JTUK

[quote name='wateroftyne' timestamp='1436779336' post='2820560'] Sorry to be harsh, but... you don't. It's a situation I'm familiar with. Once a drummer's hearing goes, it's a slippery slope. [/quote] Agree.... If a band has to wear plugs ...and not from an attritional POV, then the band have MAJOR problems. I'm surprised it hasn't affected booking if he is that loud. For me, it would be crunch time.

For a festival slot I thought Noel G was good. I like the TV mix as well..bass sounded great. When you have a set-up like that with a few killer songs...and Noel G does have a few real killers, you can't really fail, tbh.

[quote name='gadgie' timestamp='1436798932' post='2820851'] I'm listening to music on my hard drive. I came across five cd's of the 80's hits type thing. Of the five cd's I've only managed to find about 10-12 songs I clicked on to listen to. Even some of them only got about 30 seconds. Were the 80’s as bad as that? I seem to remember some decent stuff going on then. [/quote] Well, I didn't expect that last line...Around here, most of the bands are doing 80's which makes them pretty boring just by virtue of plundering the same standard numbers.. Maybe there are better choices to be had, but I must say I don't really go for style of genres ..which is almost what the 80's have become. I think bands should have more imagination that to be a 70/80's band, but then the line-up of the bands doesn't help. I see it it mostly as very limiting, but there you go..punters will go and see them and that leads more bands to that period. Having said that..the punters I talk to lament the choice of numbers as much as I might, and the first thing they say they crave is a band with a original take on a set.. Hmmm...do they really..?

210 over 112 for too. This would be an example of where I'd run the 2x210's and expect the sound to 'bloom's somewhat. I prefered the 2x210 sound to a 212 plus 210, marginally...and from my POV rather than the audience. The 2x210 certainly didn't suffer from lack of low. The other thing that comes to mind is that a lot of bass players put too much emphasis on 'lows' but you'd have to hear in context to know who was one of them. IME, bass is too bassy, about 9 times out of 10..

[quote name='obbm' timestamp='1436617226' post='2819549'] It all rather depends on whether one is interested in Rugby or not. Each to their own. [/quote] Your point was you could watch games anytime...and my point is that this is England's biggest game for at least 4 years so this is not like any other game. KO is 20:00 anyway so moot.

[quote name='obbm' timestamp='1436353947' post='2817340'] One has the opportunity, should one wish, to watch football on what seems like every week of the year, whereas the the SE Bass Bash is just once a year. It just depends on your personal priorities. [/quote] Except it is a killer rugby world cup game... and will pretty much define England's chances.

TH500 with a SL112 ...but I would definitely add a 2nd SL112...no doubt about it.

I actually use 2x210's and/or a 212 but my light weight rig is 2x112. I think you can get perfectly good cabs around 40 lbs in weight and I'm not in favour of NEO and I don't think you need to go there anyway. Many people may have to go NEO as the first consideration is weight but if weight is the key you have so many options. Personally, was never enamoured with 15's either so a 410 or 2x210 was the ideal for me.

A 210 and 115 will do most gigs. I don't think they'll work alone unless the gig is quieter but paired, they'll do most. I see guys trying to cover louder gigs with a single 12 or a 210, but only you can really say if the results are acceptable. Any cab upto 50lbs is going to be what you look for unless your back is totally shot, and there will be plenty around like that. I'd keep my eyes out for GK 115 and 210 as they are decent enough and cheap enough. imo

Everyone sets what they can do time-wise and sets the bar with the type of band they want to be in.. then you just get agreement from everyone else. The problem is when people want to gig more or less. We'd say 2-3 gigs per month and a rehearsal when applicable but some guys have killer jobs and family ties and you have to balance the demands. The band has to be a release from that, and no another burden..? Mostly the guys you want to use are very busy elsewhere so there will be clashes. That is also why you also have 2 or 3 gigs. Personally, I want good gigs rather than any gig but other guys will attend all number of jam nights just to play. All long as it is good, is where I'd want to start from. If it isn't and the gig drag, I'm losing interest before I really 'lose' interest. Yes...if a band were forever telling the audience about a day job, I'd be think what the hell has that got to do with the gig..?? But if they weren't much good, I'd be gone quick enough anyway, or not be listening anyway.. so I'd miss the continual updates..

