JTUK

[quote name='JapanAxe' timestamp='1439235225' post='2841184'] [color=#111111][font=Helvetica, Arial, sans-serif]Get this:[/font][/color] [color=#111111][font=Helvetica, Arial, sans-serif]'Bass player needed to record and gig original album,blues rock based,diverse though soundgarden zepp qotsa cream,[b]suit a bored guitarist[/b] maybe,got drummers and a rehearsal room lined up,exp preffered solid timing or recording exp'[/font][/color] [color=#111111][font=Helvetica, Arial, sans-serif]Yes, any old guitarist can stifle a yawn, pick up a bass, and play blues-based rock. Simple![/font][/color] [/quote] Yep, ... but that is why you never let a gtr player pick a band

I've just sold a yamaha DXR12 pair and will replace with QSC K10's.. I liked the KW12's for vox very much and I don't think you lose anything going down to 10's for Vox only. The KW12's handle kick ok... but I'd rather do that with a sub so my preference is for 10's as tops...and the quality of QSC is worth the difference. IMV. For £1000 for a K10 package. I think they are the ones to beat. I find the 1" horn of typical competitors is quite harsh when pushed, and I think you will end up pushing these cabs at some point. IME...PV's and cheaper cabs like Mackies and the like do strain more and they don't have the horn that can handle it. I'd even go so far as to say if bands round here have a good vox sound, they have invaribly got QSC or equivalents/better ..but suffice to say, most don't have a good vox sound. Other recent decent tops, I've heard have been RCF 722's but they aren't small or light IMO... but you'll need something like that to get what the QSC's will do...so £1000 for QSC is fair... To do appreciably better, the best deal would be Martin ICT300/500's or Nexo but you are into another realm really as you'll have to pack decent amp racks.. Martin need the controller but are class...and you can find them cheap... whereas Nexo aren't usually.. Best I've heard of later.. Meyer, but lets not go there with the price

Not sure how viable a gigging band you are atm, tbh... so beggars can't be choosers. If there are load-in issues then I might make a call..but tbh... over 90% of the time, my gear will be better for me.... so I have light and heavier rigs to suit the occasion. If I couldn't load-in myself, I'd have to put up with what was already there...whether I liked it or not..or not take the gig.

Police squad and I went upto BassGear and did a mini review of TKS, Aguilar and Berg. Basically, I felt the TKS shaded it with the amps options we ran at the time and I think I'd summarise it as I just liiked the ceramic sound a tad better. Not wanting to open a can of worms..oh well, I will.. I'm not personally convinced by NEO and I've used more than a few cabs. The sound is there, the volume is there, but the overall 'feel' seems somewhat processed to me. How much this is an issue when everything is banging away...is down to you but I went ceramic TKS as the sound worked and the cab was 10kgs to boot. That solves my lightweight rig option

Nope. Some of the tunes can be catchy but their is no live performance... altho you might get a couple of token guys onstage. But basically...come and see my laptop..which is pretty standard if you talk via text all the time.

[quote name='Phil Starr' timestamp='1439134823' post='2840284'] I really wasn't that impressed with the Yamaha's, they didn't sound great on vocals sounding harsh and lacking detail. The RCF's are so much better it is worth stretching to them if you can. There's an offer on at PMT [url="http://www.pmtonline.co.uk/rcf-art422a-mkii-active-speakers.html"]http://www.pmtonline...e-speakers.html[/url] making them just affordable. I say that as a bit of a fan of Yamaha and someone whose PA is mainly Yamaha. I just think the DXR's are a bit ordinary. Reliability is a given though. I'm another who would push for smaller speakers and adding a sub later. 15's can lead to problems in the crossover area which is often in the middle of what you need for great vocals and 15's are bloody big to be on stands, [/quote] I've seen the K10's for around £1000 the pr in package deals. I didn't think there was much between them and the K12's, tbh..and the sub would negate that anyway. I think the horn in the DXR is a tad harsh..the QSC is nicer all round and quite close in price so I'd pay the difference. QSC are a bit more quality IMO.. altho Yamaha are good in that regard..

Difficult on that budget, tbh... but I'd look at an Ashfdown combo... pref 210 and their 15's aren't that great, IMO..and then add antoher 210 to get something close to a 500 ext combo rig..

