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[quote name='Jono Bolton' timestamp='1372764150' post='2129553'] I feel this may be part of the problem. Recently my mate (who has my amp currently) left the band he was in to join another one. I'd liked his band for ages, they're a hardcore band and it was exactly the type of music I wanted to play. Anyway, they said on Facebook that they were looking for a new bass player, and I messaged them as I was pals with the outgoing bass player and also the guitarist, I'd known them from uni and we'd been mates for nearly 9 years. Anyway, I got a message back from someone, presumably the singer, saying they were only going with people they knew. No blame attached to my mates, they'd obviously not been consulted because my bassist mate had mentioned that he was thinking of leaving and had asked if I'd be interested. I replied back saying that I knew 2 of the lads and had done for years, and never heard anything back. I don't know if this has anything to do with not wanting to play bass anymore, I guess on some level though it probably does. I've played in bands that I've not really enjoyed just purely for the sake of it, or to help out mates, but I know very few people who like the same type of music as I do, and those who do don't play instruments, so I'm a bit stuck. [/quote] I had the same problem in Perth. I'm not a Perthaloid & know almost no one (let alone any musicians). Tried looking through the usual sites like Joinmyband, Bandmix & Gumtree but to no joy, so advertised for musicians to start a Funk band (breakbeat & acid jazz too). I found a metal guitarist & a rock drummer at my work. The drummer has a guitarist/singer friend who likes pop rock & an old mate who's moved from Glasgow to Perth (must've been mental) & DJs is now on keys & spinny things. None of them has played Funk, but willing to try. Glasgow's a big enough place to have a look or stick an ad on JMB or Bandmix.

Join/start a band. If you still don't want to play bass, take up another instrument.

The theme subject would need to be something mega too!

Heavy Duty Velcro (the Velcro stuff, not hoop & loop tape from £savers) will hold your pedals solid. The adhesive on the tape is solid too. Have a look at these chaps for boards (a member here)... https://www.facebook.com/ReallyAwesomePedalboards

2 good 2x10s or 2x12s should cover any venue that doesn't have PA support. If they don't, then they're either not good cabs or there really should be a big PA.

[quote name='craggsy' timestamp='1372618698' post='2127791'] Hi! Sorry to Hijack the thread but I have a similar setup, 1 4x10 and 1 2x10 (both 8 Ohm) and wondered if anyone had concerns with regards to the power distribution? With this setup the full power is distributed equally between the two so theoretically is the 2x10 is working harder? Or is that not really an issue unless your running the volume at 11! [/quote] in relation to power, the amp is going the put the same amount of power to each 8Ω cab regardless of speaker config. So if you have a 500 watt amp, the 2x10 is going to get @ 125 watts sent to each driver & the 4x10 is going to get @ 62 watts sent to each driver. It can be an issue at any volume, but your ears are used to decide this. If a cab is farting, back off the low end, turn it down or take it out of the equation. One of the many reasons why it makes sense to get two identical cabs.

Well done everyone. Some excellent songs there & some could even go into your band's setlist. It's good to see a lot of entries too. I'm looking forward to July's & should get something recorded this time (had too many months of getting the idea down & then no time to get it finished ).

One thing they never got right first time (& still haven't) is that hideous top horn! I'd still have a Jazz bass though.

[quote name='Truckstop' timestamp='1372466552' post='2126229'] One or two SWR Workingmans 10's. I mainly play pubs and small clubs with a medium volume blues band. I gave up carting 4x10's around a couple of years back; you simply don't need lots of speakers and lots of watts in those situations! You just need to be clever with your EQ and train your drumist to chill out and stop hitting things too hard! Truckstop [/quote] The drummer's easy. It's them there damn geetartds that only get their 'tone' up at 11!

Most of my gigs are without PA support for the bass. I used to have a 2x15 rig & after trying a few different things, I found all I need is a good 2x10 combo. Easy in & out from venues. Combo in one hand, pedal board in the other, laptop sized bag for wires & bass in gigbag slung over my shoulder.

Manifest Destiny - Jamiroquai Suntoucher - Groove Armada Hysteria - Muse Don't look any further - Dennis Edwards Not just good bass intros, but great basslines throughout those songs.

I've got flats on my SR1000e. Never looked back!

A keyboard? There's quite a few different fx you can use to get the bass to sound like a synth. For those songs, you might want to have a look at a synth pedal like the Markbass one or (if you have spare dosh) the Akai Deep Impact & couple them with a filter. Good luck & have fun.

Kudos for all the detail she's replicated! Now a fretless.

I think if it's a good bass that's had a good defret, then it would be much better than a crappy fretless. Good Q, but I think if it's done well, then it would be the same as the fretless version.

[quote name='alexclaber' timestamp='1372277053' post='2123805'] It's nice that people are taking notice of sensitivity specs but, to be honest, most of them are even further removed from reality than power handling specs are! [/quote] Unfortunately most manufacturers seem to offer watts, ohms & sensitivity in their spec list.