wwwwwwhhhhhooooooaaaaa!!!!!! :lol:

[quote name='blue' timestamp='1436416808' post='2817923'] 30k? in my area in the States if you can make 12k from gigging your doing good. Blue [/quote] Well, I know they aren't earning £30k as that would have to be £600 pw. They'll have a wedding gig most weekends at £250-350 and that is the bulk of their weekly money but they wont do that EVERY week thru out the year, for sure. They may get two weddings a week but if they do 40 a year they are doing blindingly well...assuming the wedding fee is £1500 plus on average. Teaching and doss gigs make up the rest of their week and they'll likely have a part time job as well They aren't driving new cars ...or anywhere near new and they don't have new gear for the most part. Possibly their wife/partner has a 'proper' job. That is, all in all, IMO, quite a sacrifice to do what you 'love'..??

Friend of mine said he saw them at the Marquee on their first ever U.K gig... can't recall who the headline act was.. Might have been Geordie..?? Chris Slade was a very popular avenue for tickets around here...

I know more than enough guys who do it full time that aren't actually that good, but hey they work it and presumably they earn enough and I know plenty of very good players who have to do part time jobs and teach to make their money up. I've said countless times, I don't know many full timers who can get near £30k a year and they have to play EVERYWHERE and drive up and down the main motorways every week. I'm not sure I'd call that fun and it would become a 'job' just like anything else. And they aren't going to retire early either. Having said that, I do know a solo act who is very very busy and works manically and he has bought and paid for his house in a matter of a few years but that is a very rare story, IMV. I have no problem if the band has great gear...I'd expect a very good band to have that, but if they aren't very good, then nothing will really save them. Packing places out consistantly is very hard to do as well... so a monthly gig to your entire social circle is possible but doing it everywhere is very tough... and if you Can do that, you'll be setting better than average fees, for sure.. Good luck to you, in that case

You'll need to cover many many songs and you'll be expected to just drop in and do it. How you set about covering that, is down to you but generally deps get asked and you use who you trust or who is much recommended, IMO. Don't be too good though as bass players wont want to use you as their dep...

[quote name='blue' timestamp='1436294022' post='2816860'] Respectfully agree that we disagree. My band is doing 4-5 shows weekly, we do fine with work. I just don't like attorney's playing in rock bands. My position remains, attorneys stick to lawyering and stay out of the rock business. It was actually sickening to me the amount of times they mentioned they were all attorneys. I won't be doing any training for anything, My thing is playing bass guitar in rock bands. Been doing it for 50 years, love it and have no interest in any other type of work. Sorry, I just don't like it. Blue [/quote] If they behave likes arses then fair enough, but a band is measured about how good they are... and there are degrees of that measurement, for sure,... and for that it doesn't matter what you do, it's what you've got. If you get played off the park, it doesn't matter what your day job...

Thought this was going to be about Tributes.... as I know a few Rods... but they are in heavy demand and earn well. Played on the undercard of Steve Marriott just before he died and he still had IT....If you found a guy who could sing like that you'd be golden... but these guys will know their worth and be getting pretty good gigs..and would likely want a premium cut...

You'll always see a bass player with a 12" combo trying to work against a half stack and shed-builder and it works for them with varying degrees of success or they think it does. Depends what you and they want to hear. Off the top of my head, the guys around here with a good sound tend to use minimum 2x112's. The gtrs run 1x12 valve combos and they are more than enough...altho a 50/100 valve head with power soak into 212 is close. Keys tend to have a mini p.a rig as their patches have been built as stereo. They will have a Nord stage or two banks I would say those guys are really sensitive to their sound so they use what they feel is best anf by and large, I'd definitely say they have better ears than most bass players and know their sounds better.

[quote name='skankdelvar' timestamp='1436197955' post='2815865'] I regret the OP's disappointment and sympathize. Nevertheless I don't quite see how someone backing out of a deal where no money has yet changed hands is either 'untrustworthy' or something for the mods to deal with. People say they'll buy something then suddenly disappear off the radar. People say they'll sell something then they change their mind. It's bloody annoying but unless there are specific shenanigans of which I'm unaware, I'd just chalk it up to experience. Also, having sold and bought scads of stuff here, on other music forums, gumtree and ebay, I'd have to say BC is better than most (though not entirely problem-free). [/quote] I'll go with this ... you can get pretty much down to the wire and the other guy pulls out of the deal .. Oh well.. .. at least you know before money and goods have changed hands. I'd only really want to deal with 'names' anyway... but some people see it as a marketplace only.