A bit tacky going after a dep job when the guy isn't well. I think that tells them a lot about the type of guy wanting to join... hopefully they'll knock it back If you were fully fit and they wanted to upgrade that is another story, but the only reason it is factor is because you can't play atm.. Yep..band sounds a decent prospect if lots of guys are chasing it

[quote name='chris_b' timestamp='1439122830' post='2840148'] I think [i]any situation[/i] relates to the guy making the comment. Obviously there are gigs where 2 could be used, but we've had decades of gear which, as good as some of it was, has only been doing half the job. Design a cab properly and it can be [i]that[/i] small and out perform commercial cabs of 3-4 times the size. [b]It seems Alex gets criticism for the look of his cabs but I've never seen anyone say his cabs can't do what he claims on the web site. There are others in this market, but Alex in particular has moved the boundaries for bass cabs out of sight.[/b] It's understandable, given what we're used to, but some bass players are taking time to catch up. [/quote] Design of a cab goes to build as well... so I can't really see how you can get one so wrong and the other so right, but there you go. In truth, IMO, the recents cabs don't look so bad from a build point of view, but they are just another cab.. I also think the boundry out of sight comment is pretty silly and just because a forum stalwart sell or pimps a lot of cabs here in threads doesn't get to make them any sort of world authority. I think it is ridiculous to claim or even think that. Especially as the industry doesn't seem to agree either.... but that sort of comment or opinion stays behind closed doors, but I've heard it quite a few thimes. Having said that.,.. if your big selling point is a light weight cab with an industry standard speaker then all you've done is make a light box.. If some people like that end result, then fine. I get that to some people the weight is THE issue and the industry is lucky that manufactrures recognise that as a market but to imply they are a vanguard is a BIG statement and pretty detrimental to other cab makers out there. The problem is that on here, you'll get plenty of people pushing them... and that just re-enforces to others who seen/heard/tried them, to think WFT..!!! What you end up with is opinions ..backed up with little or nothing, a sad desire to be part of a club... or a wealth of experience... but that is about all. Plenty people buy them but plenty of them for sale on here as well... make of that what you will.

The problem is the 15"s and the money. For medium pubs and not a loud band, go for QSC K10's for the cut down rig..and look to add a decent sub pretty quickly. That will get the 10's some depth and the capability to run kit thru the P.A. Don't think 15's on their own will do it but the issue is the e kit...

If you are running a 210 with a 410 with a powerful amp, split the impedence. But to do that, you'll probably need an amp that will run down to 2 ohms.. So the 410/212 will be 4 and the 210 will be 8....that way the 210 doesn't get the full whack the 410/212 does. But you'll need a decent amp to do that.

I've run 2xS112's with a TH and it gets quite gritty which I put down to the TH. When run with a very clean amp...the cabs deal with the signal very well.. but still with that ceramic 'niceness'... Akin to GS112's in some ways..which were also ceramic.. but with a more even balance as the GS's were too dark for my tastes in the end ( loved them at first) Not at all like the Berg NEO's.. A different flavour altogether, IMO.

Deps and deps... some are little more than jams and the expectation isn't that great..others can be a royal roasting. If the band is organised they'll give you a set list with keys and maybe even a pad... this raises the ante a bit. If they leave you to do all that...then you have to reconcile if it is worth the money. For a pub gig it probably isn't but you can use it to build a repetoire. Basically the band need to have confidence that you'll cover it, but you also need to reconcvile what their definition is of covering it. The idea or goal is to not have anyone but the keenest of ears notice you are depping but plenty of deps get the call out of desperation and don't really have to ears or knowledge to cover the most standards of songs. If a band gave you 30 plus songs..and they really shouldn't iof they are only doing 20.., you should really tell them which songs are good to go... and you can drop the more difficult ones. If you want to impress, make sure you nail the 'Squeeze' or Nik Kershaw type songs as these have many many changes that you need a great ear to get in the track/on the hoof. I got Muscles from a shell the other day..and the buggers didn't play it after all... So..get a set list which means they intend to play them, and you can also discreetly put your notes or charts in order. If they don't this...the gig is basicailly a jam or busk. For £50 how much are you going to knock yourself out...? and forget about a rehearsal

[quote name='police squad' timestamp='1438875104' post='2838318'] it never ceases to amaze me how ridiculous people can be. I have a quality PA. I expect to mic people up and get the best possible sound for the band. I don't expect extra money for it [/quote] No, but they couldn't complain if you did. I'm all for give and take but not a big imbalance.

