JTUK

I'll have most of my amps up around 1' o clock on the dial, at least, and the smallest is 500w. I think it depends what you need to hear and you are always reading here about bass players that can't hear themselves with so many set-ups. To me, that is all about the way you EQ the whole thing...not so much the volume. I recently listened to a whole day of music at a charity bass and the pub hired in a P.A which had 6 boxes including subs. After the first two bands... you couldn't hear what the bass player was playing altho you knew it was still there. I don't know why they bothered, tbh as it was so draining and tiring on the ear. I think many bass players can be heard..to a degree in a pub with all the guys playng loud, but what exactly can you hear and what can he play? Maybe you don't need to hear more than they've got and maybe you don't want to...but you get a loud drummer and a pokey gtr like a Les Paul or SG and you have a wall of sound that notr many basses and rigs will get passed ...and I mean 'passed' as in you can hear what the bass player is doing. This free for all should not be about a wall of sound, it should be about the layers of the sound... and you need people to stay out of each others sonic space as well as staying out of their playing space... I use what I use to make sure I can get a good sound underneath and over the top of things... not to fight them. Un fortunately it is a very rare gtr that will listen to the band and adjust his sound as he expect you to adjust yours.. I've said it before... get a band to play a straight 8 chugg parttern or shuffle... and set the bass and drums up on it. When the keys come in..they'll automatically play something that gets out of the way..if they have any sort of brain. Take a guess what most gtrs will do... and even if you invite them to play the exact same pattern... most will obliterate the bass in doing so with the tone and playing style they have. This is your problem... being oblivious. Style of playing comes into it massively... a hard handed player will get way more volume off my bass than I ever could..but I want the amp headroom for finesse.

[quote name='cheddatom' timestamp='1447079873' post='2904641'] A flash drummer can be ace to watch, and it's not just musicians watching. Obviously it depends on the music, but I do think that "overplaying" is more acceptable on drums in a live situation than most other instruments. Obviously in the studio it's less entertaining and can get in the way [/quote] Sure...but this guy has it all...he has monster chops, people really take to him and what he is doing and grooves as well as anyone as well. He is not as well as he used to be which is possibly the only thing that stops him playing at the level he was at..and what his contempories are still at. Studio is or was his second home.

[quote name='EssentialTension' timestamp='1447089652' post='2904753'] Personal liability insurance ... including for when the PA falls on someone and they sue you. [/quote] I was going to say, think yourself lucky she didn't get hurt or cause injury to anyone else. PLI is one thing, but so is the health and safety factor and what that could involve... The wider issue is that at some point this will be regulated as such..altho the venue should have it...etc etc can of worms opening... See if you can use it as a wake up call or learning curve on how you set-up up what many would see as a business..??

I have two very good drummer friends...one who is very 'flash' and the other who is more about groove... but even that is subjective. If you heard the 'groove' youtubes, I'm not sure what you'd make of them... Nice guy through and VERY professional in all he does. The other guy is all about 'WOW' Both work or have worked at a very high level, but guess which one is the star of every gig..? People are mesmerised by him ( flash guy) and tbf, he has the real X factor. I'll agree he steps over the line a few times but you can't kill him for a £60 gig. And also, he is a DRAW in himself and I'd suggest that he is the best musician around...by some considerable way from a sheer talent point of view. For a bass player he is a real joy to go thru a few gears with..and he certainly has a few gears. Since he has played a very high level, he must know or have known where the limit was or else he wouldn't have had the gigs he had. I wouldn't judge the promo guy in all seriousness unless I knew what he did on a gig and what that gig was all about..

Will be there later this month....

I pretty much know what to expect and so I've made a good decision over time. I've never bought anything and sold it on in weeks because it didn't work. There tend to be tone bias in things like Maple and RW but anything you buy is on its own merits. I never think all bass models will sound a certain way until I play them. There are so many variations in the same model which is why I tend to groan when people ask which is the best bass... no one knows until you play them in context. I'm a great believer in construction making more of a difference ..or as much as the woods... and the better construction and materials the better. So altho I'm considering another bass, I'll buy it when I find it and if I think I can develop it to be a working bass...Of course, I'll set it up and that is an ongoing thing.

If the sound isn't what I'm looking for then I don't buy it. If it is, I will. I don't get hung up on what they are 'supposed' to sound like or worry if anything is 'missing'...,,

I don't think you can go direct to TKS from the UK... and tbf, I wouldn't anyway as Bassgear are great to deal with and you get their service for the same money anyway, AIUI. I've run S112's with a TH500 with a tweeter, but only one out of the 2 cabs. I like a bit of top end bite or the option of it but I'd think my needs aren't typical.. A rough guide would be, rounds needs a tweeter option whereas flats don't... but I think you'll buy two anyway..or add the second. The thing about the S112 is that it has great mid cut thru but it is a smooth mid and not at all honky. The TH is a great match but I also reckon the cab will work with most amps.. the Ampeg PF is another one, as is the Demeter and these are, IMO...quite diverse sounding amps.

I know nothing about the model it is supposed to be...but that bass looks like it has been abused and that would make me unhappy especially as you don't think it is in the condition you expected.

