peteb

Thanks for that Dan - very helpful I've got the chance of buying a 4B secondhand. Been weighing up if I would use it enough to justify buying but think that I might go for it. I wouldn't use itfor my normal rock gigs, but there has been the odd gig where I could have done with a smaller quieter cab.

[quote name='FinnDave' timestamp='1500445676' post='3337737'] My main band describes its style as 'Funky Psychedelic Blues Rock'. Where's the option for that in the poll?? [/quote] Classic Rock [quote name='Rich' timestamp='1500465939' post='3337981'] My main band is what I would call a 'party' band. However we do very little Top 40 music and we don't do weddings, but have done a smattering of corporates in the past. There's a difference. [/quote] Maybe, but not as much difference as all the different types of bands that get categorised as classic rock!

Classic Rock is a bit of catch all. It could include blues (or at least blues rock) or it could mean Dire Straits or the Eagles all the way to Judas Priest...!

I am thinking of looking for a secondhand PJB cab for rehearsals and lower volume gigs. Does anyone here use them and what do they think of them? Also, can anyone tell me what the difference is between the various models, the C4, C4lite & 4B cabs, etc? I would be using it with a Mark Bass LM3 amp, playing various types of rock and blues rock. I normally use a Berg 410 cab (with ceramic speakers) and whilst I am not expecting to get exactly the same sort of sound, I wonder what the 5” speakers sound like in comparison. I did see someone using one in a small bar whilst on holiday last year and it seemed to work pretty well for that type of gig, but I would like to know what guys who use them regularly make of them??

I had the 810 version. Well put together, very efficient and great value for money. My only question would be, are you sure you want such a big cab for that type of work?

[quote name='arthurhenry' timestamp='1500132484' post='3335833'] If, say you make 95% of your income from a self employed business and 5% from music, surely you can't just not include the music income and claim it's only a hobby. [/quote] Why not? Surely a hobby is a still a hobby regardless of whether your main source of income is a result of being self-employed or working for someone else.

[quote name='blue' timestamp='1499988802' post='3335044'] I'm sitting here looking at my gig schedule and I'm figuring out which bills will be paid and when. Seriously, am I the only bass chatter that us in this for the money. And why does it seem like not being in it for the money is some sort of badge of honor? Blue [/quote] I think that some see playing for good money as a badge of honour, just as others pride themselves on being in it for artistic motives without being tainted by filthy lucre. Personally, money isn't the primary motive but I will as a matter of pride insist on being paid the going rate when playing gigs where others are making money. Of course, what actually is the going rate is another topic!

[quote name='blue' timestamp='1499889335' post='3334384'] Flawless Blue [/quote] I very much doubt that no one in Framper’s band made a single mistake throughout the whole night, just that at that level the mistakes that they do make are harder to detect and that they recover from them with more composure than the average weekend warrior! If you have read Guy Pratt’s book you might have noted that when he was on the road with Pink Floyd, he and the keys player would stay up all night listening to tapes of the show earlier that evening picking out mistakes and trying to improve the performance for the next gig. This is of course when they weren’t chasing models, crashing hire cars, taking drugs with celebrities or amusing themselves at the expense of local dignitaries! What this suggests to me is that even players of that calibre do still make mistakes (even if no one else really notices) and that they constantly work to improve their performance.

[quote name='SteveK' timestamp='1499100498' post='3329169'] Over the weekend I was discussing solos on hit records with my band-mates! Worryingly, the most recent solo that we could think of was Yes' "Owner of a Lonely Heart" 1983. In our defence, we are a bunch of old geezers and our collective memories are clearly failing us - there obviously has to be a solo on a more recent hit - any advance on 1983? While we're here, I'm curious to know any BCers favourite solo on a hit record of all time. For the purposes of this discussion, I would say a solo should be 4 or more bars long and give the [i]impression[/i] of being improvised, à la Free's All Right Now. If posters could add a little info, or a link, that would be great! To get the ball rolling - I've always had a soft spot for the wonderful sax solo at the end of Lou Reed's 1972 record "Walk on the Wild Side". [media]http://www.youtube.com/watch?v=oG6fayQBm9w[/media] [/quote] Most of the above posts kinda prove your point - I think of many hit singles that have an iconic solo (from Sweet Child O'Mine to Jump to No More Lonely Nights), but not that many since the turn of the century...! Even the big guitar bands like Muse or Foo Fighters don't really have a lot of improvised solos on their bigger hits. I am sure that there are others, but the best that I can come up with at the moment is Dani California by RHCP from 2006...

