deepbass5

The bass player has left the building

Demon's eye was always mine - it was a B side of Fireball so was accessible on the pub juke boxes and i think my most selected song ever. If you were ever in White's Bar Oxford in about 72

Having posed the question of large powered bass amps on another thread, and if we really need this much power. some of you, I accept may do The next obvious question for debate is are you happy with stage volumes on gigs. has everything got out of hand. Who decides when enough is enough. Have you been in a band where you feel you are all too loud only for someone to use band funds to buy an even larger fold back system. How many times do you feel sick due to volume, or just miserable enough for it to show in your performance because one or more members is on a mission Do you feel you have lost punters or gigs through volume - when do you decide to walk or take the sensible guys with you and start over. Over to you

Yes yes and yes Chienmortbb my man spot on

So we now have agreement we can gig happily with our old 1960's / 70s combo rigs at 60 to 100 watt if we can get the guitarist ('s) to play to a reasonable level. Keyboard players will also be limited to a mono 60 watt combo with left hand cable tied behind their back. Now we need to do something with that Kw of fold back.

I agree with all your sentiments as Bass players we need headroom and so should have special dispensation from the environmental lobby to pack a reserve amount of wattage over and above the Guitar and Keyboard. On the grounds of enjoyment (need to feel the Bass). So maybe we limit guitarist watts to 30. I feel another thread coming on.

I am just picturing you switching on your amp last, and all the venue lights dim and the fruit machines re boot up and his valve amp jumps back into standby mode.

I remember doing the Queens hall Dunstable with a pair of Wem column speakers and a Wem 6 channel mixer, Don't think they heard us

Those were the days when people could listen to the band and still be able to order a pint and a packet of crisps at the bar without having to point

No that's not me in my Avatar, but I guess not far off if i were to grow some fluff - It just made me smile so hoped it would have the same effect on you guys. The fact he has a matching orange hat and mug - made me think Ah" Dutch uncle" so it was picked to represent eating humble pie, whilst maintaining a sense of humour. Ideal for the site don't you think,

I do like multiple speakers 4x10 and loved my 4x12 just ticking over, but also think back to gigging with 100w combo . I take Alex's point on half way on a log pot means your at more than 50% But do feel manufacturers are pushing thinking down the old lines of car stereos, when they used to quote silly max power ratings in hope of flogging their brands. Size isn't everything Lets have good useful features on the whole range of amps, good tone shaping is as important to a jazz-er in a coffee bar as it is to a thrash Metal shredder at a festival gig. Happy to pay, but give me the choice

Just wondering what you guys feel about the way the most of the familiar Manufactures we know, insist on producing such High wattage amps. I am referring to 800 Watt and 1000 Watt class D predominantly - I always yearn after the features of the Big brother on the medium and small wattage range amps. We tend to use back line stand alone in our functions band with Vocal only in the PA and monitors, but I rarely ever get above 12 o'clock on my Mark bass or GK mb500. (500 watt amp) Many of you probably most DI through the PA even in Pubs from what i read here, so who needs 1000 watts. Lets not get hung up on the head room debate and 1000 watts is only 3 dB more than a 500. But most of our cabs are very efficient now with multiple drivers ???? and you are Di'd ?

Just caught your tag line there five-string ? how many bass players are there in the Royal Marines - I thought it was all about wading through swamps with a riffle above ya head - I've missed a career opportunity there

I'll be there if date ok sounds good. Mainland rather than ferry hassle to IOW would be preferred

I see Mark Griffiths is still using his in the Shads with Cliff not long ago, he is not exactly having to prove anything or continue in their promotion, So guess he got first pick of had it pimped from day one. here he is just before xmas, you can skip Tarby [url="https://youtu.be/uzo1Zir_SDY"]https://youtu.be/uzo1Zir_SDY[/url] sorry just realised this was 2008 and posted Dec 16 but you get my drift

Yeah Thankfully i can continue to die on stage anywhere without having to worry about signing autographs as I run for the Limo

Thanks for the observation Marty I like the thought of having an amp with the facility to notch out any undesirables, but in practice I tend to use the same settings and leave them. My basses have all the EQ i could need if i was honest, so providing the R-400 is warm enough it would suit my one cab jazz gigs a treat

Echo what is said above. I have contributed to various bands over the years and walked away from things i have paid for and had people walk away with things i have paid for. When the wife and i started our functions band we decided we would buy everything and own it - PA, Lights + Van. The other members were committed but were basically hired hands, the wife ran it as the leader. We did have a kitty but this was odd amounts from gigs that did not divide easily, but it paid for rehearsal rooms, gaffer, light bulbs etc. we pooled money for recordings larger projects. keep it open and honest.

Have to say as Justin above the Hal Leonard books are very good, there are lots of bad books out there with household names on, that jump in at a point not obvious to a learner, you need to follow the basic "tune a day" book approach that brass and woodwind players use, My first two books are still the best i've bought, check if still available. " the Electric bass" by Roger Filiberto, published by Mel Bay volume 1(MB 93234) a pink cover, and vol 2 (MB 93235) blue. These were first published in 1963 and again in 1970 but could have been bought up by someone like Hal leonard and re packaged. good luck

Well folks, I've just bottled out and re strung it low B to G, had a fair session on it last night reading some charts that traveled up through the register but I just didn't feel i would have confidence gigging it without a major mishap. 10 years on a standard low B config was gonna take some undoing.

The La Bella white nylon feel great, heard some good things on them about being smoother and brighter than the black tape wounds which i have been using, so thought i would give them a go These are 760T-B a basic 5 string set with added c so go 45 - 60 - 70 - 94 - 115 - 135 with the added wrap thickness are quite large, so feel like you are still B - G but i didn't want a zingy thin twangy c string that i break first outing.

I have been considering going to a 6 for some time, but felt this may be a better option if i get used to it. I have invested in a 6 string set of La Bella clear tape wrap strings, just so i can revert back to B - G if i bottle out.

I have just strung my Status electro EADGC just to see how i get on reading in a big band without having to fly up the neck. As i feel a high string is more useful than a low B Just wondered if many of you have mixed 5 string bass set ups and how you cope, I will still be using my low B set up on my Shuker and Mbass for function band work.

Don't go there Tim, I nearly got that anal I did get the gear out of the garage a to warm up and dry out prior to new year, checked any major items that evaded the PAT testing, also robbed the Christmas tree extension cable and had to switch off Bambi on the porch roof to be able to do the New year gig.