mrtcat

Barefaced retro 2x10? Looks like it would stack very well and I'm sure 4 of them together would level a small industrial estate.

I love depping. Just make sure you know all the standards in the genre you do and practice transposing keys on the hoof. I find that ear training really helps when they launch into a song having forgotten to mention they do it in a different key. Be really positive and help out with load in and out. I always make a point of speaking to band leader well in advance and making easy to read charts. I write my charts with a sharpie to make them easier to read.

[quote name='discreet' timestamp='1438892212' post='2838533'] the kind of people who learn to ride a unicycle and think that juggling is a valuable social skill, i.e. the homeless. [/quote] The homeless and students from upper class backgrounds who want to appear to be 'free spirits' despite the fact daddy pays for their monthly teeth whitening and audi convertible.

Our singer is in tambourine training. He has one with all the jangly cymbal bits removed until he passes his test.

It's what keeps me out of bassdirect and bass gear. Being such high end establishments just makes the pressure worse.

Maybe nobody knew the answer?

Came out years before I was born but I really love it. I like a lot of Beatles stuff and dislike plenty too but I've always loved Sgt Pepper. I don't have the benefit of the context of a lot of the early Beatles stuff as I wasn't there but respect where it's due they clearly captured peoples attention with what they did. I like plenty of Stones stuff too and naturally dislike certain stuff. Funny that the Beatles have never felt the need to criticise the stones as far as I'm aware.

Nice work. Love the clamps in the 1st picture. What paint have you used? Looks like you've used some decent glue too. Its a very satisfying thing building your own cabs.

Good stuff indeed. You've done well to sort it quickly.

A good bass is a good bass irrespective of age. Likewise a bad bass is bad old or new.

Not interested in solos on any instrument unless it really adds something to the song. Regarding bass i'd much rather just hear a breakdown where bass and drums groove nicely for a bar or two.

[quote name='police squad' timestamp='1438788341' post='2837345'] I'm depping for my mates band and the singer, as stated, does what she likes. Last night we had practice and she cried off at the last minute. Good job it's not my band, cos I'd sack her. F*king slacker. How do people think they can get away with being like that and i don't think that she's good enough to have that kind of attitude [/quote] Like you say, lucky it's not your band and therefore not your problem. A band is a team and slackers just drag a team down. I'd be tempted to tell her "no worries love, you just turn up when you're good and ready" then at the end of the night giver her exactly half what everyone else gets paid..

[quote name='JTUK' timestamp='1438725220' post='2836790'] I think the Tony Hadley gig wins... if he comes calling again. Function gigs are two a penny by comparison. It shouldn't be a problem unless you make it one... he'll do it anyway, IME, just I wouldn't fall out over it, burn bridges or get too precious about it. I'd actually be glad that they could still get the gig... I certainly wouldn't try to hold them ..because I'm pretty sure you'd lose. [/quote] Yeah but he's been with us six years and Tony Hadley for 12 and it's never been a problem. He has a list of deps available he can use for the functions but he takes full responsibility for filling his slot if hes away. Hes going to be in the house band at the rewind festival in a few weeks so is missing a wedding with us. He already sorted and briefed the dep. Speaking to him last night he said that decent function gigs are far from two a penny and will never risk losing the regular stuff he gets with us. Nobody is trying to hold anyone and he knows that if he wants to do other stuff he can but while he is a member of our band he has a certain responsibility to cover himself with us if he's already agreed to a booking. I guess a lot comes down to the individual too but like I said from the start it's just about agreeing terms from day one. We didn't force him to join. He auditioned along with a good dozen others, we discussed what we needed and what he needed, we offered him the slot and he willingly accepted. Over 200 gigs later he's as much a part of the band as any of the others. We did exactly the same with the drummer we took on last year and there's no reason why the OP can't do the same with any drummer his band takes on.

