deepbass5

I went all LED about 5 years ago and never looked back. Check out LEDJ not too expensive but good control and coverage. Best advantage is the power needed for gigs, we did use over 3 kW of traditional Cans which makes you have to sort and split power feeds so not to blow fuses. Now I know as a band we are not affected by Volt drop on our extension leads, and that affects the Bass most of all. The only down side is you can’t keep warm under them on cold nights. Check them out in your local DJ shop before buying. I have two six gang LED t bar type effects at the back of the band facing the audience linked and set on STL and six Par 56 LED cans on the floor set on standalone slow change. Seems plenty for our four pieces.

Cab first, then amp to match its Spec.

I think we are getting to; it’s the individual’s use of the volume control that matters. I would be happy to see a large rig as then I know I have the head room. You don’t have to use it all.

I hate it when you all launch into a song and you think what the Fck is this song. your ears are telling your hands what to play, but the conscious you so thinking I hope the Fck I have a light bulb moment before we get to the end of the first 8. Because I haven't a clue what comes next.

I do understand where you are coming from, Two band leaders who got me into this game, eventually left the Union over similar events to the one you mentioned, and they were both Branch Sec for a time. Pressed steel Fisher at Cowley was a closed shop Union wise in the 70's got into a dispute over none union bands and fees in their club, So the Guy running it just hired bands from every other town. We all lost out locally. Anyway I'm still in It, basically for the insurance and public liabillity contracts and legal advice. But the annual fee is too high for most casual earners, I think they should introduce a lower casual rate, may be get more members. Whether they will ever sort the three in a Bar thing I don't know.

Well, many many moons ago as a young teenage Trombonist, I happened to be involved in a Local Big band and we were picked to Represent the area. The Local BBC Radio station arranged a session to record us. I was only one of two in the band in the union and we got paid the going session rate for all day Sunday and the rest got Diddly squat. And I guess that’s why you did not get paid either. [b]IT's NEVER TOO LATE![/b] -to join

Sorry just being a smart Arse, Was thinking you probably need someone to Look at the floor, nod their head and play fast and loud. If you stated you wanted someone to double on flute or Harp. Now that as a Metal fan is versatile

I think all answers above are spot on, not done this myself But My wife was asked to do backing vocals on an Album for a young British girl, by a well know producer. The Girl had already performed on Prime time TV shows a couple of times and was being tip for great things. As a member of the MU I suggested my wife quotes the MU rate for the three day session. That way 1. You get paid for your hard work regardless. 2. If other work comes from it great, you have already set your rate and will not be taken for a ride. 3. Any acknowledgments on the tracks are a bonus 4. Chances of Royalties are slim and mega stardom is slim so get paid while you can, when you are doing it. Lesson - Never heard of the Girl since or seen the Album Note. This is based on knowing it was a working London studio. Not a nice guy in the Country trying to lay down his life’s work and needs a favour from a friend.

Versatile Bassist reqd for Metal project. Is that an Oxymoron

In Reply to Pete, I put a Badass on my 77 P bass and it made a noticeable difference to the tone in a good way, and I would buy again. I am sure this effect varies greatly from bass to bass, but I think they would be out of business by now if customers thought they were a waste of time. Fender put them on the Highway more recently!! I’m sure string through may have the same effect by creating down force similar to the mass of a good heavy bridge. I put string through ferrules on my Schacks to give me more string buying options, I also wanted to see if it made a difference in sound of my B & E string and can't say that it has, but they had good solid bridges anyway.

The Pole shows one thing, No good trying to sell ya fancy £3k axe on here. I've seen much better players than me holding down a wicked grove on a beaten up old Squire So I do agree with the comment spend the money on lessons

I would pay up to 2k for a new bass I felt right for me, but i cannot see that a 3k 5k or 7k bass is that many times better than a 1 or 2k bass My schack cost £1100 new, they're now £2.5k they are nice but there is lots of competition at that price My second hand SS1 cost me £1k great price I would pay £1800 new not £2.5k My second hand Shuker cost me £1k It is as good as any £2k bass I think you can get a good working bass from between 500 - 1000 new and a very good second hand one from the guys on here

Some years back, but I only used it for bi amping the top end, Peavey advocated this as a simple way to utilise the bi amp out on their 1x15 combo's.

Pat Testing, Yep bought my own Pat tester in the end. I have been asked for certificates ahead of gigs, but never on the night. It’s all good to show on your web site that you are a professionally minded outfit, but it seems it is all coming out of my pocket.

This is always a difficult one, I also play in a non profit making Big Band and these things are a drain on your resources. I did comment in other threads about the MU, as I am a member it now costs me about £150/ y but I do get my own instrument cover which is comforting, had a radio mic stolen in Jan this year and they paid up £450. No probs, I also benefit from the PLI and as I own all the gear PA lights etc. I consider if there is a claim then it will be against me, i.e. a speaker falls on someone or the gear catches fire. Other members are not in the MU, that's their choice. Some may frown at this as all members are encouraged to Lobby others to join, but this is the real world. There are many companies who offer this insurance it’s just finding the best. I would go for an annual cover rather than for a one off event. Hencilla Canworth Limited cover the MU try them direct.

As I also play my five string electric in a swing band, I have always felt aware of jazz purists frowning that I don't at least double on upright. Then I was shocked on seeing the RAF band the Squadronaires Live and the bass player was using a Variax, so how convincing is its upright sound?. I would have thought he would have been court marshalled for even suggesting using one in such a high profile outfit. But happy in the knowledge I can mention this if the topic should come up. They do not feel right to me even before plugging them in.

Love you guys for your passion, really like these techno threads. Harmonics. It’s worth remembering it is our ear and brain's ability to sort harmonics that we can tell if a note e.g. (C concert) is played on a Clarinet a Piano or a Trumpet. Mens voices have more harmonics than a female voice, this makes a male voice clearer and easier to understand than a female voice, which is why women should not be used to make anouncemense at train stations. So from all this you may sort of understand why a good sounding cab has more to do with selection and matching of components and construction and much testing than just going for the 0 - 60mph figure and the go fast stripe most manufacturers want us to go for. I also understood that a Bass Viol sounds low mostly due to its unique harmonics due to its scale length