JTUK

[quote name='IanA' timestamp='1433781711' post='2793921'] I love my CN212 and yes it is voiced, so is the 212mnt and so will the barefaced be, that is why they all sound different to whatever extent given the same amp, bass and player. I don't buy into the whole flat response argument, everything has a voice from the guitar to the cable to the amp to the cab, the skill is in matching the gear to get a combination that works for you in your situation. Good luck with the Berg, it will serve you well [/quote] Well, of course, you could always have a 'flat' piece of kit, like a cab, in your chain for example, don't like the sound so you 'EQ' to sound 'better' Now you may EQ it 'flat' or you may be so far off 'flat' you're from another planet, so the concept of flat is a bit ridiclulous if you have a tone stack in your signal chain. I seriously doubt many here could play a bass with a really clean pure signal.. That, in itself would be an interesting experiment..

[quote name='chris_b' timestamp='1433679652' post='2793014'] These days we aim to play no more than 3 gigs a year at any one venue. In years gone by I was in several bands doing weekly residencies but as far as I can see those opportunities don't exist anymore. [b]If you're playing a lot to the same audience you really have to up your game.[/b] [/quote] And this gets lost in the quest for as many gigs as possible but many bands... plus a lot of them in the pursuit of being popular, .... play so many of the same numbers and this soon gets to an audience. After 18 months, IMO, an audience is ready for new stuff or ready to move on from their 'favourite bands. This can 'kill' venues as much as it can kill bands.. It is very very hard indeed to keep it all fresh and some bands don't help themselves and neither do some players as they just tarde the same set with a different set of players. To go off at a little tangent, the better players can get lazy as they only want gigs that pay and wont want a rehearsal.. so the default option here to do the gig, is to pick standards. These players still want top money and it does you no favours to question why they think they are worth it if all the do is play the same set as everyone else...

I'd do the opposite to the above.... if the cab doesn't cut it solo... then I'm not interested trying to get any sort of mileage out it by burying it in a mix. I want to hear my bass and everything I do so it is important that the sound I make is nice to my ears and how that fits into the band is the bands problem as much as any instrument sound would be... or not as the case may be. My sound will be strong enough to underpin and drive the band and provide bass but also it will dovetail with the other sounds. The gtr will have to wipe off some bass off his tone and the keys will have to keep their left hand in check so as not to get in me the drummers space/spectrum The kick will have to tighten up enough so as not to muddy...so all these things are a band consideration first and foremost. So... I'll know what sound will work for me and I'll know how to position it within the sound of the band...and the upside of all this is that band mix is a quick reference and go, rather than a long drawn-out sound check to try and fix and repair things.. I never agree that the bass should be sacrificed any more than a gtr would be ... as it just shouldn't be neccesary but it also assumes you have people who know what the end goal is. If people can't recognise this, then they aren't the sort of players you play with...

[quote name='M@23' timestamp='1433607338' post='2792501'] Great. What finish did you go for in the end? Are you playing them with the Tonehammer? [/quote] I went for classic black with the silver/blue cloth...which is darker than the normal silver. Finish is great and the tolex works... Covers are good and not quite as think as Aguilars but will do a good job. Am going to run with the TH500 for a while but might also put a DB750 thru them and possibly a Demeter... but loving the sheer tone of the TH and TKS cabs at the moment and I'll bed that in first. I have been using a DB210 with the TH500 and I think the TKS S112's pr are a tad darker overall but very precise in the mids, without the honk. So, between the TH500 and DB and TKS cabs, I've not had to touch the amp at all...the bass is fine passive thru TKS, and great active.

I'm very encouraged with 2xS112's in a practice setting. Lovely precise voicing altho the sound is never harsh or brittle. Plenty of pronounced mids, but sweet and not at all honky .. I'd describe them as forgiving as well...but not overly warm.

I wanted the neck refin and that would destroy the decal... so I went back to the maker, told them the reason, determined history etc and it was no problem getting a decal to use...