[quote name='M@23' timestamp='1435958600' post='2814071'] Cool, I think we have similar, if not the same, rigs too! First gig of the weekend down, only a quiet one, but I didn't use the 10db pad, and ran the pre on the bass flat. Well; treble and bass sitting at the centre detents, don't know if that is flat... Gain and drive in their normal settings on the TH500 but the master at half what it would have been with my last P bass. It sounded great. Really full and clear in passive mode, but better in active. Not hugely different, mind. [/quote] I practise at 12, 12, bass on 10, mids and treble around 2 or more and that is in the house @4 ohms. Not a lot of signal into the amp from me. I think I'll need more headroom.

It is all about committment for me...on both sides. I was talking to someone whose is beginning to get a few things happen and I think I'd be interested in the type of gig but I know they are full time. ... what they earn 'full time' is another story, but if they are off over Europe on a few festival dates then that is going to impact on my day job. So I need to know how much time typically you are looking at AND how much money it will generate personally. The things to sort out and be very realistic about is if they want x amount of time, then it will have to be on a footing that pays Y. I'm not slumming it like I would have been prepared to do 20 yrs ago, I'd want commisirate wages as a backup player. It is not my career so the investment isn't for me. What I think will happen is that they will take someone who has flexibility and teaches music so they can 'dep' that side of things or basically they'll work long weekends. I wouldn't put any restrictions on a band project but endless rehearsals are out of the question. No one has the time or can afford them unless quite a low key hobbie band. The idea is to use people who 'get' it very quickly, gig the stuff in and then go for better payers. The problem with that is that NEW repetoire takes a back seat and you play the same stuff in loads of the same bands. The is my current problem. The players want to do something special but haven't grasped what that special is... and the fact is that the current level is the same as a lot of bands are doing. What makes these special players think they are worth a premium that they think their talent deserves..?? I think a band should be able to sound tight very very quickly, but the problem is picking a great set that is different. I've got the set, I think, I haven't got the players all in place...and they want quick money gigs which are frankly souless but the problem is anyone any good is, and needs to be, busy. But busy, discerning and good product aren't the easiest of bedfellows.

Yep..it is just signal into the amp... and I always run my active thru passive pads..

I'd say you have to be VERY careful. Sure, it should be easy to keep the limits on the volume but how are you going to do that in practical terms..? Assume half on the dial means half the power on the amp..?? good luck with that..!! Listen to the drivers stressing..?? ok, in an ideal world but I hope you aren't running effects and don't get me started on distortion pedals..!! What sort of sound does your band run... can you even hear the cabs stressing ALL the time..?? Don't lend this 'arrangement' to anyone else who doesn't know the deal...that your amp produces twice as much as your cabs can take, peaks not withstanding. Of course 600w is very very loud, but who ears do you trust..?? I wouldn't say you can't do it, but I'd say you need to be careful in every situation and that is easier said than done and by then the damage is done. It is not as tho drivers are very hard to break... they do fail easily enough. Have a head count of people who have broken or have had a driver break on them in the last few years... and it doesn't matter what caused the failure, it you break one, you stand a good chance that that failure could impact onto the second cab..?? IME.

[quote name='mrtcat' timestamp='1435872411' post='2813311'] I never take the stage sound to be acceptable for the foh mix. Even in a pub with no engineer I'll use a wireless lead and stand out front to soundcheck and tweak accordingly. There's absolutely no way I can stand next to the drummers hi hat whilst the guitarists amp is over by his floor tom and the keyboardist has his monitor beyond the guitarist and say "yep that sounds good out front". [/quote] Works for us and I'd venture we had ..consistantly, one of the very best sounds around. Admittedly, we lost that a tad, when we changed a couple of members but in a pub, the mix is invaribly as easy as it gets, IME....once you have worked out what you are doing. And that is what set-up is all about and why you have to have everyone buy into what are trying to do and actually do it every gig.