chris_b

You could PM Lozz196 and talk to him. He's playing Punk through a Barefaced Big Twin and (what's it now?) an Aguilar TH500?

Dedicated band area? House Band? I'd hold him to that. Let's see what sort of tricks his memory will be playing next year.

When I went for the money on Saturday it was £50 short! I reminded them about the rate and they paid up without a complaint. Was it a mistake or attempted robbery? Dunno but I'd do this gig if the money was as originally agreed. Last Christmas we were shoe-horned into a stupidly small space which was mostly taken up by the very large Christmas tree, so we set up across the walkway and cut off access via the short cut from the front door to the bar. Everyone had to go around the long way. What could we do? As I've said before. most of the people running pubs aren't even that good at their day job, running pubs, and they are almost all crap at being promoters. Insist on the right money and make your own space.

[quote name='hrnn1234' timestamp='1481612516' post='3193635'] I'm curious how far up you guys go! [/quote] If you can make a 200 watt amp running at 8 ohms work through a 210 cab then you're in a totally different volume league to me. The only answer should be that we're all as loud as we need to be for the band and the gig. In my case that's anything but usually covers, soul, funk and blues. My rule of thumb is if I have the master above 12 o'clock then I'm thinking about a more powerful amp and if I can do the gig with 1 cab then I'll use 2. I don't like the sound of gear straining in the red at the limit of its spec. I have 2 800 watt amps and 2 500 watt amps. These ratings are meaningless because, as I just said, I run them all at the same volume. They are never pushed anywhere their limit so they are all well within their "sounding fantastic with a ton of headroom to spare" range. The 2 800 watt amps are 2 ohm but now I'm not running 3 cabs that feature isn't needed. My TH500 used to be at 12 when I played through my Berg CN212 (loads of headroom) and when I switched to 2 Super Compacts I had to take the volume back to between 9 and 10. The bands I play in are usually running at the volume dictated by the band leader. If you have a decent drummer then you're not in the "we have to play as loud as the drummer" world. The good guys can play within the level of the band.

I'd get an outboard pre amp, then you've got both options.

Adding another speaker cab would probably improve the sound but that amp is already running at 4 ohms and has no extension socket so you can't add a speaker. At over 80lbs for a pretty low rated 115 combo I'd definitely be investigating other options.

MTD Kingston KZ5, but the controls are different.

John McLaughlin was also in Tony William's Lifetime.

All Rosewood? That's about 90% of the basses that have ever been made! Travelling bass players had better have maple or graphite fretboard basses just for touring.

Talking Heads

Snap? Never heard of them.

[quote name='stingrayPete1977' timestamp='1481540639' post='3192994']I know loads of fifty year old guys that have bought a Fender or had one bought for them as a birthday present, some haven't been played since.[/quote] A friend was looking for a guitar as a 50th birthday present to himself. When the assistant in the shop showed him a brand new Strat, he said, "But it's only for playing in my bedroom". The assistants reply was, "Mate, 80% of the guitars we sell are only going to be played in bedrooms and the other 20% should be!"

Jon Cleary and The Absolute Monster Gentlemen

Just some simple old fashioned soul music. . . with a very clever arrangement. Great bass playing by Tiran Porter. Break it down into sections.

The plan is that I work with the drummer to make us the best rhythm section the front line has ever played with. Apart from that I'm lighting director, sometimes A&R man, bringer of great ideas and general positive ray of sunshine.

Not so true these days. Fender let their reputation slide for far too long, but since about 2008 they have raised their game.

It's wood. That's what wood does. Looks fine to me.

I'm watching this on the hard drive. I don't see the fuss about Darryl Jones. It's a film about the Stones not the side men. No one's mentioned the keyboard players, backing singers or brass guys either. Why would they? The Stones are playing better than when I saw them about 6 years ago at the O2.

2 of the best 5 string basses I've played was a Ken Smith and a Fodera. Even second hand, these basses are way beyond my budget. Different league and a lottery win away for me, I'm afraid. Also a level of quality beyond my old Soul and R&B playing style. The current basses I own are my best so far. I have a US 55-94 Lakland and a Mike Lull PJ5. Great sounding and playing basses. I have a Fender Am Std Jazz V which is good but the other 2 get all the gigs. I've just picked up a Lull M5V. Haven't gigged with it yet, but from playing it at home I think it might be my new #1 bass.

I'd suggest you start by checking out Lakland 5 string basses. They are quality instruments and the necks are fast and comfortable.

[quote name='KevB' timestamp='1481272904' post='3191075'] That was last year, he'll be 71 by now [/quote] So he is. . . . even better.

70? That's an achievement! The first bass player I saw on a gig. Playing with John Mayall at The Georgian Club, Cowley, Uxbridge. Amazing bass player through all those years with Clapton then Peter Green. All those guys rearranged my brain cells, made time stand still and made me want to be a part of that world.

I love these guys. Duck Dunn, John McVie, Bill Wyman, Willie Dixon, Tommy Cogbill, Willie Weeks, Chuck Rainey, Reggie McBride, Nathan East and Wilton Felder.

In defence of the rehearsal rooms: every day of the week they get the people through the door that this thread is about, so they have to protect their investment. If they put in anything smaller they know it'll get blown to pieces. On the few occasions I've been to a rehearsal room the drummer has always bought his own kit because the studio kits are wrecked. That's the level of musicianship we're talking about. I was in Panic, West London one night and the bass player next door was so loud that we couldn't hear each other speaking in our room! The problem isn't the half stacks and 810's it's the guys who don't understand that the volume control can go both ways.

"I have to be this loud to get my sound" is shorthand for I don't know how to get a good sound out of my gear any other way, and anyway the sound of the band as a whole doesn't matter to me.