TimR

I got snowbound in Toronto once on a flight from Detroit to London. We all had to leave the plane but weren't allowed any baggage as it was in the hold and had cleared customs. I had changed into London clothes, t-shirt and hoodie. We had to queue outside in -20'C waiting for a bus to a hotel. I thought my ears were going to snap off.

[quote name='Frank Grimace' timestamp='1494151847' post='3293623'] I suppose my thought was around wave frequency responses of the size of the speakers and split the signal to accommodate that, in an attempt to clarify the sound by letting each cab handle its own frequency range, not that there's anything wrong with my sound. I just thought low frequencies would be better handled by the 15" and so on...I'm no expert but it was one of those thoughts you get from time to time, it may have been fueled by alcohol ! my apologies to the moderators for my sense of humour Re: interests [/quote] No. The cabs will have similar frequency responses. They're not hi-fi cabs, they're bass cabs.

[quote name='SpondonBassed' timestamp='1494140561' post='3293495'] Interesting but might be under rated for the OP. "Suitable for Cabinet Powers up to 250 Watts & 8 ohm Systems" [/quote] Maybe. It's only £35, worst case it explodes and kills everyone in a 50mile radius. But I suspect that's continuous rating for music, the bass cab won't be anywhere near that. It'll give him a quick idea of whether or not it gives him the desired effect. (I'm sceptical) .

Could try this one. http://www.terralec.co.uk/speaker_parts/three_way_crossover_500hz__4500hz_12db/16164_p.html?utm_source=google&utm_medium=shopping&utm_term=paid&utm_campaign=ProductAds&gclid=Cj0KEQjw6LXIBRCUqIjXmdKBxZUBEiQA_f50PgqIdnBW2sVxjqfr014oyavcH31B2v0p5U0tYqzPHlAaAnmK8P8HAQ

You'd need something called a crossover. But I'm not sure you'd get the desired effect as the 2x10" probably has a very similar frequency response to the 1x15" so you'd just get a quieter setup.

Fingers stay warm when playing. Just wrap the rest of you up warm. Try playing in an unheated church hall trying to read dots sitting down heading into Panto season. The worst thing/time to play is a Tuba on a summer evening just as the sun goes down. The dew comes down and fills it up quicker than you can empty it.

[quote name='gjones' timestamp='1494068312' post='3292979'] I have played house parties before. You need a very quiet drummer who can play with brushes and preferably a large house away from neighbours. [/quote] Or alternatively you only have a party once or twice a year, finish the live music at a reasonable time and don't give anyone any reason to complain. If you're playing in a front room, you really don't need anything bigger than 100w bass rig and if the drum owner can't keep his drumming down to that level don't elevate him to drummer status. In fact, if we all played at this level in pubs we'd get a much better reaction from landlords, punters and their neighbours.

Back in the 80s we always used to play in people houses. Maybe people aren't so trusting now and you hear some real horror stories about Facebook invitations going wrong. You can't beat a good old school house party. People rammed into a house lining the stars, filling the lounge and kitchen, band in the dining room. Smokers out in the garden. Bring in the summer.

Funnily enough there is thread entitled Geddy Lee and Yes. http://basschat.co.uk/topic/301899-geddy-lee-and-yes/page__pid__3285277#entry3285277

[quote name='kevin_lindsay' timestamp='1493545603' post='3288991'] The problem I had was that the dreadful drummer was the guy whose idea it was to form the band (apparently I was recommended by a guitarist guy I had helped out on a dep gig a while back). ... [/quote] Always question why a drummer wants to start a band. Good drummers are even rarer than good bass players. I'm always deeply suspicious of any drummer or bass player who is bandless but wants to play.

I heard an interview with Roger Daltrey where he spoke about one of their albums being recorded part by part. They spent 18months in a studio and binned the final product as being too clean. Then recorded the whole thing again ensemble in a matter of weeks.

Some more discussion here Dave. http://basschat.co.uk/topic/301899-geddy-lee-and-yes/page__pid__3275340#entry3275340 In case you missed it

[quote name='Trueno' timestamp='1492876653' post='3283840'] Aaarrrggghhh!!! Nooooo.... Guitarist's girlfriend can "sort of" play keyboards... Been there... got the t-shirt... left the band. [/quote] Would also be an added advantage if she can "sort of" sing backing vocals.