[quote name='TimR' timestamp='1438856915' post='2838013'] Indeed. I used to do that. The drummer used to complain he didn't get 10% extra to set up his kit that took just as long as the PA. Then he said the band must have paid for the PA by now and shouldn't have to pay any more. Financial is all well and good but people will still never 'get it'. In the end you just have to work with what you've got and if it's not working change something and see if it works better. As I say, often it makes things worse. As long as everyone isn't taking the p... out of one person it should be ok. [/quote] This is why the band runs a ktty, but agree the singer might get a decent deal as the band has paid for what might be perceived as his end. They say the band can use it...but funnily the bass doesn't get to go thru it. Basically, if you want an equal split of the money do an equal split of the 'chores; which means admin, P.A, lights etc etc etc. In the end you'll be billing for time as well.... and the band is on wages. Not insummountable, but you need people to 'understand' the way things work and how things get down..and not by 'magic' either

[quote name='xgsjx' timestamp='1438839769' post='2837796'] The problem is when you advertise for a singer, there's often no requisite for them to have any gear or experience. So you'll get loads of people who see it as a posh karaoke & to them, why would they want to turn up to see you setting up the karaoke equipment? As for practice, that's what the shower is for! Went through a few singists like those. Sacked every one of them at 2nd rehearsal. [/quote] They'd have to try very hard to convince they are worth a look then. One reason why you don't do newbies. Let someone else go through the pain of 'teaching' them...

If they don't cut it...whatever 'it' is, why bother with them? same as everyone else..?

I can't do a fraction of what I do on unfamiliar basses.. or unsuited to me. I don't worry about it...it is not my bass.

One of those 'in context' scenario's... I wouldn't mind carrying certain people if they were worth it, but if you don't think she is good enough then I wouldn't put up with it. Or... I'd pay them a wage commiserate with the time they put in...but nah...can't see it working at all. I have tolerence for VERY talented people who might have certain 'needs' but not for an ar$e who really isn't worth the gig in the first place let alone someone who thinks we are their support band.

No I wouldn't be upset ...but then again I know my kit covers a lot of ground. It can look the part and sound the part...so the only thing not getting that gig is me. The balance is about right.... Of course, if you run things against the grain... then expect it to cost you

If it says something then ok...but generally not.

[quote name='CamdenRob' timestamp='1438761843' post='2836920'] The best way would be to put a jazz bass up on the marketplace... sell it and buy a stingray. [/quote] Correct.

[quote name='mrtcat' timestamp='1438714947' post='2836655'] Our drummer, keys player and guitarist are all pros and with the exception of our singer we all work with other bands or on other projects but we all really look after our commitment to the function band. Our guitarist has been touring with Tony Hadley for years and still has a certain amount of commitment there but he knows we are his bread and butter income now (especially with Spandau Ballet more active again) and plays by the rules 100%. The OP can at least set his band's expectations out from day one and at least then the drummer will know whats expected of him if he accepts the seat. [/quote] I think the Tony Hadley gig wins... if he comes calling again. Function gigs are two a penny by comparison. It shouldn't be a problem unless you make it one... he'll do it anyway, IME, just I wouldn't fall out over it, burn bridges or get too precious about it. I'd actually be glad that they could still get the gig... I certainly wouldn't try to hold them ..because I'm pretty sure you'd lose.

But... to be fair, there is always a better gig for those in demand. I don't mean they need to be an ar$e about it but if you are pulling down a level..and they are happy to play with you because you are at worth gigging with, then accept that their main bands are the ones they have to commit to. Generally I'll get about 2 weeks notice but if I didn't do this, I wouldn't get that calibre of player.

My choice is either a nice S/H AC or a new Sei... as I've never seen MP make what I want..but I know he makes great basses with such good vision on aesthetics. I'd want RW with blocks etc... and I'd want a P-bass neck on a Jazz body in J5 config. str space would be 19mm. Pickups would be 2 single routs and the rest TBC.