[quote name='JTUK' timestamp='1438709976' post='2836628'] But... to be fair, there is always a better gig for those in demand. I don't mean they need to be an ar$e about it but if you are pulling down a level..and they are happy to play with you because you are at worth gigging with, then accept that their main bands are the ones they have to commit to. Generally I'll get about 2 weeks notice but if I didn't do this, I wouldn't get that calibre of player. [/quote] Our drummer, keys player and guitarist are all pros and with the exception of our singer we all work with other bands or on other projects but we all really look after our commitment to the function band. Our guitarist has been touring with Tony Hadley for years and still has a certain amount of commitment there but he knows we are his bread and butter income now (especially with Spandau Ballet more active again) and plays by the rules 100%. The OP can at least set his band's expectations out from day one and at least then the drummer will know whats expected of him if he accepts the seat.

[quote name='JTUK' timestamp='1438691566' post='2836405'] I never get this 1st come, 1st served nonsense tbh... [/quote] May be nonsense to you but if a drummer or anyone else cancels after agreeing to a date they have two choices. First is to arrange a dep who is as good as them and do all the leg work. Second is to not play with us again. I make that perfectly clear before people join us and have only had to act on it once in 17yrs of function work.

Also from experience it's always an advantage if you have some contacts in case you need a dep.

[quote name='hiram.k.hackenbacker' timestamp='1438667599' post='2836164'] Sorry mate, I don't wish this to sound rude, but it's nuts. You don't want to be gigging that often, yet you want a "decent" drummer to commit to you alone. I don't know how things operate round your way, but I can only wish you good luck with that. [/quote] Yeah I agree here. As long as there's a first come first served policy on reserving dates then having various members in various different projects is pretty much the norm. You just need to agree some terms from the start and have a good diary system to avoid an awkward situation. If he agrees to a date with you then he's not allowed to cancel at a later date when he is offered a gig with his other band or something similar.

[quote name='discreet' timestamp='1438631979' post='2835993'] What about one of those electronic kits that look like an acoustic kit..? [/quote] Jobekey do some pretty ones.

Depends also on what electric kit it is. If its absolute top end it can really be a great asset to a band to have volume control. You'd need a decent PA system tho.

Jurassic5 are my all time favourite hip hop outfit. Pure class.

[quote name='geoffbyrne' timestamp='1438422896' post='2834357'] I'd leave the pickups & put a John East J-Retro preamp into it - it'll give you much more range & variation of tone than changing pickups. G. [/quote] This. I have a VM JazzV and it plays great. When I got it i dropped in some Seymour Duncan pickups and it sounded a touch better than with the stock pups. A few weeks later I put in a John East J-Retro and BOOM it was a huge leap forward.

I love these basses. They are so well made and sound perfect to my ears. I have a 90's TRB5 which i love to bits and the TRB5PII is probably the only bass in the world I would swap it for. I would like to think you could get £1500 for it but you'll need to be patient. These aren't as sought after as they deserve to be but to the right person, a mint condition one will be well worth it. I can't understand why you'd sell it but whatever you do I wish you luck.

Yeah that's pretty darn cool. Are you only as good as your drummer? Hmmm not entirely sure but one thing I am certain of is it's the one member of the lineup where you can't carry a weak link.

I accept that my cab sound is more for me than anything because if there's a foh engineer involved I have to trust him to do what he thinks is right overall out front. We choose certain engineers over others as some consistently get a better result. Putting a mic in front of a cab with a 15 inch driver, a 6 inch mid driver and a tweeter requires real skill to capture the overall sound of that cab and the reflection off the wall behind etc. I much prefer a flat cab as it puts the control of the on stage sound more in my hands but I still accept that 9 times out of 10 the best thing I can do for the foh sound is to make sure I'm giving the engineer a good signal to work with. I'll often use a sansamp (other DI pedals are available) for that as it is in my signal chain constantly anyway and I have had good results plus engineers seem happy with the signal it gives.

[quote name='JTUK' timestamp='1438193909' post='2832473'] Picking songs for a set list and making it flow is quite an art and skill ...much ignored, IMO. Many bands just pick their favourite songs and try and play them. It just about works down the pub and that is the end of it. [/quote] This. I've quit bands where the guitarists picks the set based around his favourites and then puts them in the order he wants so he can change guitars lots. Building a great set list is an art. Putting that set list in an order that keeps people interested and peaks in all the right places is also an art.