The Funk

[quote name='synaesthesia' post='242225' date='Jul 17 2008, 10:21 PM']That is not tri-amping at all. A passive 3 way crossover does not work the same way as electronic crossovered signals split into frequency bands that feed individual amplifiers. In a proper electronic crossed system, you can vary the gain or power amplification to each band, and you can alter the bands with ease. A passive crossover does not allow this flexibility. there are also a host of issues with passive crossovers, phase coherence, frequency dips at cross points etc...[/quote] See. It'd be tri-amping then if there were three separate cabs powered by three different power amps, each fed by a different output from an active crossover?

[quote name='chris_b' post='241885' date='Jul 17 2008, 04:41 PM']The Blues Bar (Ain't Nothin' But...) makes the Mau Mau look like a football field![/quote] The stage at Jazz After Dark feels smaller but probably isn't. I love that little shithole!

My Acme cabs give me a tri-amping set-up. I guess that makes me one better than you? EDIT: Actually, that might not fall under the definition of tri-amping. It's a three-way cab with internal crossovers - so I just send the one signal into it.

I'd sell the Dolphin. Never sell an '89 Warwick Thumb NT 6 w/ Barts. And I mean never! I just bought one last month for a ridiculously low price - closer to £1000 than £1500.

Both. An amp onstage so that you can hear yourself and through the PA so the audience can hear you. It all depends on the size of venue though.

[quote name='lukeward2004' post='240274' date='Jul 15 2008, 06:34 PM']I have been booked to play at the Jazz Cafe with my band in the near future[/quote] You've got to let me know when that is! As for Jazz songs for a female vocalist... err... in a previous band we used to do a funky arrangement of [i]Summertime[/i] and a pretty standard arrangement of [i]Fever[/i]. You could do [i]Baby Won't You Please Come Home[/i]. [i]Midnight At The Oasis[/i] should be an easy fit too.

Thumbs up for the trilby. Sounds like you guys made the best of a bad situation and came out on top. I still need to catch you guys live sometime.

[quote name='alexclaber' post='240156' date='Jul 15 2008, 04:01 PM']I'm pondering a small midrange cab with highpass filter to put on top of my rig and point at the drummer so that he can actually hear what I'm playing when I'm not going through the monitors.[/quote] I've been thinking of running a second signal to a mini GK combo or my mini Eden/Acme rig for the exact same reason.

[quote name='alexclaber' post='239429' date='Jul 14 2008, 07:18 PM']It makes more sense to make a speaker cab light than try and make it that ridiculously small. The only tiny cab that delivers decent bottom is the Acme Low-B1 and it does so because of having a very unusual woofer and unique design.[/quote] I have the Acme B1 and it does go very low and can take 200-300 watts without distorting. (I run an Eden WTX-260 into it). It's fine for some gigs but I'd never want to try to use that in a band with two guitarists using full stacks. I'm willing to give it a go at some mid-sized venues with a full band and PA support to see how it can cope. For it to be worthwhile, it has to be better than the Gallien-Krueger MB150S, which is a sturdy little performer. Drive that too hard and it will distort though - and you'll never get that much in terms of the low end or high end. Another good little combo is the SWR Baby Blue. Fantastic tone. I'd love to compare the three in a full-on shoot-out.

I'd have another look at the small Line6 bass amps. I know you say you don't like them but I saw a soul/funk band in a club where the bassist used one. His tone was superb. My personal favourites are the small Warwick range. I can't remember what they're called but I really like the tone. They might not be loud enough for rehearsals though, depending on what kind of band you play in.

The Eden costs twice as much here as it does in America. If you have any friends or family there who are coming over here or friends going there on holiday, it is small enough to fit into a suitcase without much trouble.

I've got an Eden WTX-260, 260-290W depending on where in the world you are. I have to say it sounds great and is small enough to fit in a gig bag pouch (just about - and if you put nothing else in the pouch). The EA mini heads are about half the size of the Eden - amazing! I've never tried the EA heads but for size alone, they're hard to beat. I do like the sound of the Eden a lot though.

The band footage is actually quite good. It's the dodgy soap opera which kills me though.

Former [i]Black Crowes[/i] bassist, Johnny Colt. I think he'd be quite a good fit.

I think it's safe to say that New Orleans jazz started in New Orleans. Bebop didn't. Cool Jazz didn't. Latin Jazz didnt. Jazz-Rock Fusion didn't. Having just come back from New Orleans, I'd recommend that everyone go there at least once. The place is magical. It's like Disneyland/Jerusalem for musicians.