Around here the rota tends to be 3 months between gigs at any pub... but we tend to look at the pub first to see if it fits our criteria. We'd get enough gigs through the year to satisfy the number of times we want get out so 5 or so pubs giving us 15-20 gigs per year is more than enough...and we wouldn't take pub dates on a saturday from May to Sept either. So, our slant is a little different from the original question as we find too many pubs dates impacts on what we can charge and earn elsewhere.

[quote name='Conan' timestamp='1433419983' post='2790903'] Very deep... [/quote] Well, I left out the other bit.... I hated them as players....but liked the band as a whole. Go figure. It was what it was... it should never have worked but it did.

Landlords, venues and bands talk so it is quickly known who is doing well and who is racking them in, who is 'hot' and who is not.... Get that sorted and the gigs come to you....

The subs might add a bit of depth to the vocals but that is no gain at all for the extra box, IMV. I haven't heard those subs but I think cheap subs can be a lottery...and cabs like the Mackie thump are more trouble than they are worth in that they are very mushy. I don't know how you rate your EV's but I'd go with an upgrade there...for all you'll achieve with the cheap sub option

I have a heavy rig and a light rig and the heavy rig is far and away superior to the lightweight rig..as was. I've changed things around a bit so might need to revise that when I get out to gig my new light rig...but I'm not thinking my revamped light rig will overtake the heavy one. I do think it will do a nice job though.

Thing is Moon and Entwhistle were what they were....and if you try and replace them, you'll still get the 'not as good as' comments. So, in a lot of ways, don't try to be. Change things around a bit, you can't win anyway so you may as well move in another direction and get more life out of it.

I'd want to know [u]exactly[/u] what the deal was................... If you are going to muck in...and in the circumstances, I can see why you might want to..spread the load.,

[quote name='njr911' timestamp='1433254274' post='2789428'] I think I suffer from undercharging for our band. Typical Pub gig is £180 to £200 £250 for Parties £? for weddings as the two we have booked have both just split up!! Are we about right ? I'm a musician and don't like talking money for my art maaaan! [/quote] I think you can charge what you like...but you need to please and convince the client you're worth it. £250 for starters in a pub but you'll need to be upto the average standard. Weddings are £1000 plus... but you will run into opposition here as they'd rather spend that on a photographer than a 5 piece band. Parties should be £600 plus... but again, what one band can demand, another band will take the mick. You need to get to a stage where the client sees you and is willing to pay your fee... Pubs are loss leaders ..to a point, but if you do too many..and in any old dive, then why would a client agree to pay you more than £400/450... they know what you'll work for ( in pubs ) and how often you'll take it. We don't take pub work on a saturday during the summer and it is tough getting good deps as well, as they will want £150 each...as they so often get it. They may do it at last minute if they haven't got anything else and they'll take what is offered, but you wont be able to book them weeks and weeks in advance, generally, for pub money. Basically, charge what you like... your level will work out sooner or later. If you have too many gigs, you are too cheap and if you can't get gigs you are too expensive

Call one of the rehearsal studios... or I think the Priory pub has its own P.A..they might lend you one..?? They are near the Priory station.

[quote name='Dazzlebrush' timestamp='1433169420' post='2788486'] Thanks for the Advice guys, Seperates would be nice but a Ashdown Electric Blue 180 - 15" combo has come up at £125. Any good? [/quote] Have a look at it.... And check how heavy it is... I used one for a while and it was fine... and did well on a band gig with a 3 piece brass section. One hand lift and easy to throw in the car. See that the speaker plays loud and you'll be good to go..

Go and Youtube anything recent by Nile Rogers Live and you'll get a set of all his hits that he has produced or written. That will give you a good grounding of the styles required and the songs/grooves. And you'll need a large majority of them if you want to get to a gigging standard for funk bands.. Then there is Stevie Wonder and the 60's/70's RnB/Blues Bros/stax set. They will lead you to other 'must haves' in your reportoire.

