a recone or new chassis is the only way out of that I would suggest the guy has fried your rig ( speaker) You need..as others have said..to be sure of a complete matchup of new speaker, so that means that Wembley LS needs to have cone kits of the model you need. If they have another kit..you could get all the probs above you are trying or wanting to avoid. You need exact like-for like or you need to be able to mod the different specs..as people have said. This is the problem we all get with discontinued lines... and limited info from the makers.

[quote name='HazBeen' timestamp='1325153413' post='1480215'] Simple.... GK Neo212 4 Ohm cab, lightweight, gets the full 450 watts out of the SVT3, has a pronounced mid grunt that compliments the Ampeg sound, is compact and has the perfect balance between low end reponse and high sizzle..... and it is quite reasonably priced. Alternative would be 2 Neo 112 cabs at 8 Ohm, that would give you a small gig option as well (only take 1 cab). [/quote] I think the Ampeg is a hard match-up so I start with someone who runs the cab/amp config My fave trick to cut down weight is to go 2x210's...but this might be the more expensive way round. IME, a good set of 210's paried slays 2x112 .. I'd sell my 112's if they weren't so useful for the smaller gigs... but I certainly know the sound is missing something. Tons of low...but I can afford to loose that, IMV.

chris_b when you make that decision to trek up there..give me the nod I know how attached you are to the Lull

[quote name='wateroftyne' timestamp='1325096279' post='1479842'] If it had been 3-tone burst, I'd be sitting playing it now..! I'm such a luddite. [/quote] I would have thought that would be a good call... My friend had one made..and I can say that the top line of Overwaters Fenders are very well put together on that showing. For that money... looks a lotta bass..??? OT....and this would be my one reservation about Tanglewood OV's..not that I have seen one up close, but that is a tough act to follow. I wouldn't put the top line OV's that far behind Sei's...

I'll encourage the drums to have great energy and do whatever he felt would enhance the song.... but you have to trust him to know this which is why he has the gig in the first place. If he goes very flash..then that can work for the song and I'll go with him as I'll bet I can catch 90% of what he will do and make it work. The ones I have more trouble with is the guys that just stay there thinking the track needs nothing..... assuming that what they are giving it is all it needs. we need to both be on the same page or we sound like two guys playing our own parts and expecting it to work. One of us, has to bend to accomodate. I find a lot of problems start when one player..be they gtr or whatever sticks rigidly to a part and is oblivious to it not working..but hey, that is ok, because my part is correct...!!!!! With a new drummer, I never know what the groove is going to be like until 2 bars or so in..so my part has to be fluid upto that point And that should also apply to everyone.. IMO/IME.

Will come back to this..can't get the playback to work for me... it is a work thing. My guess is that the white P will transpose better IN THE TRACK as the balance of the sound between strings between the lower register of the riff and the higher part is better on that bass for that song... If I had to choose the best sound and could split the parts... I wouldn't pick the same bass for both. But need to hear this update.

[sub]It will always be a risk selling a good bass and thinking an upgrade will work better....[/sub] [sub]You have to be 200%...and I buy and then sell as it will take a few months to get really into the bass or other kit, for that matter...[/sub] [sub]so you can't play one off against the other..you have to be prepared for an addition and then a cull..hopefully.[/sub] [sub]It took me years to decide to and actually sell my custom...and I know I made the right decision now..but it was still VERY hard.[/sub]

I think I am pretty good at making a drummer sound good....it is what I do, tbh.. but you have to have something to work with. By the same token, I've worked with some very good payers, IMO. Just reading a few lines of your ordeals with drummer A would be enough for me to say, I'm out and I am pretty sure I've also lost gigs because I dared to say so and so was hard work. Maybe I shouldn't have...but if I am struggling the whole band is struggling..even if they don't know it. It will never work like that. But.... what I would do and what you can do sounds the problem... you are going to upset quite a few to resolve this... so the only thing you can do is either like or lump it... or leave..

Pre amps can be funny beasts. You like to have a lot of sweep...but also, that isn't really useable. I switch mine in to boost a tad live...rather than the full 15bd..which would be as unusable as the MM one, for exmaple. In practice this generally means the bass is on half on one bass, and the treble between nill and half..whatever that equates to. The other bass..with the same pre...has Zero bass always. They cut through like a knife so you can hear everthing that I do..for good or bad... but they also sound very nice passive and where you have a bit more control, I go with this option..ie studio

I think unwanted noise is caused by the way you hit the strings. You might not have the bass set-up and balanced the best it could be but I wouldn't start there on a cheaper bass, If the sounds you hear are not desirable then you have to clean up your technique, Your right hand ( assumed you are RH ) needs to be lighter and more accurate as does your touch with the fretting LH hand...by some considerable way. Some people might like this attack but there is really no reason for it that can't be sorted with time and effort in terms of practice. This is why you should not play acoustically, IMO..you miss so many nuances of the way to strike a string and what you can get back off it. For instance, they are a few techniques you can never get if you don't 'play' the string I'd suggest you work on getting rid of that clank. It is so easy to add..should you want it...but so hard to clean up.

I have to say, I prefer to hear him do it..rather than watch him. I also think the closed grip is only pertinent if you can't close the strings with your little pinkie..which might be a historic thing with high actions and poor string availability in the formative years...possibly

On looks alone... the Sadowsky once again prooves they can make a very pretty bass. The P would have a tort plate as soon as I could get it to Sims.. On my visit to Gtrgtr down here tho... all the basses I looked at were pretty damn rank and hardy got off the stand because a) either the action was plain ridiculous or the general build didn't warrant a closer look, IMO.

Notice how most renowned groove orientated players..as opposed to soloists.. tend to have that closed grip.

We have pretty decent relations with most pubs we play...or we wouldn't play them.. so if we have a new date and the venue cancels, then we don't rush back. We had an agent try and put us in a pub... wtf..!! and the Landlord cancelled us because of the boxing, the time previously, so we said no... She couldn't understand why we werent rushing to play the place..which is excatly why you shouldn't be using this agent.. or this pub. We notice that they don't do live music now..as no decent bands would play there..as the word got round how cavalier they were with the handling of bands..hence the agent getting invloved ..!! etc etc .. So..... one to avoid..!!

As per the demo White P-bass is best for the whole track...then the Jazz. The SD P and the Warwick come nowhere. IMO.

[quote name='norvegicusbass' timestamp='1324999502' post='1478987'] This thread seems on the verge of degenerating into a " how bassists adapt " thread which wasnt my intention. I was more interested in the tone you desire aside from what band members wish you to play. Practical issues aside playing in a band that pays etc what about the kind of tone you really want and maybe do in private practice sessions [/quote] I bring my sound to the gig... it works all the time, IMO.