mrtcat

Two. Requires total focus on diary balancing. One is definitely my main priority band and the other is lots of fun with great people but as I made my position clear when they asked me to join they are very understanding about where my priority is.

+1 for John Carruthers' tutorials on YouTube. All the simple tools, gauges and measuring rules will cost you far less than a pro setup. Buy them once, learn how to do it and save yourself money from here on in.

[quote name='JTUK' timestamp='1410440709' post='2549462'] Confused... how do they determine £35...? is that £35 per man... per how many in the band.? That is £140 for a 4 piece...? Yep..best local. I have to travel to Oxford this weekend and am NOT looking forward to the gig. Enstone... wherever that is..?? [/quote] Where are you playing in Enstone? It's well outside of Oxford but a nice albeit small place. Heythrop Park? That's a decent venue.

That's a long way for a band to travel for a covers gig that looks like fairly low pay. If they have to cancel the gig I could get a local band together for it.

[quote name='Mr Fretbuzz' timestamp='1410421345' post='2549182'] Don't forget to mention to kick the guitarist in the nuts as well Kurt :-) [/quote] Most don't have them. That's why they try to compensate with extreme volume and long solos.

Following on from an interesting thread over last week or so about putting everything through the Pa, can any of the guys who put bass through at small to medium sized gigs offer any eq advice. I saw bill fitzmaurice mention in another thread that he uses a high pass filter at 160hz. This is interesting as I always find bass really gets wallowy in the PA mix and so I'll definitely give his approach a go. Any other suggestions?

Just fitted luminlay markers to my workhorse. Easy fit and looks perfect. They are plenty bright for an hour before needing a recharge with the little torch. Total spend £22

Is the comparison Yamaha DXR's or DSR's.I found the DXR12's pretty poor but the DSR112's excellent. I'd understand if you found them better than the DXR's.

Good luck Baxter,depping can be hugely rewarding and it's a great way to put yourself outside of your comfort zone. Enjoy.

Totally my favourite band for years. I got into the Brixton Academy gig aged just 12 thanks to my sister's then boyfriend and his mates. I've seen them loads including in the states. For me "the real thing" was their best but loved older stuff with chuck mosely and thought "angel dust" was a great album too. Thought they were way better whenever Jim Martin was involved.

JTUK can you explain "bleed"? (purely my ignorance). We work in a similar way in that we use tops and subs (all good quality) and I put keys, kick, guitar and 5x vox through. Our drummer is loud and usually gets louder during gig. Bass only ever goes in PA with an engineer. Any band with keys really needs subs IMO and if you're putting kick through at least one sub is essential as a minimum. My biggest issue is the drummer. He's so loud that a quiet stage is like a mystical paradise we can only dream of.

How often, how structured and how do you go about adding new songs? We have two pros in the band (we do weddings / general functions) and three non pros (including me). The pro guys prefer not to get together to rehearse too often and prefer to run new stuff in sound check and talk through structures. The other two non pros would rather rehearse week in week out and polish everything to perfection before playing it at gigs. I sit very much in the middle and can happily run simpler new stuff at sound check but rely on rehearsal sessions for more tricky stuff. I'm interested to know how others work.

Rehearsal? What's that? 28 songs added to our repertoire this year and every one learnt in sound check or half time interval. Stressful way of doing it :-(

Jazz does a pretty good Precision sound with neck pickup solo'd but the Precision can't do a Jazz sound. That said both are industry standards for a good reason as they both can sound incredible in the right hands. I love my Jazzes but have a hankering for a precision too cos they look and sound cool.

£1500 would get you something epic in the 2nd hand section. Personally I'd go for a new Gallien Krueger MB500 Fusion and a decent used 2x12 (berg / barefaced / aguilar etc etc). I personally have had hideous problems with Hartke gear and wouldn't wish their products on my worst enemy.

I don't have any issues with venues having a limiter system but I have a major problem with venues that have a stupidly sensitive limiter bit still sell their venue to brides and grooms when they know they want a live band. These places then blame the band when the limiter trips. If you want to do function work then limiters are something you either deal with or don't do the gig. The first conversation we have with perspective customers involves a chat about whether there's a limiter and if so how sensitive it is. If we think we can't put on a decent show within the limits then we decline the work. Most times it can be done but it's rarely as much fun but that's why weddings etc pay reasonably well.

I'd probably get two of these https://m.thomann.de/gb/harley_benton_bz_6000_nt.htm?ref=mm_a_18 Although it's not a solid colour and I have no idea what it weighs but damn that's a lot of bass for the money.

[quote name='paul_5' timestamp='1409152367' post='2536878'] Have you considered building one? There's quite a detailed thread about building your own. [/quote] +1 although it's rarely as cheap as you might think. A good design, quality drivers and decent wood should top your priority list. Save your money elsewhere with a paint finish etc.

Most decent powered subs will have an lp filter built in and a full range through to send to tops. Some tops will have an hp filter which then negates the need for a separate crossover.

Just picked a Streamliner up a few weeks back and really liking it. I too have the bass rolled back to 10 o'clock. Sounds great with the 75 Jazz and two BFM 1x12s. Very loud and great weight to the sound. With the gain set up the way I like it the master volume sits at 9 o'clock even with our psychotic drummer.

[quote name='Painy' timestamp='1408780096' post='2533356'] I think this highlights one of the best things about music in general as a 'performance art'. Making music can be an enjoyable pastime whether your playing to 100000 people at a huge festival or just to yourself at home. [/quote] This pretty much nails it.

If I wasn't playing live regularly I doubt I'd be playing at all. I love the bass and practicing and working on technique but it's all in order to make gigging enjoyable for me and punters. I totally get the bedroom bassist thing too tho as we are all different and enjoy different parts of playing.

Where are you based? If you're anywhere near me bring it over and I'll whip up a simple wooden sleeve for you.

Like many things in the bass world budget will dictate to an extent. There's nothing wrong with just using a mic or just using a DI or using both. It sounds like you are acquiring a nice amp so a mic would let you send your sound to the sound engineer. However the sound you have on stage may not suit front of house. At this point a di box in line from your guitar would give the sound engineer a clean basic tone to work with. I use a shure beta 52a mic (it has a bit of mid scoop that you need to be aware of)and I like the sound. Others will be able to give you experience based suggestions of other mics. I would also look at a di box (doesn't need to be particularly expensive) in case you need it. Most engineers want a pre eq signal so either run it in line between bass and amp or pre eq from your effects loop if this is possible. I use a sansamp as it has tone shaping (again others can recommend based on their experiences) but you could also use a more simple box. Hope this helps.