JTUK

[quote name='Bilbo' post='1076813' date='Jan 3 2011, 09:33 PM']Having a record out is no indicator of quality. If these guys are so hot, why are they spending their time at open mic nights? If I may say so, and I do so with absolute respect, your self talk is atrocious You are talking yourself into believing everyone else is wonderfully talented and you are s***. If your singer songwriter friend is as good as you say he is, why would he work with you if you couldn't cut it? You need to trust that he knows what he wants from you and that, as he doesn't kick you into touch, you must be delivering at at least an acceptable level. Give yourself a break. Its not paranoia; its low self esteem. Trust me; they are MANY guys out there that can't play for toffee who are making a living at it. Don't keep beating yourself up.[/quote] This is more than correct, IMV....the whole game is full of BS. Besides, it is open mic, so anything goes, with good grace. Sometimes you get some poeple trying to dominate it and showcase what they have to the exclusion of all else but you have to ask why they need to. Take your turn and get it done..and go from there. I'd check out what gear normally arrives and then go from there. If, as some of these are organised, the 'regular' band takes their gear, have a word with the bass player and ask him nicely if he wouldn't mind lending you his gear for the acoustic set. Also, ask him about the gear and get him onside..you might end as basss buddies. Open mic nights are popular ways of pubs filling an empty night..you get a few punters along and also the players thenmselves buy drinks, so it is a win all round.

We pay about £60 for our own site etc. That didn't include build though... but at least it looks pretty decent and different which is the problem when you use everyones else's template

[quote name='cheddatom' post='1152462' date='Mar 7 2011, 01:35 PM']pubs around Stoke put originals bands on all the time![/quote] Do they pay them..?

[quote name='Low End Bee' post='1152403' date='Mar 7 2011, 12:48 PM']Exactly. We understand we're only really there to help them shift booze. I haven't tried to sell us to landlords as anything other than a band who will get people in the door, be professional, punctual and create a good atmosphere. I have desisted from telling them about our musical influences and creative processes. The one pub we are perfect for locally is being a tough nut to crack. As I said a heavy rock covers band were playing to 15-20 when I spoke to him. I said we could expect a much greater turn out and were willing to do the first gig at a discount to tempt him. "I dunno. I only know the covers bands. I think you'd be too risky"[/quote] Understand all this..and sympathise. I can tell new landlords that I'd back our band against anyone..bla bla..but he has heard it all before, and besides he can always leave the night to his bar staff and go upstairs and watch TV or something, he just wants a decent take that night. He doesn't have to sit through some bands. If negotiations are getting sticky and the guy will not budge, I tell them we will do the gig for say £150, ( never free as that is too desperate, IMO ) he would have to pay that for any band minimum and then tell him that he can give you a bonus if you do well. If you have that sort of trust then you are backing yourself, doing him a favour on the price and filling his pub. Of course, you have to make good on the rhetoric and you really have to give him a good night..but if you think you can, then I really hope it works for you. But if he wont, then you can lead a horse to water etc etc ...tell him you are doing the same thing at such and such a place and he had his chance etc etc

ha ha..bassplayers.. I take our tool kit but draw the line at major rewires. If something breaks..then if we can't fix it in 15 mins it stays broken for that gig. I have enough kit for that, I think.

I have either ebony or morado, IIRC..not sure what the difference is as it looks the same.

I think this is a very good idea and appluad both the band and the landlord/venue for taking the plunge. Of course, we know it is only a numbers game anyway... but as a new band the figure we hear from Landlords is bring in 20 people and he will be happy. I am assuming that is to add to their local regular turn-out. This is easier said that done in a new area but if you can get 50 in the door, then you'll be setting a high mark for everyone else. But then that is the nature of the game.. I think where gigs fall down is when people/bands don't realise bands are there to increase turn-over..almost entirely. They think it is some local service... I hope it goes well and you smash it.

[quote name='Bilbo' post='1152283' date='Mar 7 2011, 10:28 AM']I struggle to get past the idea that playing other people's stuff the way they played it is just pretending - one step up from a tennis racquet in front of the mirror. Tribute bands are just like taking the tennis racquet out in public - [/quote] LMAO....... but the jazz snobbery thing ain't cutting it in this case, IMO. FWIW..as far as tributes acts go, I like Will Lee A good band is a good band, but I draw the line at Queen... I now think with Paul Rogers they are way better than the original, but then Rogers is a real vocal talent anyway.....

[quote name='garethox' post='1152242' date='Mar 7 2011, 09:53 AM']Just acquired a 1001RBII and an RBX210 and I want to add a 115 to it. Question is: If I run the 210 in the GK biamp mode, is it safe to run the 115 full range? It doesn't say either way in the manual... Any help appreciated! Cheers.[/quote] That would be the point of that design so I would run the 15 full range. The roll off on that chassis would be natural although I would hope you have a cross-over that you can control. I used to run my SM400 bi-amped in the true sense as that amp has two seperate power stages but I stopped doing that as I found the bi-amp power more valuable.. I am not sure how GK goes about it but it isn't a stereo amp. IIRC, so I would think you have a X-crossover splitter doing the work and you should still get full power from the speaker config. Had a quick look at the GK set-up and I don't think you can drive the 2x10 from the bi-amp option.. it is 50watts and 5khz limit which is for horn-only..you would be wasting the 2x10 and hannering the 1x15. With what you have cab wise..run both thing at 4 ohms full range...and let the tweeter on the cab do its work.

