Lozz196

Band Name Woes isn`t a bad idea................

I showed one of the young-ones at work a youtube clip of The Sex Pistols playing live in the US. Her question was, who were they marketed at? Kind of says it all really, the difference in today v yesteryear. Of course bands were marketed all the way through the music biz history, but I think nowadays that`s a lot of the initial thoughts on creating the bands, rather than once they`re formed and have developed their sound - hence the OP question, the formula for mega success. Said young-one was also amazed that anyone who looked so clearly mad was ever famous. She thought he should have been locked up.

Yep, and until The Joshua Tree, although they were semi-successful, they weren`t massive. I think both Pride, and Bonos vocals on Band Aid brought them a bit more into the commercial arena. Their record company stuck with them for about 3 or 4 albums prior to TJT, whereas in nowadays climate would that happen?

My initial thoughts were the ABM410, but it can be a bit weighty - great cab though. The Fender Rumble 410 is a nice sounding cab, and quite light/portable. Lastly, and a shameless plug here, I`m selling an Ashdown RM 414 (a 4ohm 410) that has had the cones swapped to Eminence Betas by Ashdown, it`s now rated at 1000 watts at 4ohms. Nice and light, comes with a Roqsolid cover and go-faster wheels, advertised on here at present for £295.

If that is an original it really is just showing off! Just kidding, envious as an envy-bunny.

Yep, I`ve found that "warmer" sounding amps stranley seem to be a nice platform for pedals. My current set-up is Ashdown - set flat not a million miles away from Markbass - and pair it with a Tech21 Para Driver. I find the pairing of the warm amp with the harder sounding pedal really works to my ears. You should be able to pick up a decent LMIII off of here pretty easily, and at a decent price too.

Def, if a plain choice between one or the other music being played well would always be my choice.

The PF500 is a very nice sounding amp. I`ve had two, one good, one not, but that was a long time ago, and reading about any problems on these amps, they`re always situations like mine, happened years ago, so Ampeg must have sorted it pretty well. For on-board compression on amps, well another consideration is the Ashdown RM-500-EVO - these amps are amazing imo, have a lot more "ooomph" to the sound than most of the other Class D amps around, are amazingly loud, and - real plus point here - are based in the UK, and offer really good customer service. They`re on here too. I`ve had loads of the Class D amps, PF500, Markbass, Gallien Krueger, TC Electronics and the Ashdown for me is the closest to nailing the big amp sound in a small box. All the others were great amps mind, not a bad one amongst them, you`d be happy with any I reckon.

Benefits of Road Worn, quite simply, aside from Fender Custom Shop Pino Palladino Sig, the comfiest playing Precisions I`ve ever played. If they only did them in black, grrrrr.

If you can find one a Behringer BDI21 is a virtual clone, at about a fifth of the cost. Will give you an idea if you want to go for the Sansamp without too much initial layout.

I`m not so keen on rehearsed moves/choreography, or pre-worked out banter, but do think it`s important to look like a band. Not all wearing the same clothes, but just have an identity. And if an originals band, make the identity fit with your music. My band is a street-punk band, so we wear Fred Perrys, jeans, DMs, band-logo tees, Harrington jackets etc. Nothing over the top - and it`s what we wear outside of the band anyway - but we look like we belong. But in terms of stage-craft, well to me two of the most important things are eye contact with audience members, and just looking like you`re enjoying the gig. Neither are particularly difficult, but immediately bring the band that step up imo - shoe-gazers who have faces like slapped behinds, well not exactly bringing the crowd along. I suppose we`re lucky with our singer who is genuinely good at audience banter, doesn`t need to rehearse it, and people just find him witty. If no-one in the band is good at that then at least announce some songs, not with a War & Peace dialoue, but some prepared words, again, break the band/audience divide.

Yes, Tech21 pairs very nicely with the TH500 - I used to have the TH500 and paired it with a regular Sansamp Bass Driver, all EQ set flat, so essentially getting the Sansamp flavouring added to the EQ of the TH500. For an idea of how this sounds, check out the vid below, that`s what I used to get that sound. As Danny says I now use the Para Driver, which gives me the same sound but all in one box.

Theres a black US Precision up for grabs on here now that is virtually identical to one of these, black/rosewood, P/J config, blocks, and a Precision neck. Tredders is selling it. If I weren`t currently offloading I`d snap it up, but anyone who likes the look of this new Duff, but wants a Precision width neck, well check out the for sale section.

Think the amp Bridet Kearney is using in Lake Street Dive is the ABM900 - that`s a rather nice but heavy amp.

I think you`ve made a sound decision there, Andy, sometimes things can just not develop the way we want, and walking away isn`t failure, it`s progress - progression to what`s new. All the best with both your new musical venture, and with your soon to be arriving daughter.

From what I`ve read the Superbrights are low tension, as are DR Hi-Beams. From personal experience I found D`Addario Pro Steels to be the most comfortable set of strings I`ve ever played. I went for the 45/65/80/100 gauge.

I think you`re spot on there, Dave. I`ve played with many very talented musicians who simply did not know how to be in a band. Attitude - as in having a pleasant/good one - is one of the main requirements. I`ve played in bands with many really talented guys who simply had no idea how to actually be in a band.

Well at first thought my reply was, I print the set lists. But on digging further I can safely say I contribute in: Song-writing/arrangements Mixing - I have a pretty commercial ear, so tend to lead on mixing our recordings, at least to get where all is needed are minor tweaks Stability & punctuality Organising travel - I tend to go with road knowledge and experience, rather than "the sat-nav says" Making sure no matter how rotten/tired I feel, the performance never shows either of these - the punters don`t want to see that So I suppose much of the above is knowing how to be in a band, as much as for my musicianship But at the end of the day, those set lists are darn good-uns................

It would really depend on the type of music for me. If I were in a band where the bass was a supporting instrument, blending in with the drums and providing a good platform on which the other instruments shine then the Markbass, but if I wanted the bass to have its own "identity" then the GK. This isn`t to say the Markbass is bland, far from it, for classic Precision/Motown sounds Markbass are excellent, but I just find that the GK sound is better if wanting the bass in the forefront rather than the background. That said, as you`ve got the B7K you`ve the added eq/drive options for creating an identity, or coming more forward in the mix so in that case having the Markbass amp is covering all - pardon the pun - bases. Solid/background on its own, driven etc with B7K.

As it`s made of loads of seperate parts, Frankenstein

Never Mind The Bollocks - The Sex Pistols Appetite for Destruction - Guns N Roses Chapter iV - Booze & Glory The first two have stood the test of time for me, the last one was only released this year but it`s just got so many songs that I love on it I can`t see it not staying where it is - until B&G replace it with a newer one that I like even better that is.

Pump it Up, by Elvis Costello & The Attractions. Note-wise is easy enough, but the feel is not my usual style, so reigning myself in was the challenge.