JTUK

[quote name='Muzz' timestamp='1439832461' post='2846111'] All good if your setlist doesn't require you to chop and change...horses for courses. I think a lot of people like a mid-scooped solo sound, and that can go walkies in some band setups, which is where the OP was coming from... [/quote] But you have to make sure it doesn't go missing. The classic P bass sound doesn't go missing...it underpins...unless you go for the hairy sound which is a bit of a nonsense, IMO,., but there you go. The classic P bass -which is what it is used and known for- is not a sound designed to cut thru, it sits underneath.and if you lose it...then that is something wrong with the mix I have a scoopy sound and I'm heard... but by the same token I hear Stingrays and you can't hear any top end. For some people if you don't know what you are doing then you don't know and they'll always have problems.. And these pages are full of people who have to have the cabs right up by their ears in a 3 piece...???? What on earth is going on there...?? I never understand why the bass is thought of being the one to sacrifice. No other player would use a sound they weren't keen on..and I don't know why bass players should be expected to do so, but then bass players are often the least clued up on sounds.

But I'd say for me to do what I do..and not limit myself in anyway, I need a sound that does indeed do it all. For example, a P bass with flats sound would force me to play one way... and I'd find that un-necessarily limiting. Not saying I don't like that sound..just that is just one facet of how I play... so I cop all those tones of off one sound, pretty much. And since I'm not chopping and changing, I don't have to re-EQ... I think you can do this with a passive bass, but it is easier on a an active. The trick is not to have people know you are active, IMO. Most amps and pre are over engineered in terms of EQ options... and that is a road to nowhere if you get caught up on it. Slight tangent, but hey..!!

The best music pubs round here are the harest to get in..and tbh, I prefer it that. If we aren't deemed good enough, then fine, but it also sorts out the rosta so people will go there on spec and see a band they haven't heard of as the venue is known for decent bands. I am currently favouring pubs that put a small overhead on for bands... Some discos and bands can up their rate to £500 plus for these venues and that has to be a good way to go, IMO. Funnily enough most ska bands are on this higher rate... I call them bands that white guys can dance to... but they tend to fill places easily enough. So laugh all you want No, I don't play in ska bands

[quote name='machinehead' timestamp='1439757579' post='2845582'] I find that scooped sounds are great at home but less so on a gig. My own experience would tell me that what sounds good at home sounds fairly different and not so suitable on a gig. Another interesting thing is that what you hear on stage often bears little resemblence to what the audience are hearing, making it even more complicated. Frank. [/quote] All my tapes suggest different in our regards. The mix is good..we aren't quiet and we get very good comments about the sound. My bass sound is the way I set it up at home. We've worked it out and apart from the gtr knowing that he has to cut out some bass on his signal.. that is all we've really had to do. We've had deps in and it has suffered a bit but that just re-enforces that we are doing it right with the full band. A simple 5 min sound check and we know. And that is with a pub P.A with kick and keys in the tops.. Some of the worse mixes... evidenced by my little Zoom player ..have been when we've hired the P.A in.

Stand your ground... We've normally set a fee of £200 per man on NYE's and been quite happy to not work it. We'll get £1500 plus in the run-up anyway so NYE isn't the gig it used to be simply because everyone wants a piece. A couple of beers is normal anyway...and a decent gig, the LL would offer that anyway...but it doesn't really matter, it is just a nice touch. The fee is the fee. I'd tell them I could make £100 plus just by doing a few hrs taxiing mates home...so I'm not working all night for a low ball offer.

[quote name='xgsjx' timestamp='1439718928' post='2845144'] I agree. It can be as simple as not having enough mids on the bass. Having the bass turned up too far at home can result in not getting loud enough in the band mix due to the driver limits. Decreasing the low end or turning up the mids makes a big difference. Then take that sound home, turn the volume down & it might not sound as pleasing to the ears as before. The other issue is that if the rig can handle those lows, they might overpower the band's sound. This is going on the assumption that you use the same rig at home as you do in the band. [/quote] The only difference is..once I set up the amp, is that gigs have more level. I very rarely need to touch EQ... but with an enhancer, that was more an option. Now, none of my gigging amps have enhance or filters.. The only goal I set is that I want to hear the sound of the bass... not the sound of the amp influencing it too much. That way amp sound is consistant even when I change amps..the only thing that is different is the slam..but that is OT class D territory.

