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Yeah but the MTBF on that will be about 10 minutes 😄

Oh and I need parametric/switchable mids, and two of them, and a separate line out level control ideally.

Ok so budget is whatever it needs to be really. Obviously I don't want to spend more than I need to but quality costs... Power would be upwards 700w Amp is basically a monitor for most of the band and provides the foundation of the foh sound for most gigs. The LM2 configuration had a very lovely tone, since the LM3 the amp internals changed and they reportedly lost some of that magic slightly more old school tone. Having said that I haven't tried one and they are on the list!

So last night's gig was an excellent affair, really, except my dearly beloved and venerable Markbass SA450 finally went to the big bass bash in the sky... So I learnt some interesting things from this:- 1. I need a new amp, this isn't going to be fixable 2. IEMs rock, I didn't even realise that it had died until the trumpet player looked all startled as I was happily grooving away and the rest of the band could not hear me. 3 Barefaced FR800s are genius, I just cranked them and they delivered everything we needed out front. 4. I have no idea what amps out there currently exist that have that Markbass LM2/SA450 vibe, can anyone out there help? Ta! P.S. cracking gig all the same though 🤩

Mister Super Juice are playing in Hove at The Stoneham on Saturday (Feb 2nd). Be lovely to get som eBC support if anyone on here fancies a bit of instrumental funky soundtrack stylee stuff in a lovely pub that also serves banging food...

Ok so we haven't played the old 'home town' for a very long time. Headlining with a couple of really superb young Soul/Funk acts backing us up. Should be a cracking night of funkiness for any of you who can get out on a school night

Heh, if they're aren't they will be any minute, I saw the first run in the factory last week, very fetching green tolex (or whatever it is on them) and a great new vintage stylee logo. Bobby was working on the new website stuff. They look smarter then the pre-production version, but I bet they sound just as good. The pre-prod version easily trumped my guitarist's Fender deVille 410 for tone and dispersion. Volume-wise I couldn't say - he has never had to push that 410 to see how loud it will go - but the wee BF cab was damn loud in its own right, far more on tap than we need.

Yep, remember being loaned the very first BF cab by Alex. He has come a very very long way in a pretty short time IMO. The new guitar cabs are incredible too!

That would almost certainly be a gain staging or routing issue with the fx you have in the fx chain IME...

IN Reaper you apply FX either to playback or whilst recording in two separate places. The FX button on the track that is most obvious is the playback FX. The recording FX are got to via a right click of the record button if memory serves. You will get a serious latency hit if you go that route (hint, don't do it unless you have a super fast machine and a very very serious interface, its not worth it)

Travelling, without headphones ?!?!?!!!?? Youch!

Best way to get punters to know what the bass does is write arrangements where you drop out for a section, it doesn't matter one jot how tight the rest of the band is, how powerful it sounds without you, or how musically illiterate or not the audience is, when you come back in the lift in intensity is absolutely palpable. You are suddenly noticeable, a tiny bit of showmanship and you can make this obvious without for a second being a tosser about it. I promise this works, its a killer way to make the point that the bassist dude is the one making you boogie more than anyone else. Do not underestimate your audience, I get approached after every set, always. But then I make it my business to go mingle with the crowd, because that is super important for the whole band to do. Someone out there is a tuba afficianado who wants to speak to our trumpet player about how she switches from trumpet to tuba so readily. Someone else is having a great night having heard us from the street and come in for some fun and would love to tell us we made their evening. Another group of people see us every time we play that venue and rightfully want a bit of time with some of us to say how they are enjoying it and how much fun they are having, and we get to keep them happy. Someone would rather they were left alone completely by the sweaty fat git who just waddled off stage

Cheers dude!!! Really glad you enjoyed the production too, that's very cool

Try being in a an instrumental band chaps. All of a sudden the audience can see and hear loads more about the band, its a really weird phenomenon. Seriously in all the years I played behind a front person I think someone mentioned my playing about three times, always other bassists. In my current band we are always all getting compliments. I can't really explain why, but I rather like it

Good point, well made 😆

Well now that is a good question... Its main influences are the work of Lalo Schifrin (Mission Impossible, Enter The Dragon, Bullitt, all the Dirty Harry movies), Roy Budd (Get Carter, The Black Windmill, The Marseille Contract) and then more obvious stuff like Shaft and Superfly. What you have seen in the video and or heard on the E.P is a tiny slice of what makes it feel like soundtrack music, there are light motifs throughout both sets that are repeated throughout, in entirely different tracks, and sets. So we kind of have characters that different instruments reference back to at different times. The point we knew we had got this idea right was when people were telling us they had heard our stuff somewhere else before but what was actually happening was they were remembering one of our melodies from 40 minutes ago played by a completely different instrument 😆. You also havent seen our opening Suite, a 45 to 50 minute funk soundtrack which starts with bass alone as quietly as I can play it, and builds and builds moving through 6 pieces all without stopping for more than a moment. If you are on Arsebook someone posted 17 minutes of it here ☺ from a recent gig:- https://m.facebook.com/story.php?story_fbid=2242724185761391&id=588604131173413&fs=5&focus_composer=0 Not sure if that link will work! The last track on the E.P is the final part of that Suite. Anyway I needed a name for this madness and came up with Cinematic Funk, so that is what it is 😅

South Coast anywhere from Worthing to Hastings, maybe Rye even, very occasionally we get up to London...