[quote name='dlloyd' post='236173' date='Jul 9 2008, 11:19 PM']it could conceivably be argued that all popular music can be traced to German polka music.[/quote] [quote name='gilmour' post='236200' date='Jul 10 2008, 12:03 AM']As far as I'm aware the vast majority of western music prior to blues was more about harmonic movement than it was about rhythm? Of course a lot of African slaves brought very strong rhythmic traditions with them, which made their way into Blues (and Jazz et al.), listening to the charts today all the music is centered around the rhythm as much (if not more) than it is around the harmony and melody, especially R&B tunes. In fact I think you'd be hard pressed to find a song in the top 40 that's not in 4/4![/quote] Are we going to argue about the origins of 'the backbeat' now? Polka sounds a bit more 2/4 to me than 4/4 with a backbeat. But however you feel about that, I'm pretty sure they didn't have blue notes in Polka.

[quote name='teen t-shirt' post='236070' date='Jul 9 2008, 09:06 PM']but when we say stems what does it actually mean... what sort of progression does or would the music of gone through to go from say Blues to Rock... this is what confused me how can you go from one to anohter, was it the way things were played in one and were copied in another or was it the structure of the music?? [/quote] St James Infirmary is a jazz song when Louis Armstrong plays it, a blues song when Bobby Bland plays it, and a rock song when Eric Clapton plays it. The progression from blues to rock was very simple. The chord changes in 50s rock n' roll songs were the same as blues changes. Then in the 60s with all the British blues-rock bands, blues became rock by the mere fact that white English guys with long hair played the same songs that black American guys had recorded earlier. The Rolling Stones, Cream, Fleetwood Mac, Led Zeppelin - these guys were all blues musicians, but because they were white and had bigger amps which were more heavily distorted, they were also known as rock musicians. Then Zeppelin, Sabbath, Deep Purple & all the others played heavier and heavier until it was known as heavy metal.

You write lyrics like that, tell jokes like that and then you worry about being shameless? I like it. I think you guys need to listen to some Doom Metal and Stoner Rock and then you'd be killer. I'd actually pay to see you. If you went just slightly heavier, you could be a modern day perverted Black Sabbath. I love that sh*t. I'll place an order soon. The only thing is I don't want you sex pests having my contact details!

[quote name='ARGH' post='234354' date='Jul 7 2008, 06:14 PM']What am I doing wrong? [/quote] Auditioning for other people's bands when you should be leading your own.

I use cabs that aren't available in shops. I never would have heard of them if it wasn't for this forum. I'm lucky I did - I had a cab problem I couldn't really resolve until I found these cabs. Sometimes it's all fashion and trends. At other times, people are just being more selective when it comes to giving a company a huge amount of money for something they might be stuck with for a while.

I've got an Eden WTX-260 for my mini-rig. I'd describe it as clean while not being sterile or cold. It's tricky going warmer without losing definition. It can be done though with a good valve preamp, transparent power amp and transparent cabs.

I've never heard of Flat Tyre rhythm before but could it be the Bo Diddley groove (or for younger people who aren't that young anymore, George Michael's [i]Faith[/i])?

[quote name='Mickeyboro' post='222515' date='Jun 19 2008, 10:08 PM'][ am worried! We're headlining a local festival a week Sunday, music from 1-7. What chance do we have after five one-hour sets of getting on at 6 and off at 7?[/quote] None whatsoever.

[quote name='Clarky' post='222149' date='Jun 19 2008, 01:54 PM']Blimey, I'm scared in case we are ever on the same bill [/quote] Hehe, I'm nice to nice people and try to ignore the idiots. We've done some gigs with Up All Night. Their promoters and door people were great. Sound guy was a bit odd and made a terrible mess of things. You just have to play through it. It's great being on the same bill as nice people but it just doesn't happen all that much. Many musicians are just too self-absorbed to be considerate.

[quote name='BigRedX' post='222106' date='Jun 19 2008, 01:20 PM']Luckily all the people who were coming to see us turned up early , otherwise I'd have been demanding refunds of door money all round. Next time we'll be doing what all the other bands did - arrive 10 minutes before your set is due to start.[/quote] Don't do that. Do what you did before. Turn up on time. The only thing you should do differently if the promoter tries to put you on at a different time is tell him "no", and tell him that he should just cut the other band from the gig. As all your crowd was there, it doesn't really matter what time you go on though, does it?