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[quote name='Kevin Dean' timestamp='1414000949' post='2584738'] What about if I placed it under the Pa Top speaker via the mounting pole ,like we use to , But put it pointing across the "stage" sureley with bass being none directional our drummer & Audience would hear it without deafening me ? [/quote] If the PA top is off stage, then yes. Having it on stage can be a bit of a pain to get a good clear low end that shakes the glasses (a bit like how you can get boom from your bass cab on stage).

[quote name='lefrash' timestamp='1414000763' post='2584732'] Doing that though would make you the dick, not the singer/guitarist. As others have said, not all musicians have a grasp of (even basic) theory, it doent make them bad people (or bad musicians). If I'm ever in that situation i always take 'key' as being short hand for the first chord. I know its not right, and I know quite often its not theorically correct, but I just get on with having a bit of fun playing tunes in front of folk without going all muso on them. [/quote] I agree 100%. When someone says "We're playing xxxxx, it starts with a C", then that's perfectly acceptable. You know what the first chord is & can work out the scale from it. When they say "We're playing xxxxx, it's in the key of C" and didn't hand me a chart to show the chords, then it could easily go a bit awry. It never did though, as usually after the first few notes it was clearly not in C. Where I said I've considered it, I never have & wouldn't in front of an audience.

[quote name='Jenny_Innie' timestamp='1413993810' post='2584574'] Sorry, I'm new here. I don't get this. I have an Ashdown MiBass 550 .... which puts out 550 watts at 4 Ohms - but probably only about 300 and something at 8 Ohms. So ........ surely, there will be a higher volume at any given level on the dial if it is a 4 Ohm rather than 8 Ohm? I'm interested y'see as I'm kinda slight and would like a lightweight cab ..... and any help with output would be good. [/quote] Watts & ohms are often missold as being what makes volume. It's like me saying my car with a 6 speed gearbox is faster than your one with 5 gears (it isn't a fact, my 5 speed Honda was much faster than my 6 speed Nissan ). It's worth reading what Bill has said on this page & also on his website's forum... http://billfitzmaurice.info/forum/ And it's also worth reading up on what wisdom comes from Alex as Barefaced... http://barefacedbass.com/technical-information/mythbusters1.htm All good worthwhile reading. & welcome to the forum. I hope it serves you well.

[quote name='Kevin Dean' timestamp='1413993603' post='2584569'] We are playing small venues & I have to admit I like the sound & feel of the bass drum rather than the thin sound that we were getting through the monitors & it still sounds great out front . [/quote] The best pacement is on the floor in front of the stage. Try it at the next gig.

[quote name='Jenny_Innie' timestamp='1413988796' post='2584463'] Why would it be pointless? [/quote] Because you're not getting any more noticeable volume out of a 4 ohm 2x10 cab than what you would out of an 8 ohm one. If you're going to run an amp at its minimum load, then it makes sense to make sure that the cab(s) are going to make the best use of running your amp hot.

It's a more efficient cab that you want. A 4 ohm cab doesn't make it more efficient, it just means that you get a very slight increase in volume at the cost of overworking your amp. More efficient means a cab that has been designed around the drivers being used & the drivers being able to produce some decibels. The difference between 4 ohm & 8 ohm cabs (if they're the same, such as 2 MarkBass 2x10s), is @ 3 decibels.

Yes, there's a few companies that do, but unless you have an amp that runs at 2 ohm, then it's a bit pointless.

The heading sounds like you're asking a stupid question. If you've found yourself playing along to something by ear, then that's proof that you can do it. Go stick some tunes on that you've never played before & get practicing that skill.

I agree with the suggestions. Lifting or even just turning the cab could impact what is being heard. Ports are omni directional though & unless the ports on the cab is less than a few inches from the wall, I believe they have no affect on sound regardless of where they are on the cab. Like Chris B says though, what's wrong with standing in the middle? The singer doesn't have exclusive rights to that bit of the stage.

[quote name='JTUK' timestamp='1413796144' post='2581854'] Different cab and front ported ...would try it stuck behind you. It may not have worked for the rear ported cab but may work this time? [/quote] Unless the cab is against the wall, how is this going to make a difference?

The amount of times I got chord charts with the singer/guitarist saying "This one's in C", only to look at it & see that was the first chord. I was tempted many times to play in C, if only for the singer to find that the F makes their D a D minor.

Tina is a great example of a bassist who can make a simple & fun bassline that fits the song.

If I still played, I was going to go for a fretless & put it through an octaver, murf, distortion, low pass filter & chorus. But I was playing electronica & folk. So depending on what sort of music you play & what sort of sound you want to produce, it varies greatly. If you're not sure, get a multi fx unit to play about with different effects.

It's not how difficult a bassline is, but how much fun it is. Plodding on the root note is only fun if the guitarist snaps a string mid solo.

Singles are the best option if you know which effects do what, which ones you want & don't have a need for patches.

Have fun experimenting.

[quote name='skankdelvar' timestamp='1413232777' post='2576255'] I'd recommend reviewing your audition policy. Ask them if they can play Johnny B Goode; if they launch into an accomplished, highly polished version of The Riff give them my contact details then ask them to leave. Once you meet someone who [i]doesn't[/i] know how to play it, hire them on the spot. That way, everything comes up roses. [/quote] That was another issue. Whereas he could play it, he played it like most other guitarists do... Confidently, but not polished. If I find a guitarist who can, I'll send him your way. The last band I was in, the guitarist never played it. But in an Electronica band, I wouldn't have expected him to.

OK he's not a bassist, but LFO had some excellent basslines in their songs. He passed away last week after a medical complication.

Octave (or something that will convert your note to a triangle wave) & a low pass filter that can close with the note envelope along with a percussive pick technique should get you close. The Moog LPF can take a patch from the Env out & back into the Cut Off to do that effect.

Though it's not always a loss with non- true-bypass. The Moog LPF actually adds low end if the resonance is below 2.

I absolutely hate playing JBG! Overrated pile of 3 chord guff that bores me to tears. I didn't mind listening to the song, but the final straw of that song was a year & a bit ago, when I was trying to start up an Acid Jazz/ Funk/ Breakbeat band & the guitard insisted on playing this piffle at every meet up! Sorry if you like the old RnR stuff, I don't (with the exception of a couple of tracks). The majority used the same chord progression & even more used the same music, just different melody & lyrics. It's the 60s version of Jim Steinman or stock aching waterman.

One thing to watch for. If another instrument is using chorus (or other modulation effects) at the same time as you, listen to the overall song to check that things aren't getting muddy or lost. It'd be great if modulation fx could be synced.

I know a DB player who uses an AER, sounds superb. Put his DB through my MarkBass 2x10 combo & sounded equally as good. Just so happens my combo is back up for sale too.