Can she play keyboards?

[quote name='dmccombe7' timestamp='1492798069' post='3283357'] Just had to laugh at that but on the other hand if you all hit on her he won't invite her back the next time Dave [/quote] This time next week there will be another "I quit my band thread"

I'd send a fairly bland email to everyone clarifying the agenda and reminding everyone it's band members only. No names.

It goes back to whether you want the recording itself to be a piece of art or whether it's a record of a piece of art. Vocals, bass, guitar and drums. Why do you need multi track recording. The more instruments you add and the more complex the piece of music the more multi tracking makes sense.

I still prefer the sound we get when we record live through a basic 16 track mixer onto 2 track. You just get a feeling that you're actually there.

[quote name='markstuk' timestamp='1492718843' post='3282734'] Double the SPL which is measured in dB... ?It's logarithmic so doubling would take 90dB (loudish school disco) to 180dB which would disintegrate buildings. [/quote] Ok, more properly. Soubling the pressure or intensity is a 6dB rise. Adding a cab gives you an extra 3dB or 6dB in the bass frequency. Doubling the power is a 3dB rise. Loudness is perceived and not measured but accepted to be 10dB

It's double the SPL. Loudness is a perception thing, not a physics thing.

No gigs lined up. 33 songs to learn. No direction, no focus. All power to the Brig for learning 33 songs but turning up for 20 weeks playing 16 songs would probably tip me over the edge. I've no idea what the point of going over and over songs you have down roughly is if you haven't even got the bare bones of the other tunes down.

That example sounds very minor. I would let it go and put it on the list of things for the drummer and singer to work on st home. Play the song through twice. If the same mistake happens twice then they need to work on it. Are you playing the songs from start to end each time, or stopping and rehearsing the bits that went wrong? I played with a band who would stop if a song went wrong and start again from the top. A complete waste of time. Running through tunes week after week is counter productive and people will just lose focus. I think you need to be a lot more smart in your rehearsals and objectives.

[quote name='thebrig' timestamp='1492644832' post='3282025'] I happened to learn them in a month because I enjoy learning new material, I can happily go into a different room instead of watching TV and play through headphones to learn the songs, and now that I've learn't them, I can relax knowing that I only need to go through every now and then to keep up to speed with them, I didn't expect the rest of the guys to do the same, but we are now five months down the line, and they are still nowhere near knowing them well enough to gig, in fact, we probably only have about twelve to fifteen songs at most that everyone knows well enough to play live. [/quote] Ok. How often do you practice and what is the objective of each practice? How long have you agreed that it will take to be gig ready? If it's a start up learning 33 songs you need a solid workable plan and you also need to be very flexible on how the other members commit tunes to memory. As I said before, learning tunes to recordings is one thing, but it's when you play them in a band situation that they get cemented in. You have 16 songs, you can't run through them all in one night and go through new ones as well. You need to work out which tunes are 'passable' and put them to one side, play them once every couple of weeks. You need to pick the tunes that need work and play them a couple of times each week until everyone is up to speed. You need to pick two tunes to learn for next week. These are examples of the way I would approach it, I don't know the ability of the guys you are playing with, but you need to have some kind of plan. Go away and learn 33 song is not a workable plan for a start up.

[quote name='timmo' timestamp='1492542004' post='3281131'] No It I obviously knew you didn`t mean sustained, but after seeing a TV programme about a women who was going to kill her neighbour because her daughter got into the cheerleaders team, and her daughter didn`t. The one who got in enjoyed it, but the other one hated it, so to force someone to learn is always problematric [/quote] You can't force people to learn. In a performing environment, once all the work has been done. Some people need a good hard push to get out onto that stage. Once they're out there you usually can't get them off it.

[quote name='timmo' timestamp='1492538333' post='3281074'] Is there another meaning to bullying that I am unaware of? [/quote] Yes. Unfortunately it now appears that 'Bullying' someone is now seen as a sustained activity done to someone until they are psychologically disturbed for life. Although this is the internet, so I suspect people like to feel all pompus and believe that's what I meant by it.