[quote name='xgsjx' timestamp='1439679375' post='2845011'] I think there may be more than a couple of bassists that have gotten a great sound at home, joined their first band & totally disappeared in the sound. I found that the best thing to do at home when finding new sounds was to put a track on & play along to it. It's too easy to increase the lows at low volume when you're mucking about at home. [/quote] If they disappear in the band mix..then that is a collective band problem. If this happens with a simple gtr, bass drums format, you have real problems. There really is no excuse whatsoever, IMO, for a bass not to be heard in that sort of line-up Those problems are personell changers IMV.

[quote name='JTUK' timestamp='1439379508' post='2842267'] I use a Demeter..it is ultra clean. As it stands, I doubt many could or would use a sound that clean. My amp goes from TH500 which is gritty but if being really picky, probably a bit too processed. If it had the headroom, I'd use it more. DB750. This is the DB's by name and nature and sits some way left of the TH500. It stays purer, has volume in spades and amps very well. Just an all round class amp and my fave Demeter As I say, ultra clean..and whilst the amp is very very good in its balance and headroom, I haven't found a sound I'm 'loving'. So much to really rate about it but the sound is a tad too clinical at this stage I am thinking about putting a TH pedal inline to mix it up a bit, but I really don't want to do that.. What is the point of a clean signal and then go through a cheap, by comparison.. pedal in front of it. If you need break-up..I prefer something a little more 'organic' Really impressed wit the amp so far though [b]and I'm sure I'll work it out.[/b] [/quote] I've put a few sessions in and got the amp moving. It is still clean but not glassy or brittle. The EQ of the amp is subtle ..certainly compared to some, but the EQ is useable. I've got it to growl a tad... and it retains nice character in the tone. The excellent balance is retained and the amp is very good indeed.

I don't see any LH muting in the way he plays it... it is just very smooth RH alternate plucking with fingers. RS is supposedly NWR's nod to Jaco but there is a world of diffeence between the two...Jaco was a master LH mute, Still a great bassline tho and tricky.. It lends itself to certain types of player if you are going for the rip.

I just get in the right frame to be able to play.... I know the songs...it is how I will shape this bit of that bit and how I will gell with the rest of the guys. We don't play by numbers so I favour an organic approach. If you can carry it off...it means the band will have 3,4 or 5 gears, and the trick is that 2nd gear should be perfectly acceptable. 4th and 5th gears are just magical. I prepare for that...but actual hours on a song...?? no idea.

[quote name='Lozz196' timestamp='1439659457' post='2844778'] I prefer bass to be warm and rounded, so that`s the tone I have at home - usually flat on the amp. Whereas with the band it`s gnarly and gainy, with much more highs than I actually like, but it`s the tone that suits the band. I don`t play the bands basslines at home, so don`t need the bands tone at home. [/quote] But, by the same token, everything I do at home, I'll likely look to throw in on the gig...I do what I do and what I work on, when I feel like it. The trick is to have taste and know when or if you're going to do it... I'm always listening to everything and I hear everything. Of course, you have to filter but I hear the bum notes. I think I've got it right as I am quite a 'flashy' player, but people (bookers) think I'm a groove player first and foremost... which makes me smile.

[quote name='blue' timestamp='1439660809' post='2844799'] I think music or playing in bands is a side thing for most, flippant, if something comes up I'll do it or I like my traditional office job. For some of us, it's who we are and couldn't imagine doing anything else for a living. It's not for everyone, it really has to be in your soul to do it for a living. Blue [/quote] It may well be the be-all and end-all for some and not others, but this garauntees nothing in itself. I'll do it if I think it can be very good...my perception, but I know many many gifted 'amateurs' who would put more than a few 'professionals' that I know, to shame, so for me..it is all about how well it is done., The fact that some ppl do it full time means nothing... it just means they don't do anythng else... and I'd also wonder if they were 'legal' as well. but that is another can of worms..

Nope.... it is the same. That is the whole point of it, IMO.

