TimR

It seems more a case of keeping an eye on where it is and where it's going next and shouting out for it. We managed to grab it on its way through from Derbyshire to Portsmouth. I guess it's in London at the moment. Is anyone organising a list or is it just shout out who wants it next?

I don't know but arguably they've played Tom Sawyer at every gig since 1981 except the Snakes and Arrows tour. That's around 1500 times in 30years. I've only played Mustang Sally a couple of hundred in 20years

[quote name='Conan' timestamp='1377676971' post='2190103'] Yeah, it certainly seems to be the case that modern rock albums reflect the sound of the producer rather than the sound of the band. I guess that has always been true to an extent, but it just seems more so now. Time for a return to Broon? [/quote] I suspect this has always been the case. Maybe the band have more influence and what we're hearing now is what they want us to. They're 60 years old, their tastes have changed and been influenced just like ours have. Nico McBrain of Iron Maiden gets very defensive if you ask him when they're going to produce music like they used to. The music that the majority of the fans seemed to like, the band weren't too keen on. At a time when commercially they were at their height. Don't we all bemoan having to play Mustang Sally? The fans love it but musically we're all so much above it...

I leave all that top end to the guitarists. Active bass into a 30m lead has been fine for me to go out front during sound check. Keeping time with the drummer at that distance though...

As the video suggests. True bypass is what you want for short lengths of cable as the buffer built into the pedal can/will alter the tone. If the cable length is very long, in the video they mention over 18ft and on a big stage could be 100m. Then, as the previos posters have said, the increased capacitance of the cable togther with the impedance of the bass acts as a filter. The longer the cable the lower the high frequency cutoff point. ie long cables lose treble. Buffers will affect your tone so when playing with short cables you don't want them. IMO 18ft for bass isn't long! It's a trade off.

[quote name='aende' timestamp='1377343531' post='2186468'] The band were booked into one if our regular gigs in Surrey. Get a phone call from the pub a few days before the gig, after weeks of fitting in rehearsals around holidays and work, stating that they are cancelling as it does not bring in enough cash for them. One of the band members lives near the pub and wondered by on the cancelled Friday night to hear a DJ and Karaoke..... Think we will bin chasing that gig again... The annoyance is that we have a raft if corporate events coming up which are surprisingly good earners - so it is not like we are sh*t!!!! Or do a sh*t set! [/quote] That happened to us too. Was called Sat morning and Sat night cancelled. They were binning bands and doing disco/karaoke too. Costs the same but appeals to younger people with more money to spend. Although the bands I had seen play there were playing 'grandad' music so why they didn't just get some better bands in, I don't know. We also have had a local change hands and after ringing several times and getting no answer our drummer went round and spoke to the new landlord who proposed 4 months of gigs straight off. Happy days!

[quote name='Bassman Sam' timestamp='1377467167' post='2187954'] The streets are not paved with gold, just dog sh*t. [/quote] It's the only city where someone can drop money and no one will pick it up. They are quite literally paved with copper looking metal coins.

Brothers Sisters... Takes me back. I've been listening to Penthouse and Pavement and Depeche Mode's - Construction Time Again recently. They both need remastering to sound a bit more 'modern' but are classic albums. I've always thought that bass solo was a bit dodgy.

Is it a silent jack? The silent end goes at the instrument end to silence the sound when you change instruments. Otherwise it'll be because the electrons flow better when the lead is always used in the same direction. They wear a path through the copper. Or something. I could have made all that up though;)

[quote name='Lozz196' timestamp='1377343086' post='2186459'] The physics of leads is easily dealt with - buy all your leads from Basschats OBBM. Quality products, incredibly reasonable prices, swift turnaround. [/quote] I have a soldering iron and an account with studiospares.

First thing to check is that you are using an instrument lead and not a speaker lead. They're different but can look the same on the outside. Instrument leads have a sheath and core. Speaker leads have the two cores running parallel with no sheath. It should be written on the cable or you may be able to unscrew the barrel of the jack. A few things can go wrong with leads. Dirty plugs. If the plugs aren't making good connection with the sockets then every time you move you'll break the circuit. That'll give you crackles. If the sleeve is not giving a good connection then your bass won't be properly earthed and you'll get hum. If the resistance and capacitance created by the dirt is high enough then the lead will act like a filter. As you alter the restance of the volume knobs this changes the filter characteristics. Google RC filter for an idea of how your tone control works. Also leads have electrolytic properties and can act like capacitors because the sheath runs round the outside of the core. If the insulation round the sheath is not good when the cable is wiggled you can cause static build up. This shouldn't happen with modern cables. Also the terminations in the jacks can break. If it isn't a moulded one unscrew the barrel of the jack and inspect the connections. Otherwise wiggle the lead at the jack with the bass plugged in. If it crackles then you probably have a broken connection. Cut off the plug and solder a new one in.

[quote name='jazzyvee' timestamp='1377288711' post='2185974'] I can't help thinking that given a blank cheque to buy any bass our hearts desired we may find that some more expensive basses suddenly become worth having. :-) [/quote] I think even if I was a multi millionaire I would still be careful. I had £2k to spend on a bass but found one for £500 that was 'better' than a lot of the £1600 basses I tried out.