Yes, all that is a 50lb package. Always a good sign that people don't sell good kit, IMO. Not so good if you are buying tho...

[quote name='4-string-thing' timestamp='1433075587' post='2787536'] That didn't come across as intended, I like gigs when it all goes well, ie, we play well, it's well attended, people love and adore us etc. I got jaded a while back, in a band where I seemed to be the only one putting any effort in.... Getting gigs, doing websites, running the P.A, loading it into the van alone, arriving 2 hours early, unloading it on my own, unloading it at home alone at 1am etc.... Gigs seemed a lot more trouble than they were worth in those days and it put me off a bit. I then joined a band whose basic ethos seemed to be to play as loud as possible and ruin everyones hearing! Again, gigs were just painful and unpleasant... You can maybe now see why I don't enjoy gigs that much, couple this to being on display with someone who clearly hasn't made the effort to be professional and it doesn't really bode well.... [/quote] Totally get this... if you are going to do it, do it properly...otherwise it doesn't earn enough. If a gig is going to be a day's work, then it needs to be a day's money, so being a chore is not an option. IMO.

But some people do spends hours and thousands for a laugh, so you need to be on the same page. For me... the music is the start, if that doesn't work, then it goes no further. And...sometimes the best players wont be the best band..altho they might think they are... it is the chemistry that is the key..the rest is just notes and everyone can play them...with various degrees of success, of course.

Band members are very cute now and insist that merely playing on the track constitutes a writing royalty ...and it may well be that the song came about through a band jam .. so it depends if it is formally acknowledged. It is a subject that people need to cover pretty quickly. That is also why you got paid a session fee and waived the rest... it became a 'bet' whether which one would gross the most. At a certain level, a major name is not going to give away rights and will pay you off with a 'commiserate' fee. They have headed off that avenue of contention. At lower levels, you need to decide whether £150 a day or whatever, in the studio will gross more that a 'futures' bet

[quote name='Bilbo' timestamp='1433064967' post='2787389'] The merit of knowing the fretboard is for improvising. If you play a B on the A sting and you want to play a Eb (10th), if you know the fretboard, you can find it easily and without 'learning; anything new. If you don't know the fretboard, it's an act of faith. I know the electric fretboard very well but, on my double bass, I struggle in ways that I don't on my Wal. [/quote] I don't know how people can play effectively without knowing where they are going or have to go... Playing boxes and positions are shortcuts but you only short cut from knowing where you start from in the first place. If you have to learn the track by memory of position but don't actually know what that note is... is limiting in the extreme, IMO. At the very least...you should always know the octave of your start position on every string. Unless you have perfect pitch, you wont be able to play informal pick up bands.... and more to the point, other players will know this, not have confidence in you and therefore you wont get asked...??

I use 118 but no more than 120 on a B...and I think string choice is a factor and they need to be clean so I think older string certainly don't work for me... I like the B to sound as close to the E string in terms of tone..and that is relatively easy to achieve once everything else is covered well.

[quote name='discreet' timestamp='1432987238' post='2786789'] Just off the wall... for a 4ohm one-cab solution I present the Schroeder 21012L for your consideration.[list] [*]2 X 10" Neo Drivers [*]1 X 12" Neo Driver mounted on angled baffle [*]200W Tweeter with adjustable attenuator [*]1 X Speakon and 1 X 6.3mm jack inputs [*]1000W RMS @ 4ohms [*]49lb (22kg) [*]23.5 X 23.5 X 16" (60 X 60 X 40 cm) [/list] It's a bit like a very light, 2-foot square 8X10. I've never been able to reach its limits, even with huge amounts of power going through it. And it sounds fantastic. It will fill [i]any [/i]room with big, big bass. Sounds killer with my GB MB500 Fusion. [/quote] Sounds a very interesting cab... don't see too many about tho. They may be a discerning secret...?

[quote name='Norris' timestamp='1432711239' post='2784065'] Thicker/thinner neck? Bolt-on/set/through? [/quote] Nope, imo... but good construction is key.