JTUK

Birthday party which took over the whole pub. Top totty in nice dresses, we played well and keys and gtr were on fire. We could have stepped it up a bit more if we had needed to. Job done, got a bonus, got a few more potential bookings. Save them for the new year which is looking good already. Like gigs like that...

£3000 of lost business should concentrate a mind or two. But it would have been £3000 back to me a long while ago, I'm afraid, trust and patience has gone. For that money you could have had many alternatives to these basses. They may be good, and that remains to be seen on delivery, but they aren't that good to be messed around like this. I honestly don't see that someone is doing much to appease you and make things better apart from lip service. I think someone doesn't want to let go of £3000 or orders but can't deliver....?????

I'd expect the HT set-up to have a bigger low end. I prefer rear porting myself so I may try and pick up a pr of AE112's though the second hand price for a discontiued line has remained high. Apart from the side handle on the new HD's..they might be worth looking into as they are also ceramic but maybe that line is a afterthought of another sudden discontinued line..?

I think Sims might be a bit more expensive, for sure...but then that is reflected in the work they do, IMO. You do have to decide whether that is right for you.... as the basses they work on aren't going to be cheap

Loads of very good drummers round here but you need to find one who fits. Personally, I think that might be asking a bit too much to expect them to be your perfect choice, but I do expect them to bring something along to the party and then it is a question of a degree of movement into moving the whole thing on. Our guy is technically very adept, IMO, but favours a heavier type of music, but he pulls me his way and I pull him my way so we meet in the middle and both get something out of it in a learning type sense. I don't suggest what he plays but we talk about where we want the song to go ...we are suggest parts and styles etc and then vote of how well that fits our collective band thinking re that song. All you need from a guy is the ability to be told and to listen and to work to the common good and have fun. Everything else is down the food-chain. If you need/have/want to dictate everything, you'll need to pay them to be interested. An example of an open mind is..I originally wanted a funk groove drummer, primarily, but we ended up with a guy who likes Whitesnake, Purple and Zep. But as everything evolves, it really works, IMO. All you need is a good player and not a bone-head thinker.

I really can't see what the problem is. You joined after this period that you are promoting..it is no different than touring a band who are playing songs from before your rime with them. This is normal for a sideman. Seems to me you don't really rate the product so therefore you have be upfront about it and say it isn't you playing... end of. Anyone following an established band would know this anyway. The good thing is that you will not have to do much radio/interview work. If it is a decent paying and moving forward gig, focus on that and you'll have more input next time.

It may well why there was an oppurtunity for a new bass player as they didn't like either the result or recording process with that guy. I wouldn't find it a problem at all and would make a point of being able to improve the band.

If the sound and players are enjoyable, I'm interested, if it isn't, then I'm not.

The point about knowing the material can go both ways.. as in you may have had to spend ages getting it together so I would jump in the deep end and say hit me with the unknown track. Make a few notes or a basic chart....make a decent fist at getting it to feel right, making apoint to communicate to the players about what you are all going for with the song, and then you know you can tidy it up later. This means you are a quick study and have your stuff together as opposed to someone who has to spend ages working things out and will forever be that guy.

[quote name='SteveK' timestamp='1319022349' post='1408918'] Assuming that you're a half decent player and have got the music nailed... Smile, talk positively (ie, don't say, "He's crap", "That's crap" etc), nobody likes a bitcher and moaner. IME A positive personality runs a very close second to ability, especially with a gigging, touring band. [/quote] this....pretty much. The trick is not to have to bother with them so all that needs to be decided is if the people chemistry is right. To by-pass audition stages in an area, I would be doing a few open mics nights to meet people that worked the same sort of field. This is sometimes the remit of a jobbing muso who fronts/puts bands together and the open night is a quiet night abnd he gets paid to run the evening. But assuming that there is an audition to be done... the music part must work and you'll live or die on that front anyway....so the next best thing is how you are going to get on and how much you want to. I am never a fan of a band of friends as my friends might not be the most suitable for that gig and you'll make more musical 'friends' anyway, but I do have to be able to deal with them with regards to the band back office functionality.... like how gigs they want, who books them, what regime they run, chilled or drilled or whatever. One things that does help is if you nail the sound they expect.... gtrs are notorius at stepping on others toes in this regard and will have an opinion and so will the drummer...so if you like their sound then they have put a lot of time into it...so ask about they gear and approach. If you don't like their sound, you aren't going to get very far anyway. I always ask drummers who they like...and then nick that bassists style if I want to impress them...Moon and Entwhistle are great for this as both are a mess anyway, IMO... gtrs just want you to be there to make THEM sound good Throw a few compliments around..sincere but not chummy

Well.... mark me down as a disbeliever then. I am damn sure I couldn't get enough volume out of this type of thing to be much use in anything but an acoustic/jazz set-up band, but I accept other people could make that work with their playing dynamics. but I really have to question how loud is loud. IME..I couldn't keep up with a gtr and kettle amp, ........let alone 2 and they have a great sense of dynamics.. and drums once they get going and that is not a loud unit. I would struggle with an Ashdown 15" combo ..and I do play quietly but there is a limit. You can juggle around with EQ and internal mappings and that technology/concept is years old...but there is no sub for pushing air, IMHO, of course. I remain sceptical at best if you are talking punchy pokey pub unit. I would have left it at that but Wots point is reasonable, IMO.

Must be a quiet band. I accept that it does what you need but a 10" speaker can only do so much, IME.

I'd also sell the cab rather than mod it and put the money towards a better one..but I'd stick with 210 models myself.

Only used a MB112 combo fleetingly and whilst it maybe wasn't much time, I didn't like the flubby tone. I am used to MarkBass filters but I couldn't get a decent tone that I wanted to use on the 12 or 15" combo

Sims in Ashford Kent. 45 mins from Bexhill

The sax player forgot me once... turned up in London and the band asked where the bass player was. I was at home..still.

£35:00. One man band SS and valve pre. Someone from here who had a SVT11 went to same place....don't know how he got on.

[quote name='dave_bass5' timestamp='1318840649' post='1406595'] Assuming its all put together right i dont see the problem with buying any bass thats been put together to my get the bass i order, after all, unless its a through neck aren't all basses made up of different parts? [/quote] Could be quite an assumtion if the brand make a big play of assembled in U.S by craftsman etc etc ... as they don't imply any old bod with a screw driver will do. I think a factory set-up by someone who does this properly and with the makers knowledge and authority behind it is one thing. A distributor making it up as they go along is not my idea of a £1500 or so bass....allegedly.

I carry everything..and always do a mental check in car, but it is not so much the mistake or what you fiorget, it is how you can recover.

Things is..what sort of condition are you going to be in to play..and what damage might you do to a joint that is already under repair...?? I wouldn't touch this myself on the face of what you have posted, as the joint will need every chance of rest to recover and be a success. You are risking short term for long term IMO...and that is beside the fact that you may not be upto speed playing-wise anyway. I understand you are keen to help out an old band, but this isn't really your problem. So, that would be a BIG no from me. They should get a dep

Think long and hard. What seems an idea now might be one you go off later or OTT.

IMO, the 210 is a far better answer than the 115. The 115 is dull in sound character, although it puts out the volume well enough. The horn isn't very good and most turn it off, which makes it sound even duller. I think the 102 is the best combo around I've tried, but you need to be sure you want a 15" speaker.

Don't you think you might want to clean up your profile?

I prefer strings without these winds..as in DR and Newtone I think they are more brand ID