Stub Mandrel

I occasionally get a novice sent my way to find a song I can play with them. Sometimes they've not played with a bass player before and it's great to see them be part of a 'band' for the first time.

Sound City 50W bass combo...

In the 90s plenty of people did pub/club gigs with something like a Carlsbro Cobra 90W combo. The rule of thumb was 2x guitarist amp power. Nowadays it's 5-10x.

One of my brothers goes to folk nights. When he lived in Scotland he went to one, a pair of girls turned up for the first time and impressed everyone with two songs. The crabby lady who ran it gave them a dressing down for singing two songs in the same key. Open mics round here vary, but are pretty laid back, people talk but it's bad form to be loud and disrespectful. Players vary from beginners to professionals and the odd one who ischard to listen to. What I find hardest are the guitarist/ singers who play with lots of 'feel' (i.e. have never been in a band and are incapable of sticking to a steady tempo even if accompanied by a drummer). At one it seems songs I know get performed then I get asked up and it's suddenly stuff I have no idea of... at the other I have a rep as a blues bassist and I think myself lucky to get anything not a 12 bar 🙂

Shouldn't it be an npn transistor in tat configuration. Is this basically a treble booster?

No longer, it seems Bax have gone bust.

A real jam is playing along to a song you've never heard before by ear 🙂

Sorry my wording was ambiguous... it's the BAND that keeps the ticket and door receipts andcsets the prices.

In the late 80s/90s I gigged with a 150W Laney Probass, a 2x12 guitar cab, a home made 2x12 with two Mackenzie 'full range' pa drivers and a home made 'bright box' with two big piezo tweeters in it. The bottom 2x12 was vertical with the upper one horizontal, then amp with tweeters on top. Skillfully designed to maximise comb filtering. In other words, the stack of @Bill Fitzmaurice's nightmares...

I know venues that will let bands gig for free and they keep door/ticket receipts. This places the onus for promotion on the band... We are thinking of doing one, setting up early and using the stage and lighting to get some more 'professional' photos and video. We would keep ticket prices low in the hope of getting a decent attendance but would probably need a support or dj as well. Obviously this doesn't suit pub type gigs...

Which reminds me... the sensitivity of an SVT 8x10 is 3dB less than a GRBass 2x12. It's real... I've tried them side by side.

LMFTFY 😉

Undeniable! 😂

It's Walk Band... but it doesn't seem to permit an external keyboard.

Not Olives?

Thanks Phil, that was what my back of the envelope suggested. I did wonder if there were some 'kludges' applied to approximate a non-linear effect.

My brother has a synth app on his iphone which he uses as part of his work with people with autism. He does a lot of music-related activities. It sounds quite impressive. I will ask what it is called.

Worth watching to find out what Danny Sapko is like without all the corny exaggerated accent and other nonsense. Hope he doesn't get sued.

I've used my elf with a pjb C2 and it's fine for that sort of situation. I even used it at a blues gig, on a tall stool, because of a ¼ mile walk to the venue... it is judt loud enough for that. I imagine the Double 4 is directly comparable. (It’s a C2 not a C4)

Paranoid has sme nice subtleties if you listen carefully.

Thing is, the songs I would choose aren't very pub friendly. Sonic Attack

I always fancied being in a Hawkwind tribute.

This paid vs. free venue vs. bands stuff misses the point. It's AUDIENCES wanting to experience live music in good numbers and willing to PAY through either tickets, a tip bucket, club memberships or over the bar in return. If more people went to see grassroots music and were willing to accept the cost, then there wouldn't be an issue. The venues that succeed are those that are customer focused and have good promotions.

No, I knew I wanted one 2x12 cab and since getting it have passed on one of my old 8R 2x12s and taken the other apart. I have no desire to go back to using two of them, the only motivation would be to have something more 'stack like' for certain genres, in which case a dummy cab would work just as well. The only benefit of an 8R cab would be making it slightly easier for me to control stage volume. Now I am considering a 1x10, in which case I probably will go 8R as I could see potential to double it up for a small but portable setup.

I dont know if he could sustain that speed now but he's still a fast and articulate player when he unwinds.