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Jamhub sounds like an ideal solution, but I think we need to wait until gig money can pay for it.

[quote name='discreet' timestamp='1385424229' post='2288251'] Is a 'yok' a measure of time, or a word Pino uses to describe his target audience? ...I'll get me cot. [/quote] Got me wondering what Pino's 'yok' is now!

[quote name='cameltoe' timestamp='1385421409' post='2288200'] But music today is just noise! FACT! [media]http://www.youtube.com/watch?v=8RO47HZ14nc[/media] [/quote] That's some good noise. Try these out for size... http://www.youtube.com/watch?v=eL8xYvKwzNA

Many bassists consider many of todays great players as solo players, forgetting that many of them are actually in bands. Victor Wooten is an excellent player in The Flecktones. John Davis is in Nerve (& so was Janek Gwizdala). Pino Palladino still plays some awesome grooves (as he has for many yoks now). I think there's many awesome bassists from this decade that deliver some class lines & can play to a high standard. There's also a lot of pants root note plodders, just like there has been since the bass was invented.

You could do a lot worse than pick up a Vox Venue 30 bass for @ £40-50. Will even do your small gigs.

Paul, you should have a wee look at this Facebook page... https://www.facebook.com/groups/organicbasswobble/ CJ, Shep & Myself are members & it's pretty much dedicated to making the bass go wub. As you probably know, Shep has his own record label called Bitnormal, which incidentally, is releasing the Code: Marla EP.

As we're taking our own combos, I'll try sticking them all up beside the drummer. Would stacking them in a vertical column work, or would it be better to stick a guitar amp either side of the drummer? I'm not worried about having "stereo" guitars.

How do you find using software based FX in a live situation? Do you have much latency to contend with? I'd considered going this route in the past more than once.

I'm another who talked to him on here, but never met him. Was a great chap on here with excellent advice & I was shocked when the news broke on here. I'd have liked to help you Wayne, but I'm tied at the mo.

The "amps in a circle" thing is just providing squeals & poor sound. I've no idea why there's subs in the room. I've put my bass through it a couple of times to save me bringing my rig (when I've been pressed for time). One of the guitarists often gets a bit loud, but he gets the hint when the band stops playing. This week's rehearsal is mostly going to be about getting the levels right, so everyone's fetching their own amps (both guitarists have combos, so easy to put somewhere sensible).

How do you get a good sound at rehearsal so that everyone hears everyone else? placement of equipment is really what my question is here. Just now in the rectangle room we use, we have the drummer on a riser with a largish PA sub & top plonked at either side facing the same way as the drummer. In front of the riser is a wedge monitor that does work, but can't be heard & then 2 mics that have the singer looking at the drummer. Then on the opposite side is 2 guitar 1/2 stacks kinda angled towards the kick drum so they can bleed into the mics (why, I don't know). The house bass combo (A lovely TNT150 that's seen better hammers) sits near the wall between the left pa cab & the guitar cab (pointing straight across the mics). I think that for a "paid" rehearsal room/studio, it is poorly set up. Though I suppose it would be a good set up if we all just went through the PA. So how do you guys & gals have your rehearsal space set?

[quote name='BassTractor' timestamp='1385243550' post='2286130'] BTW, maybe pedantically, they're not electric pianos, but electronic pianos. Simply put: Pianet, Wurlitzer and Rhodes are electric, as in mechanical devices with pickup systems of different plumages. Electronic is when electronics _are_ the sound source. [/quote] That's a valid pedantry & well raised. Just like when electro acoustics get called semi acoustics.

I'm not gonna get anything this month either. Will have a good listen to the entries & vote though.

I've always struggled when it came to naming bands. Have a look at things to do with weddings & functions to get ideas. I got our band name from a term we use at work.

When I started playing they had books that just taught you songs note for note. I believe you can still get them, they was called transcriptions.

Looks rather nice that does.

Shouldn't this be in the "effects" section then?

I'm with ratman. Try & avoid the charts & learn the songs. Use the charts at rehearsal for the entire band, but I encourage everyone to learn the lyrics as it makes it easier to learn the arrangement & where the changes are.

I need a new hat too.

Each driver probably won't get close to 200w each if you get to full whack.

We've already done our version of the Beatles "Come Together" & Gnarles Barklay's "Crazy", but Local Boy is not a song that I would have chosen as it doesn't seem to offer much to start with. Maybe a house/dub bassline might work? I'll probably have to see what the other's play & work on things from there.

The Ωs would be 2.6, so the amp should be fine & there should be a fairly even spread over all 3 drivers. So yeah, should be fine. Ears are good for saying otherwise though.

A lot of examples of non rock turned into rock & some I really like, but how about the other way? Any good examples of rock songs done differently, but done well?

Check for any farting/distorting sounds that your amp wouldn't normally produce.

I can't believe I've just listened to Dick Cheese. BRX, I think I prefer those to the originals too! Any alt covers that don't sound so... cheesy?