JTUK

I don't know. I don't blame Bilbao's position..he isn't trying to set himself apart as he takes the covers gigs himself. I just think he has been round the block a few times, and is a bit tired and/or cynical about a lot of things musical...as quite a few of us may also be. He calls it as he sees it but is pragmatic enough to know that a gig is a gig is a gig. I think he is quite discerning and would call a decent band a decent band regardless of what music they played....just as he would call a poor band the same if that is what he thought. I don't take much offence or notice at this line.... I think it is reasonable. He likes what he likes and calls it as such. Not much else to worry about really.

Watching that video again...an awful lot of coil taps and permutations that could get confusing. It could be a hellish first few months going round in circles

Good post, I liked that. I'll come back to this when I have a better sound to listen though. Some backing vox in Vince Gill. I miss CMTV when they used to bundle it with MTV.. Puts a lot of the channels they currently use to complete and utter shame

yes..that was the only reason I mentioned it.

I like the balance of sounds in all these video demos so I wouldn't expect a fight with the bass getting a nice sound. I am currently chasing down a a markbass type amp for a backup/something different and if the scares about failures with this line is not an issue, I could want to seek this amp/marque out and add to the list.

Can't vote...but I liked the variety of the Ed F video when demoing the Big Al configs..which I think is still relevant here...?? Saying that..I took my active pup out of the MM I had and replaced it with something more subtle.. Also, agree that a Humbucker of the MM type in the neck position is way OTT..IMV.

With your budget you could go mad ..but it is a leap of faith if you don't know how you will get on with 5's..IIUC..?? What I have seen recently as regards typical build quality within your budget would include; Overwater Jazz....nice work and doesn't hold it value second hand so well...which means you can get a lot of bass for the money that way. If you buy at this bottomed-out price, I think you could sell on without penalty. You need to see and play the bass in question though as the luthier might tweak a few things for the customer. Quality bass with a variety of options of HW. Sei Jazz. Total quality again..probably, IMV, a step on from Overwater and you'll be looking at £1400 SH ..if you can find one. You really have to play this bass for the same reasons as the Overwater, ie, custom tweaks. Sadowsky. Good build and styling and a classic variety of Fender models. Quality but more stock between models as these have a wider production mode, the Metro coming from Japan and the NYC being NY based. The difference between the two is ..visually.. the finishing woods. More constistancy in model type, ie neck width/profile etc. Anything from £1000 upwards but NYC retain premiums. A SH Metro 5..maybe..?? £12-1400..?? MM... pretty much a sure thing.. good value for money workhorse. Lakland. various models from 5500 series to the DJ/JO etc Jazz bass variants. One of these jazzes with a decent pre and SH for £7-800? ...result..!! Rare Breeds... along with the Sei's..are AC and Celinders. Special market and you should really know this bass is for you as they are highly priced at the top end of your budget..and above. Just my 2p..

[quote name='Machines' post='1153552' date='Mar 8 2011, 10:58 AM']Also, there is no space issue to be worried about. Threads and posts take up miniscule amounts of disk space compared to one image attachment (we have plenty of disk space anyway).[/quote] at the moment

yep..like that.

In an ideal world, these posts would stay, IMV. I think the history is useful..if you can be bothered to look. I don't think the seller should have to post what the item went for..we can all read the thread, but I don't think it useful, IMV, to delete the history of the selling process and where the price might have been heading. Space is another issue.

No, not really but I had looked at a few of the older SWR cabs and you have 6x10's going to less than £400. Goli 4x10 for £350..ish.. and these are twice the cab in terms of power, IMO If I could find one (SWR 610) relatively locally, I'd be interested in one. AFAIK, the 4x8 was quite low powered..maybe around 300watts, so I wouldn't pay more than £300 for a VGC one, myself. I am not sure if it is a one cab solution so would put it on par...with a GS112 for around £250..??? What do you think it is worth..or what are you willing to pay? When there is no real market indication it is a bit hit and miss.

oppps..... that'll teach me to read the last post... Well done.

[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.