[quote name='Patchbass' timestamp='1372257858' post='2123494'] Sorry do you mean it would get hot (on an assumption) (i'm not very good at specs etc and understanding sensitivity) [/quote] Going on the specs that Ashdown provide, the CL can handle a lot of watts (the voicecoils can take a lot of heat) but it doesn't do much with it when it comes to decibels. Sensitivity = decibels. Decibels = how loud you hear something. The only way to find out is to try one (preferably in a band situation).

[quote name='BigRedX' timestamp='1372251043' post='2123358'] Unfortunately IME there are an awful lot of musicians who will never amount to any more than regurgitators of other peoples ideas. I would ask yourself why you are looking for major song writing input from the other members of the band? If it's because you need their compositional skills in order to complete the songs then I think you've probably got the wrong people playing with you. If it's simply because you feel that everyone should have a creative input, then stop worrying. Some musicians just need to be told what to play. They will put their own mark on what they play (eventually) but will probably have to have at least 75% of the parts already worked out for them. If you can do this yourself then go ahead and do it. With a bit of luck once they start to feel more comfortable with the genre and the band dynamic they will become less reliant on being told what to play and start coming up with usable ideas of their own. [/quote] I think you've either slightly misread or I've not written correctly. I'm very happy writing everything. When I started the band, I expected that I would be the main songwriter & any input from the others would be a bonus. But it seems that the guitarists want to write their own parts (which I'm happy with them doing, so long as it's not drivel/a noodle). I suggested that we get the basics of a song started, recorded a 2 min bassline for them to pop in their DAW (along with a simple drum pattern) for them to get ideas from & chop up/change about to suit. The only 2 who's downloaded & played about with it are the drummer & keys/dj. Guitarists said "yes, it's good. But I can only play as a group" & haven't done anything else. My actual post though isn't so much about that, but how folk write as a group rather than have a dedicated writing team (or individual). If any bands actually write that way & do we use the rehearsal time to structure the song & work on just the one song for 2 hours? If they turn out to not be creative, then I'll happily write the entire songs at home & say "here's your part" to each musician (not in an offensive way, they're all decent, friendly chaps that I get on well with).

I thought I'd find out how you guys go about writing as a band. In my previous bands, it's been me & one other person that writes the actual songs (or sometimes just one of us). The chord/riff structure, the melody & the lyrics etc. E.G. One of us comes up with an idea & shares it with the others. Me & the singer would jot the basics down & then we would email one another the ideas & write things. Then we'd take pop charts for the rest of the band & they would come up with their own parts, changing things to suit. Simples. My new band, I've introduced a couple of songs that I've written everything for except the lyrics, shared it via a group facebook pm & they've said that they liked it, but seem reluctant to play it at rehearsal & just wanna jam covers. Now I know it's easy to write rock songs where it's a handful of chords & a strum along, but we're (supposed to be) a funk/acid jazz/groove band & the guitarists (there's 2 of em) seem to be struggling to get outta the "strum the basic chords" mentality. OK, the stuff is out of their comfort zone, but they wanted to do something out of their comfort zone. So I want to get them involved in the writing, but don't know fully how to go about getting things started when it comes to group writing. I tried sending a bassline via soundcloud & gave em the chords, hoping that they'd download it & write. They said that they liked the bassline, but can only play as part of a group. Ideas?

[quote name='Lozz196' timestamp='1372245361' post='2123250'] That`s a big difference in sensitivity. [/quote] It is indeed. Going by that, one could assume that the CL would make a rather good radiator (handy for those chilly winter rehearsals).

Ignore the wattage. It has little baring on how loud a cab is, just how hot the driver coils can go. I've never tried the CL. Tried the ABM & whilst it sounded good, I prefer Markbass (they're clearer sounding, but some folk don't like that).

My wife did this for a while. Until some idiot at MBNA messed things up & caused a load of hassle. Ended up with them popping on a silly amount of interest onto the monthly payments & we spent 6 months sorting it out. They ended up worse off & not getting all their money back & the Mrs won't have a credit card again. Not a good idea.

How do you know the CL-410 is louder? The sensitivity is lower according to the specs (though ears are the best answer)... CL-410 SPL 94dB 1W@1m ABM-410H SPL 103dB 1W @ 1m As for sound. Again, you're best to use your ears & see what you prefer. One man's awesome is another's awful.

I used a vst to add a marimba playing the guitar melody for the first couple of bars & a sample of a siren at the end (instead of the guitar playing the siren). They was never stems, just done in Reaper. The singer/guitarist also plays banjo, but never in Frigorifico (thankfully).

Gonna have a listen to these over the next couple of days & vote. I started a track, but never got time to finish it. Next month I'll be back. There's as many folk written songs for this as has entered the photo comp. now that's impressive! Good luck all.