bertbass

Ah, 1969, remember it well. No tuners in those days. No amps back stage either, in fact it was either a tuning fork or an out of tune piano, no one I knew played harmonica. You'd press your ear to your bass and hope to hear the notes but if there was a back stage it was usually pretty noisy so what did we do? We walked on stage and tuned before we started to play just like Hendrix. Not play amazingly like Hendrix I mean but just play music.

To encourage better driving, Confused.com has created a playlist of the top 50 ultimate safe driving songs, which match this optimum tempo. Here's 30 of them. 01 Come Away With Me 03:18 02 Billionaire - Feat. Bruno Mars 03:31 03 I'm Yours 04:03 04 The Scientist 05:09 05 Tiny Dancer 06:14 06 Cry Me A River 04:48 07 I Don't Want To Miss A Thing 04:59 08 Karma Police 04:21 09 Never Had A Dream Come True 04:01 10 Skinny Love 03:58 11 Angels 02:51 12 Closer 03:57 13 Wildfire (feat. Little Dragon) 03:21 14 Back To Life (However Do You Want Me) [feat. Caron Wheeler] - 2003 - Remaster 03:45 15 Dub Be Good To Me 03:58 16 Price Tag - Acoustic Version 03:19 17 Never Gonna Happen 03:28 18 Tell Me 03:42 19 The Symphony 06:05 20 Burn - Confession Special Edition Version 03:52 21 Hero 04:17 22 Slow Dancing In A Burning Room 04:02 23 How Do I Live 04:27 24 Signal Fire 04:26 25 Video Games 04:44 26 A Woman's Worth 05:03 27 Don't Let The Sun Go Down On Me 05:38 28 Thinkin Bout You 03:20 29 Life On Mars? - 1999 Digital Remaster 03:51 30 Write It On Your Skin 03:13

Just received an unsolicited e-mail from confused.com and found this, http://www.confused.com/car-insurance/articles/top-ten-most-dangerous-driving-songs?MediaCode=806&utm_medium=email&utm_campaign=Newsletter&utm_source=Newsletter14Jan13&utm_content=Christmas, Interesting. What do you think?

Got a pair of Jack 15s looking for a new home. Kappalite 3015 loaded and a distortion free displacement limited power handling at 350 watts. No horns as they don't need them.

I thought I was going to hate [color=#282828][font=helvetica, arial, sans-serif]Les Miserables as well and I did.[/font][/color]

I didn't realise it was No. 2, that's even better. Done quite a few gigs now and the speakers are well worn in and it just gets better. Thanks Alex! For those that are doubting if speakers benefit from a burn in period, yes they do.

From Shure themselves. [color=#000000][font=Verdana, Arial, Helvetica, FreeSans, sans-serif][size=3][b]The SM58 is available with or without a switch[/b][/size][/font] [font=Verdana, Arial, Helvetica, FreeSans, sans-serif][size=3]SM58SE (with switch) RRP £138.00 SM58-LCE (without) RRP £126.79 [/size][/font][/color]

You could tie a bit of string to the head and the strap temporarily and see if it works.

We use a Yamaha MG206c mixer. This had 20 input channels, 16 mono and 2 stereo and has 4 auxiliary outputs. It has compressors on the first 8 channels and also has 4 sub groups. These are useful for if you want to set say a drum mix and control all the drums with one or two faders. We use one aux for effects, (echo) and 2 for monitors. We are a 3 piece and only want vocals in the monitors so the drummer has his own mix and the guitarist and me share a mix. We have one spare aux out. The 2 monitor mixes go to a Behringer ULTRAGRAPH PRO FBQ1502, [url="http://www.behringer.com/EN/Products/FBQ1502.aspx"]http://www.behringer.com/EN/Products/FBQ1502.aspx[/url], which is very handy for overall eq adjustment and for knocking out frequencies that feed back. From there the mixes go to a Peavey IPR 1600 one side of which drives one EV force 12 for the drummer and the other side drives 2 EV force 12s, one for the guitarist and one for me. The monitors are great and we can always hear them. From the main outputs of the Yamaha we go into a 31 band stereo graphic EQ and from the graphic to an amp rack that contains a 3 way stereo crossover, a stereo limiter and then to a four channel power amp. 2 channels are bridged and these drive the bass bin on one side and the other 2 amps drive the mid and top. Also from the crossover to an amp rack on the other side of the stage containing another 4 channel amp driving the speakers on the other side of the stage. The reason for 2 amp racks is that you get no loss from long signal leads but you do get loss in long speaker leads. The limiter is used to protect the bass bins. We could do away with the crossover and limiter if we used a speaker controller like a DBX driverack or a Behringer ULTRA-DRIVE PRO DCX2496. Both of these have Real Time Analysers (RTA) built in but I used a separate RTA to set our graphic EQ. Apart from the 2 amp racks, one 4 U and the other 2U, everything else is permanently installed in another rack. Mixer on top, then ipod shuffle, minidisc player, graphic eq for main pa, graphic eq for monitors and monitor power amp. A panel at the bottom has power in and signal and speaker outs and it all rolls around on it’s own casters. Roll it into place, connect the monitor speakers and mains in, signal leads to amp rack, speaker leads to speakers, signal leads from first rack to the other rack, speaker leads to the other speakers, mains leads to amp racks. Mics into the mixer and it’s ready to go. I personally would avoid powered speakers as not only do you more than double the number of mains leads running about all over the place but if one stops working then you’re a bit stuffed but you can always carry a spare amp with you. I would also have a monitor amp with a much higher wattage than you think you’ll need. 400/500 watts a channel even if you only use 50. Plenty of headroom and monitors that you can hear with little or no feedback rather than a 100w amp that can’t go loud enough.