[quote name='Phil Adams' timestamp='1377241694' post='2185115'] Clearly a lot depends on the player's level. It would certainly take me a long time to discern any difference between models, and for me it would simply be a case of personal preference. Subtle differences in tone and action would probably be lost on me. I'm sure I could tell you which one I preferred but probably couldn't say why. I'd probably be scared to play a £2000 bass, and that would affect my playing anyway. [/quote] Exactly. You can usually tell the quality of an instrument when you play it. The more experience you have and the better player you are the more you will recognise the quality of the instrument. When I bought my bass about 10 years ago, it was after 7 years of searching for a 'better' bass than the one I already was playing. I would go to a shop, try a few and not see any difference in any of the basses. Then I started to play shed loads of gigs, practice hard, learning lots of material and playing in lots of different bands. In two years I changed as a player. I started to feel the differences in the basses. I just moved up the price range, feeling the difference each time. Around the £2k mark I found that the next step up in quality (that I could feel) didn't match what I considered a worthwhile step up in price (that I was willing to pay). And after all that? I went for a £500 Ibanez that was a balance between quality, sound, price and willingness to get stolen/trashed when gigging. "What are you going to do with your bass?" is the biggest question to ask.

[quote name='discreet' timestamp='1377111486' post='2183564'] Er... OK, does this mean we still like Rush now, or not..? [/quote] Some days I can't get enough. Other days I can't listen to a single track. I was 17 when Power Wondows came out and 14 when I first heard Moving Pictures. Still to this day my favourite albums. Lots of stuff was happening in my life. The other albums are good Farewell to Kings a great one I discovered at 17. Some people are the same with the Beatles. I can't stand any if their stuff but then Lenon died when I was a teenager and I missed all the 60s hype. Music doesn't just create emotions, it rekindles them. Clockwork Angels is good, better if you're in a positive mood. There are some days I can't listen to it.

Yes it is.

A lot of this is nostalgia guys, coupled with your change in musical tastes and abilities.

And this is news and needed research? Surely we've known this for years. Bands have survived on nothing more than image for years. Isn't 'The Voice' based entirely on this concept. The judges are blind so the image is not taken into account.

[quote name='wateroftyne' timestamp='1377077191' post='2182930'] The lyrics are still very 'Neil'. It's the music that's suffered. [/quote] But shouldn't the music have shifted to suit the lyrics? Phil Collins shifted his lyrics and Genises music changed style to suit. If you're singing about Futuristic Cars and Mystical Kingdoms you need great prog opuses. If you're singing about life and love something more down to earth is required. It would be interesting to be a fly on the wall when they write. Neil: "Hey guys I've written some great lyrics about dragons." Geddy: "Excellent, here's some stuff I've been working on recently." Alex: "mmmm. Dragons." Vs Neil: "Hey guys I've written some great lyrics about a girl I used to know." Getty: "Ok, I'll put together a poppy riff." Alex: "mmmm. Girls."

Neil has had a VERY hard time. In the 90s he deliberatly shifted his writing style. Bands evolve. Clockwork Angels is the first album I've had on permanent play in the car for quite a while. That's of any band.

Are you stacking the 2x10s vertically? That'll get them sounding their best and worth trying before adding yet more speakers.

[quote name='WalMan' timestamp='1376997872' post='2181927'] You can't do it for money collected from others, only for money you give personally [/quote] Just had a look on line. The rules have changed but I think only for small donations. Someone should check with CRUK how they work it. I'm guessing they get a bit more than £5k a year.

[quote name='ubassman' timestamp='1376990175' post='2181799'] Don't forget to tick the Gift Aid box when donating . If anyone hasn't heard of Gift Aid before what it does is simple. When we pay taxes to HMRC if you tick the gift aid box then Just Giving will apply to HMRC and claim the gift aid amount government. It gets paid to Just Giving from the tax that HMRC have collected from the person who donates so doesn't cost anyone anything extra ! Good job guys ! [/quote] Hmmm. Not sure how many of the people at my gig pay tax :/ How does that work? Am I somehow donating the tax I've paid?

Excellent. Donations from our gig now added.

[quote name='JXBase' timestamp='1376860439' post='2180145'] Hey - so a friend keeps banging on about the fact I need to invest in a bass amp. I do need a lightweight portable amp that i could gig with in venues that may not have all-inclusive PA equipment, but I'm wondering if I could get away with finding such a lightweight portable amp that is ideal for both electric guitar and suitable for bass? I've no real budget constraints (well, hoping to keep it under £1,000), I'm more concerned with quality/multi-use for guitar/bass and the fact I'm a girl so something that is portable for the likes of me. Thanks for your advice in advance! [/quote] I think you should look second hand for two combo amps. What type of music are you playing? What type of gigs/venues? A second hand combo like the Trace Elliot GP7 with a 15" speaker can be found for £300 and will keep up with most drummers. Lots of other 300-500W combos around. Although Trace Elliot are nenowned for being very heavy but price is going to be your main concern and even us blokes get help carrying gear, so ask for help. Guitar amps? Don't know.

Too many variables. If you're a pub with a big music reputation and a Saturday night draw then you don't need the band to bring people. If you're a pub with no clientele on a Saturday but are busy the rest of the week then you can gamble or subsidise. If you're a pub with no clientele all week then you use the band to bring in people by asking the band to promote the evening and promote it yourself. If you're a chain like O'Neils you have a pro talent scout and entertainments manager booking bands.