Most people can pitch but it doesn't mean they have the quality of voice to do any more than than BV's. I'm not a fan of voice that are either toneless or bland.... but accett it may come withy the territory. I can add depth to BV's and sing a 5th but I don't pretend I can sing a 2nd to the vocal..and if the vocals want that then I tell what I can do and they'll likely say 'don't bother'...

Of course, we've all done it but even in original bands we charged a fee. Even if what we asked for was dependent on getting numbers in..we learnt that money was there. If you ask for money and give nothing back, then I can understand why even the most willing promoter would want to not over commit. When we did the London circuit we never had any problem getting minimum exes and we always made a huge effort getting people in so what we asked for never turned out to be unreasonable. Wouldn't say there weren't fraught times, sure, but we never played anywhere, free. The drums and keys cost a min of £30 each per gig back in the early 90's and we took at least £100 for the likes of the Orange Club, Ronnie Scotts and Mean Fiddler etc etc I don't recall many empty nights but then if there had been, we would never have made any money. Of course, we were 'filling' these venues on off nights and you knew you had an 'understanding' with these club owners when they gave you another date...

I'd say, convince me why I should....and more to the point, convince the other guys

I did the same with a Goliath Jnr cab..but not out of choice as the PAS drivers were not replaceable with PAS so I went Deltalite 2510 and the weight save was very noticeable. I didn't like the sound of the NEO's in the cab tho so I sold it...

[quote name='bubinga5' timestamp='1446857804' post='2903061'] im not getting bent out of shape bud. I'm saying he's over playing on top of this record.. i don't care if its a promo vid. its sh*t. [/quote] Says the guy who posted 'how great is this drummer' thread... Not sure you get the point of youtube..??

What are you getting bent out shape for.....its a promo video

ooooooo.... spicy..!!! I wouldn't agree as Hendrix did things that was beyond most gtrs at the time, in a way that was beyond almost all gtrs, IMO, at that time. I'm not even a fan... Ian Curtis..?? Sid... ?? depends if you call them great, tho.

This is why I don't like FX's that are a massive booster... especially if the clour of the FX can mask distress. In an reasonable sound checked environment you shouldn't be competing with cymbals and gtrs to be heard anyway... so you can help yourself there. Understand that this is a common problem in these pages, but I don't quite understand the lack of desire to address basic monitoring problems...and..to fight back with a louder rig...!!! So, you can see how and why cabs blow if you basically can't hear what is happening to it.

See if you can get comfortable on this sort of gig... You may get a few roastings... but not from an open mic night, tbh.. and use it to build and develop in this sort of sit-in. Embrace it as an opportunity to meet and maybe impress a few guys as half of it is about their confidence in you being able to 'cover' the gig and if they have that, they'll call you. If someone gives you a proper chart on this gig...I'll be very surprised... but just say you'll need a bit of time to prepare it..and will do it next week.. That way you aren't selling yourself as something you aren't. Just tell them you aren't a good/enough sight reader..yet. If they like your playing, that can go a long way towards sidestepping a 'reading' gig.

My view is that you can have 4..or even more... to pick from but only play 2 per gig. Don't care who it is... that is a general rule. IMO, too many bands are too lazy with their set lists..and give them no thought at all and so there should be no lack of numbers to choose from if the imaginmation or even a little thought is there.

I don't think you would be that far away with an SVTlll running hot..ie the gain on high and then just use the compressor for the 'thump' If you find the amp isn't grindey enough then add drive from a pedal...I'm thinking you shouldn't need much because I think the SVTlll is borderline filthy sounding with a P. The signal needs input though so you either do that with a hard RH ( assuming RH) or pick... A compressor can cheat it, I think and the boost with OD it, IMO.

If you attack harder does that get you closer...altho you'll have to demo this at volume, IMO. If it does, and you don't play like that...you are going to have to get into simulation.. which might be where a compressor and drive pedal can help. I was mucking around with this sort of thing last night and I found an SVT810 sim was on the right lines and that had compression, drive and all sorts going on... It isn't normally a sound I can go with, but it might point you into the right direction..and definitely a compressor and gain pedal... This sound is often all about 'natural' suppression or compression from a valve block which is why I looked at the SVT sim, of course.. Funnily enough it tends to be the sound that an Engr thinks you want AND gives you...both on stage and in the studio.. but that is another thread..

It happens...but hopefully you'd hear some sort of distress through the cab.. but that isn't always easy when things are loud and doubley complicated if running FX. Chassis are much better these days but I'd never line up a 500w amp with a 500w cab by choice...I'd always want more 'cab'. I think it would be quite easy to break any speaker if you were a) being stupid enough, or unlucky enough and I don't mean it the wrong way...

This is just a driven pickup simulation so you are going to have to put a lot of signal into the pickup..and then have the output of that driven hard at the valve stage. The best way to achive that is a heavy right hand... not sure what you mean by growl, tbh.. don't hear much growl as such there..it is just a loaded signal. but anyway, the definition of 'growl' isn't really important. FWIW, I'd say growl would be more 'character' than that signal has, but there you go. You can't have lively strings on a sound like this...and you can't have a 'fine' touch..it is all about beef into... This might be a better mix for it..? https://www.youtube.com/watch?v=hOt3133ucAE

I can't get a bass I like enough for minimum pennies... that has just been my experience, but good luck to those that do.