Has a V guitar once and it felt really weird. Much preferred a traditional body. You might find a V comfortable though, you'd have to give it a try and see.

It's certainly the player and I always sound like me but if I only had a little more of bass or treble or a little more distortion.

It's so easy to find and download a song with itunes that that's what I do.

Hipsters? I thought they were low waisted jeans and everyone knows that guitars are red so other colours must be a bass, that's what our drummers ex-wife used to think. Actually, I think our drummer still thinks that.

Gloss.

Yes, those are the Reslo stands and round here there's still loads of them still doing what they do best, hold mics in the air. Why not get the rest of the band to buy their own mic stands? I don't know any musicians that don't own their own, or, we as a band buy mic stands for the band, micing drums etc, and when they break the band buy new ones. Might be worth a try.

Weird!

[center]69er No. 4[/center] I had the pleasure of collecting 69er no. 4 from Alex and Harry just before Christmas and have used it on 4 gigs so far and what a cab! [center]BAREFACED[/center] I received an e-mail from Alex saying that my 69er was ready for collection so off I went to Brighton to collect it. Felt a bit like Shakin’ Stevens when I found out what was behind the (big) green door. A long walk to the factory, you need to be fit to work at Barefaced, that’s for sure. Harry lead the way, what a nice bloke and introduced me to Alex and my cab which was sitting on the bench naked. It was still awaiting the speakers. While Alex and Harry worked on the cab, we had a very enjoyable time chatting about things musical and non-musical and Alex gave me an idea of his ventures into P.A. cabs. Very interesting, keep your eyes on them as there may be a few surprises in store. My cab was finished so in the car with it and off home. I’ve got to say that a nicer pair of chaps you’d be hard pressed to find. Alex and Harry truly are terrific and I thoroughly enjoyed my time with them, thanks. [center]THE CAB[/center] Transferred the 69er to the van, the first time I’d carried it and it is incredibly light, a one hand lift and off to the first gig with no time to break it in. I normally use a Carvin 8x10, never used an Ampeg but have used 2, 4x10s and about every speaker configuration you could think of from most manufacturers over the last 45 years, so the 69er was up against some stiff competition. Our crew got to the new cab before me and was truly surprised by how light it is, in fact, he is so impressed that I haven’t carried it myself since, as he always insists on carrying it. Put the Mywatt 200 on top of the cab and played a few notes. The guitarist said that it sounded the same as usual. Well, objective no. 1 achieved then, the sound of an 8x10 without the weight. I was a little concerned that being a foot shorter than an 8x10 I might not hear the 69er so well but no problem. I could hear every note, even standing right in front of it. Over the 4 gigs I tweaked the sound and noticed a few things. The first being, that my G string has come back. It had been a bit lacking before but now all the strings are evenly balanced, in fact, more evenly balanced that ever before. No horn needed either, plenty of highs as it is. I’m impressed. Great comments from band and audience after the gigs as well. The dispersion is also a lot better. I’d say that the 69er has the dispersion of BFM Jacks but with the depth of an 8x10 or ported 2x15. It’s great that the audience, and the rest of the band hear what I hear. Second objective achieved. [center]CONCLUSION[/center] I’d say that the 69er is the best cab that I’ve ever used and that the Barefaced description is only the tip of the iceberg. It does sound like a seriously light 8x10 with great dispersion and a great sound. The use of non-neo drivers is music to my ears as neos tend to be a bit middly for my taste although mids can be dialled in if wanted. I think that there should be an 11[sup]th[/sup] commandment, or 614[sup]th[/sup] if you know about these things and that is, every bass player should at least try, if not own a Barefaced cabinet.

I don't think that there are any really good mic stands anymore, not like the old Reslo ones anyway. They all lose their rubber feet and strip the threads in the booms regardless of price.

I was going to buy one of these, http://www.industrialradio.com.au/, but talked myself out of it but I might talk myself back into it again, you never know.

First NYE in 26 years without a gig. Got NYE 2013 already but nothing for tonight.

I'd be a bit worried as to how stable your bass is going to be if it's affected that much by a temperature change.

you could always go the DIY route, http://www.craftycomputerpaper.co.uk/category/Decal-Paper

Elite 50-110 strings, Gotoh bridge and a pick maker. Oh, and a new stage waistcoat, union flag. I like it a lot.

I used one of these in the 80s, http://www.shergold.co.uk/gallery.html?item_id=19. Lovely guitar but so heavy. It had cut a groove in my shoulder after an hour set.

Foldback tuner, I like that. I wonder if I could make a box with a big knob on it? Pinch away.