[quote name='dmccombe7' post='1151699' date='Mar 6 2011, 06:01 PM']Must have misread the thread - its an age thing Cheers Dave[/quote] Yeah...now what were we talking about

[b]pikeman[/b] That sounds like some injury..hats off to you for getting back at all

I hope the OP gets there as well... but I thought I made it clear the post refers mostly to drummers. I agree it isn't too late to learn, but you have to put the time in...and some can't or don't do this any more. That will cost you on any instrument but drums are more physical....so apart from the guys not being current, they aren't as young and as keen as they were. Depending on where you come from and depending on where you hope to end up...you'll need focus. Personally, a drummer that hasn't been on his kit for more than a week is not going to be on it enough, likely enough, unless they take other measures and that would cost them in terms of timing and stamina. With bass, it will show in terms of panache and facility but that might depend how showey that player was..or wanted to be. That OT aside, I imagine...that anything that takes someone out physically for 20 years from their profession, would hit them hard so would think just being keen enough to start again is enough for congratulations. I said as much in previous posts but as the same time, you can't sugar-coat a few things. I don't know whether they are applicable in this case but I wasn't the one who mentioned that the band might have already settled on a bass player and therefore called off the audition with a let down easy excuse. If the OP has worked in the industry, he'll likely have heard it all before anyway.

Don't wish to through a spanner in the works and I hope the OP gets back to a standard that he is happy with, but plenty of old skool names that are still hanging around the local circuit can't cut it.. High profiles, big names and a decent career but if they were starting out now, they would really struggle. Funnily enough this post applies mostly to drummers. I was having this converstation the other day and I can think of a few that would be lost. The standard of drumming has taken quite a leap these last few years IMV.

Chris... Come over and check out a couple of my basses... I virtually garauntee they will give you food for thought. I can't see any gig like that being too much for a P-bass anyway..myself, but if you want to have a look at other things..??

I would think the TH and Sadowsky boxes would do a job, but my option would be to slot in a Retro..that will certainly beef up the low-end, no doubt, and you don't have to get far away from the classic jazz sound with it either..altho with the mid sweep, your options are huge.

Or thumb nail and palm/wrist mute for a quick substitution if you don't want to go the whole hog with the set-up.

If you have been able to play for a living on sessions, then you should have been more than useful. I can't imagine how hard it has been to come back from something that took that all away but you should have a wealth of experience that could shade the other guys anyway. If only in arranging, sound and general demeanor within a band context I can't quite guage whether you want the chair or just want to get back into the frame but best of luck with it. If..as a lot of bands seem to do..they look at potential instead of immediate capability, and you think you can get back some of your skill-set, I wouldn't be having any worries. I would probably let them know a bit of background about why you are where you are playing-wise as well.

Preferred the Shuttle in the 1st demo with 12 o'clock settings on EF's video...just a touch more defined or articulate for me over the i-net Personally can't find any use for the OD facility but whether you need twin bank of the Shuttle..?

Its all relative. Generally I support the more educated argument just to cover more basses than not...no pun. but there must be many a 'clueless' player who can blow away his 'educated' sidemen in some contexts' Some talent is purely freakishly natural The thing is to have as many tricks and tools as you can muster and it is down to the individual to try and develop what he needs to do what he wants. If it is his gig and he is paying the big bucks..who is arguing. If he needs to sit in on another gig...his natural talents will likely need to be very acute To take the sport/football analogy... some people like Gazza cannot string two sentences together very well, but he was light years ahead of his teammates and no tactics, team talks or coaching could teach that. I thought he was a footballing genius Other than that..we don't need the bun fight do we..??

£30k on a rehearsal room..???? what planet are these guys from..? ROTFLMAO.. Still, it did make me laugh and brigthen up the day. cheers

Isn't there a drum forum anywhere. There could be loads of guys at a loose end looking for bass players, etc etc .. If I was struggling finding a drummer, I'd join one..probably.

When I was looking for a drummer..I rang all my drummer contacts who we were interested in and they couldn't commit to the gig in the timeframe. That was what they told me then. When I called them the other week asking for a dep..the gig was more attractive but the first two couldn't do the date..but both really stressed the point that they would love to be called again. Now...I know we have a good gig/chair (IMHO) and tbh, I think some of them would struggle to fill it as I think we ended up with the best guy anyway. Other drummers round here know who is about and who they can recommned so if they fit your bill, then so should their dep. I would be checking out bands to see who would fit your bill...and then get them along by whatever means you can pursaude them. I find drummers are most weak when offered hookers and strippers.. if all else fails..

I must admit, I have bands that sort the musical aspect out first..then it is expected that everyone will be grown up enough to work things out for the good of the whole. My current fave unit has 4 out of 5 people all pulling the same way and the fifth is mostly able to deal with his conflicts via the diary. Everyone has more important things that may flare up (relationships, mostly ) and you have to accomodate them, but it really really has to work on a fundemental level..either you are all great mates or the music is right or whatever, but the good things have to be worth all the little things that can turn it. That is why I don't mind people doing the gigs for the money..if that focuses them to the required degree, we get what we want and they get what they want/need. We make sure we have a few decent payers otherwise the logical extreme would be the guy always goes for the best money. You have to like what you are doing and I can honestly say, I don't play with arseholes. As long as people are pretty straight on why they can't/wont do a gig, then we can understand and be grown up about it. The one thing we did..prior to this current band getting going, was to outline what we wanted to do. we knew the music was going to work, so we decided on how many gigs and rehearsals and how far we could push things. It is working so far but if you are together for say, 2 years..you will hit a few snags. If you can't talk about and get through a disagreement, then you haven't really got much holding things together in all probability. Being easy going is a plus..but not a push-over.

Sounds fair enough... sometimes it is better to have the ruck and then as long you can move on from that, then that might clear the air and reitetrate a few failed understandi8ngs.