[quote name='blue' timestamp='1498939710' post='3328175'] This is a tough one, now I'm thinking I should use pre eq option because I'm changing changing volumes from song to song. Blue [/quote] Really? If you are going to do that then ideally you need a volume pedal on your board. Good luck with the gig...

[quote name='blue' timestamp='1498604913' post='3325891'] Speaking of festivals ,Summerfest opening day is tomorrow. World's Largest Music Fest. I have to research most of the artists on the side stages, I haven't any idea who 99% of them are. A daily pass onto the fest grounds on beautiful Lake Michigan is $17.00. I'm a senior citizen,so $7.00 for me. I knew being older would pay off sooner or later. There is some young guy, a blues guy from France I want to see.I think his name is Marcus King. I'd like to godown the night Joss Stone plays a side stage. And I hope to stay for Peter's set. [url="https://summerfest.com/2017-lineup/"]https://summerfest.com/2017-lineup/[/url] We play Sunday July 2nd 6:30. Maple Road 9:30. Peter Frampton Blue [/quote] Hey Daryl Have a good gig & a great time... Pete

Reading 1980 Rory Gallagher, UFO & Whitesnake headlined (all were great) but Slade, who were only added at the bill at the last minute to replace a newly solo Ozzy Osbourne, pretty much stole the weekend

[quote name='blue' timestamp='1498253676' post='3323508'] They mention the decline in electric guitar sales. Look at Gibson, only 30% of their sales are from electric guitars the remainder is from electronics. Blue [/quote] The thing with Gibson is that they have relied so much on their name for so long and the quality of their new stuff is so poor for what they charge, that anyone with that sort of money will buy from the many other guitar builders that offer better pieces at much better value. There is still interest in electric guitar based music and there are still plenty of kids who want to play, BUT... young people have so many other other alternatives for entertainment (both musical or otherwise) that it is never going to regain the importance that it had in he latter past of the last century...

Initial thing that I picked up is that RS says that boosting mids will make your sound muddy and not stand out in the mix. He also said that he couldn't see why anyone would want to cut bass or treble frequencies. Hardly the accepted view of many people who frequent Basschat...

[quote name='Micky b' timestamp='1496946422' post='3314934'] Thanks for all the input guys! And Lozz your pearls of wisdom where much appreciated. I final decided on a second hand 2015 am standard, purchased from a nice chap in Milton Keynes - through Reverb. Had a rehearsal this week with the full band. And it sounded awesome! V happy boy! Thanks again Mick. [/quote] Good choice...! Out of interest, how much did you get it for (asking for a friend)??

It seems that he has hit his target but I've put a few extra euros his way anyway. I hope that he gets the treatment and it is successful...

Now this is interesting - a video blog of Janek Gwizdala interviewing Seth Godin about his [font=sans-serif]philosophy [/font]in the context of being a professional (mainly jazz) musician in the current market. Please note the complete absence of any chordal bass noodling, use of a looper pedal or JG singing tunelessly along to his own playing! https://www.youtube.com/watch?v=paBrXTk-tpM

So you're playing the same set with a limited repertoire in a genre that is based on an improvisational format where presumably you will never play a song the same twice and you want to rehearse weekly to play one gig a month?? I'm afraid that I'm with your bandmates on the one...