I am not giving up my place in the band 😉 Took me 10 years to get the right people together to make this band work. For some reason people cant seem to get their heads round the concept of 45 minute long pieces of instrumental funky mysic live in a pub: until they hear it done ☺

Excellent 😆 That one is recorded to multitrack in a pub at a gig, no overdubs, no edits, lots of mixology mind, thoroughly pleased with how it turned out ☺

Not of us pretending we are playing along to the EP, no But if you can bear to watch my ugly mug (and if you have the sheer stamina to get to the end of it) here is a little glimpse of us in The Jenny Lind in Hastings. Soundwise its just a capture with a Zoom H4n out front, so the sound is not at all special, but you get a hint of what we are about anyway, last track of the night this one (3rd track on the EP), it either goes very well, or not so much, this version was not too shabby I think, plus after some of the footage was from out front rather than the dodgy fake go-pro the perc player always brings to a gig. Cinematic Funk then, see if you dig it....

First time playing The Lewes Con Club, in fact first time I had been there. Really nice venue, great sound guy (totally got what we needed monitor-wise and dealt with the larger than standard line up with ease). Initial thoughts as we walked in were oooh this is maybe a tad big for us given that we haven't done more than a couple of little charidee festivals in Lewes before. Punters are kept nicely hidden away during soundcheck, though to the point where we really thought we might be playing to an empty room (oh dear). Needn't have worried though, punters allowed in to the main room 10 minutes before we went on, had 3 rows of people dancing for 2 hours solid, and the room full to the back and the bar area well occupied. Sold decent amounts of merch after the gig too. Had a complete blast and am frankly still buzzing about the whole thing BTW E.P. is here if anyone wants to have a listen:- https://mistersuperjuice.bandcamp.com/releases

If anyone is remotely interested here is Mister Super Juice's debut E.P entitled Produce The Juice, we bill ourselves as Cinematic Funk (Lalo Schifrin / Roy Budd inspired in a big way):- https://mistersuperjuice.bandcamp.com/releases These tracks are more from the second set of the night (first set would be darker, mellower and a fair bit jazzier than these are). Be interested to hear if anyone digs it at all . All the best, Si

Cheers Dad , its always tricky if its not really your bag isn't it, glad you weren't immediately turned off by it (if you managed to listen to the whole thing and it isn't your bag then you are a superstar :D)

If anyone is remotely interested here is Mister Super Juice's debut E.P entitled Produce The Juice:- https://mistersuperjuice.bandcamp.com/releases Be interested to hear if anyone digs it at all All the best, Si

My band is pretty loud. 7 piece bands with horns and percussion and drums and keys and guitar and bass will do that. However we try to keep stage volume as sane as possible. We mic everything for every gig. But for monitor mixes as much as anything (a lot of the tracks are cue driven, if anyone cant hear everyone else enough then they cant hear the cues and we train wreck :D). I tend to put enough kick in the FOH to hear the bass extension that brings to it, add snare to match and a touch of a mono OH to bring out the hats more than anything. Now we are talking a touch really hear, definitely not trying to prove anything, just lift the top of the drums forward into the mix a little. Bass is DI'ed, now I have a BigTwin and that thing can easily deal with any pub in the land on its own, but I turn it up for the stage volume and add enough to front of house to keep it projecting, mainly because that way the top end is muffled by my capacious butt, instead its coming out of the FOH (a pair of FR800s, so the same cab effectively as the Big Baby - it can deal with bass all day). Guitar is mic'ed so I can keep his amp as quiet as possible and run his monitor guitar heavy instead, its pointing away from the audience so that means I can lift the guitar into the audience through the PA which means none of that laser like guitar cab quality whereby the guitarist turns up and if you are sat in front of his amp 30 feet away you're effectively deaf for a week. He also uses a tilt back amp stand - anything to get the guitar loud for him and quieter for everyone else. He is not a loud guitarist and certainly not a selfish player, he understands why he needs to get his level by pointing everything at his head in order to better control volume in the venue. Keys brought up in PA, he uses IEMs so he controls his own monitor mix, as does the percussion. Percussion is always tricky, a lot of it is very quiet compared to drums, some of it is scary loud, I mic all of it (I have the channels so why not), works a treat, can balance him to the drums in the room beautifully, but it does take up to 5 mics to do that. Horns are special, bass trombone is mega loud when you're too close, but needs a little help at the back of the room, its mic'ed for the fatness that disappears futher than 6 feet from it. Our trumpet player uses a harmoniser (sweep pedal controlled) to self harmonise on the fly - I have no idea how she manages that) but this does mean she must be mic'ed too, even though of all the instruments in the band she needs it the least in a pub. We often play in medium sized pubs. We get there early to set all the gear up and have several times had the landlord come over and say, I think you might be a bit loud? Or words to that effect. Only ever happens once though because of the way we play the first set. We tend to soundcheck at a fair whack, but the set starts off at a whisper and we grow the volume very slowly over the next 45 to 50 minutes (which is the length of our first piece), at the end of which we are bouncing along at about 80%. A couple of short (9 minute) tracks later and we stop for a 10 minute break. Then its into the really funky set (the first is darker and more jazz in places). By the end of the first set the place is usually jumping and we get no more requests to turn down - more meat in a venue does help, plus everyone is busy telling the landlord its great so he feels too daft to ask us to curtail anything. Always always tell the punter to go grab a drink in between sets, the landlord loves that! Last gig we played was at Lewes Con Club, had a sound guy, who was fantastic, within 3 or 4 minutes of the first track we had 3 rows of dancing happy punters, they kept at it for 2 whole hours. Best gig I have played in years, on stage sound was great, I only had to worry about playing not doing sound (FOH and 6 monitor mixes is a head spinner at the best of times), and the punters loved our stuff and bought the EP and T-shirts enough to double our take. In the room though (far bigger than a medium sized pub) we were about the same level as we are in a pub. Although we are loud, we sound really good, and people enjoy it, dance and drink a lot as a result. Seems to keep the landlords very happy indeed!