It sounds like you are picking a track to impress rather than one that suits your style... For me, there are certain things, style or music that don't tend to cross over. Punk isn't funk... Prog isn't funk and even blues bass players aren't funky. Huge generalisations but what you listen to gives you empathy.... For example... slapping a Flea part doesn't make you funky but the vast majority would probably assume it is... It is more a question of you are funky rather than want tobe..and funk catches you out more than most. Same as reggae...you eiter have it or you don't, but you can't easiliy just play at it. However, saying all that... this also sounds like a technical limitation as well and you can try too hard to learn the part and not have it flow at all. What you need to do is get to a stage where you can make the part work rather than try and rip it completely and utterly. R stick, along with Forget me nots, Hysteria et al are often all played for the wrong reasons. Stay away from them unless it is just a technical excercise, but you'll not want to play them in front of people.. as they are 'judgemental' tracks.. IMO, so you have to do them great or not go near them...

Needs forethought with the P.A company as they'll need two channels for it. What it will realistically achieve i'm not sure, unless you can brief the engr what you are trying to achieve...and get him to work with that. Most jobbing engrs would probably not want to bother...

I get intense periods and bursts of energy but the balance is right. The problem is finding projects and players worth doing ....if I'm not excited, then don't waste the time.

[quote name='blue' timestamp='1439588077' post='2844280'] Good point, a lot of guys would be hesitant to ask; [i]"How do I get paid and when?" [/i]Which for guys like me who look at these opportunities as a paying job is very important. Blue [/quote] Well, when they told me what the minimum was.... it pretty much ruled out pubs, but I think they'll bend to do good dates. But since it is a start-up, bookers don't quite know what they are getting without a showcase, which is what pubs are. But we aren't doing functions as such either, unless they book us for the party to do a max of two hours, but more typically, one set of 70 minutes. I've already let a couple of guys go...as they just wanted to jam whatever they already knew and the music was competent but didn't have the vibe I was looking for...

[quote name='skidder652003' timestamp='1439211140' post='2840844'] got a Precision, it sounds loads better but got a big fat neck so crap for gigging right? [/quote] Yep, burn it.

I'll have the flow of the set in mind and we'll pick numbers to suit that. I want to get away from a pub set to a 'show' set...in that the whole evening is structured. The idea is that the band covers gigs well that others don't or can't. It is not just a case of putting your best 22 numbers in a certain order... but that is what many bands will do. That is why they'll never really get out of the pubs.. which is fine if that is what you want. Even pub work is too much work for the money...but can be a good laugh. Personally, I can't get people to play the circuit but they'll do one-offs if the pub is one of the better ones and/or the event and budget is interesting..

The serious question is if he doesn't sound good, why is he your drummer..?

After a while you get to know what you are looking for.... you get to know how it works and you get to know how other people expect things to work.. Then you talk and find common goals and ideas... and it will still rattle along at times, but yes, there are some people you have to know will not work from the start so you don't get involved with them. Sing from the same page...get the money sorted right up front and know what you all will work and commit to.

If you can't get them to seat properly..take them off and try again.... and if that doesn't work...bin them

Off the top of my head... and recent nice work I've heard Will Lee and Vail Johnson spring to mind....and add Jerry Barnes as well. Whilst Edwards has gone, this guy has picked up the Chic mantle well, IMO

I use a Demeter..it is ultra clean. As it stands, I doubt many could or would use a sound that clean. My amp goes from TH500 which is gritty but if being really picky, probably a bit too processed. If it had the headroom, I'd use it more. DB750. This is the DB's by name and nature and sits some way left of the TH500. It stays purer, has volume in spades and amps very well. Just an all round class amp and my fave Demeter As I say, ultra clean..and whilst the amp is very very good in its balance and headroom, I haven't found a sound I'm 'loving'. So much to really rate about it but the sound is a tad too clinical at this stage I am thinking about putting a TH pedal inline to mix it up a bit, but I really don't want to do that.. What is the point of a clean signal and then go through a cheap, by comparison.. pedal in front of it. If you need break-up..I prefer something a little more 'organic' Really impressed wit the amp so far though and I'm sure I'll work it out.

As far as I'm concerned you can either cover the gig or you can't. If you can't you need to take steps that make sure you can do what you need to do, If that is making sure you have access to kit or can borrow it, then that is down to you. Personally I wouldn't take the chance of someone not lending me any kit..so i'd arrange that before hand. If you can't do simple stuff like this,,,, then I guess you'll have to wing it...and take pot luck. But then, you can surely not complain if things don't work out if you don't take simple steps in the first place. I get that some people don't have much money etc ..and you can be sympathetic and want to help, but the person also needs to help himself. If the first thing they say is, hey mate, can I lend your XXXXX or whatever, probably think someone is taking the mick and react accordingly.