For me the following has to be in place: 1) everyone can play 2) there is nobody involved that I can't stand being in the same room with 3) the band has a coherent plan about what it is going to play, where and what it's target audience will be 4) that I can live with the type of music they play 5) that it will involve playing live As far as playing is concerned, everyone has to able to do what they need to rather than necessarily be a virtuoso. A band is only as good as it's weakest link,so the weakest player has to be acceptable. However it must be said that there is always an obvious attraction to playing with very good or exceptional players! It doesn't matter too much if a band will only play a handful of gigs a year, if they are going to be good gigs and they don't expect me to rehearse every week. There plenty of other projects I can be involved with to fill up the diary. The same goes for distance - if the gigs are worth it I'm quite happy to travel. I even welcome getting away from the local scene to play to a different audience and see new places!

[color=#1D2129][font=Helvetica, Arial, sans-serif] [font=inherit] RIP Chris Cornell[/font] [font=inherit] I always will remember his tribute to Whitney Houston just after her untimely death, mainly because my Dad passed away just a couple of days later. I never thought that just over 5 years later it would serve as a tribute to Cornell himself. Such a genuinely gifted guy but despite all the talent, looks and success, some people just can’t leave their demons behind. Such a shame…[/font] [font=inherit] https://www.youtube.com/watch?v=OCY5lF7KV84[/font] [/font][/color] [color=#1D2129][font=Helvetica, Arial, sans-serif][size=3] [font=inherit] [font=inherit] [font=inherit] [font=inherit] [font=inherit] [font=inherit] [/font][/font][/font][/font][/font][/font][/size][/font][/color]

[quote name='MrDaveTheBass' timestamp='1495100082' post='3301227'] This reminds me of one memorable time when I had my gas meter read. I let the guy in and opened the cupboard where the meter was, at which point he produced a box of matches, lit one and started to proffer it towards the gas meter! Fortunately, I had my wits about me and was able to grab his arm and blow the flame out before he was able to get near the meter. A look of bewilderment came over his face as he said, "what did you do that for?" He looked even more confused as I started shouting at him, asking him what the f*** he was doing waving naked flames at my gas meter. "But my torch batteries have run out, and it's too dark to see the numbers!" Even after I'd got a torch and shone it at the meter for him, he still had absolutely no idea why I was so freaked out. [/quote] I would be much more likely to report this guy rather than someone trying to be slightly over friendly and talking nonsense about bass guitars

It's not like gear fails all the time but Murphy's Law ensures that when it does its on a big gig! In nearly 40 years, I have broken one string onstage, had a handful of wiring problems with a bass, had an amp go down 3 or 4 times and one cab failure. Most of these were simple 20 minutes repairs (except the amp, which was a major fault that was eventually corrected) but more than enough to ruin a show. I do occasionally take one (passive) bass to a gig when there are logistical issues, but never when it is a bigger show. PS. I drive a Volvo these days and even that has failed on me once (big time - the central computer crashed, cost £1.5k to fix)...!

[quote name='ivansc' timestamp='1494659472' post='3297610'] I wound up thinking that the only thing the MU were interested in supporting were the pit players, orchestral players and film/tv players. [/quote] I've never been a member for that reason. They don't really seem geared up to deal with musicians playing in your typical beat combo! However I do keep meaning to join, just to take advantage of some of their other benefits (public liability and other insurance, legal support etc)...

I can never understand why folks here are so against taking spares to gigs,just commonsense to me. The biggest gig I've played in recent years was to 2,000 bikers with no soundcheck when my main bass decided to pack up in the intro to the first song. I just pulled my spare out of the gigbag and no one (including the drummer) had any idea there was anything wrong! Would have been completely screwed if I had only brought one bass...

[quote name='blue' timestamp='1494624897' post='3297504'] Thanks Pete, Sound will be a big topic of discussion at rehearsals prior to the show. We have been burned by awful sound at Summerfest in previous years. We have to find a way to getting better sound from these union guys. Our sound guy will be there but I'm not sure his input is welcome, Blue [/quote] TBH / IME etc - it probably won't be! Hopefully you will get a soundman who has been in bands himself and will respond to any 'reasonable' requests that you make. It will help if you appear to understand how it all works - again 'reasonable' is the keyword! Don't get too hung up on it - a good performance will win over most crowds even if the sound is a bit crap...