TimR

Len. I'm North of London. My next gig is 10th Aug. Any good? PM me.

Sorry, it's a boring answer but: Learn some theory. Not heavy stuff. Learn the basic major and minor scale and what your intervals are and sound like. Once you have mastered that, a few hours at most, you'll have the basic tools at your disposal for picking out lines. Buy a book or check the Internet for some theory lessons. There's a lot in the basschat theory section.

[quote name='iceonaboy' timestamp='1374052990' post='2144616'] Gorgomyte! Sounds like an element off of small soldiers. Greetings Alan now shut up [/quote] Ah yes, got there in the end. Knew I had heard it before. Gorgonites!

or maybe Medusa ate it before meeting Jason.

[quote name='gafbass02' timestamp='1373993390' post='2144000'] It is a scary name! [/quote] It should be. It's what Gargamel puts on his toast before he goes out catching Smurfs.

Old toothbrush.

[quote name='Lozz196' timestamp='1373724924' post='2141002'] ... I think it`s just down to personal preference - many far prefer 100% perfection in their music, fair play to them, but to me that process sounds like sterilisation. ... [/quote] I think there's a big difference between tight and sterile. You can still be tight, play the right notes and inject energy and passion without being clinical. It all comes down to feel. Is the musician just playing the notes or are they feeling the music and conveying that feeling to the audience. It's a difficult concept to write about or explain until you have the experience of knowing what feel is.

[quote name='chris_b' timestamp='1373716422' post='2140899'] If "no one's listening" then it's your job to make them listen. You have to be positive. You've got to impress and get them on your side. IMO, too many bands blame the audience. [/quote] It's extremely subjective. Do the people who are listening know what they're listening for? I played a couple of hours in a church last Sunday for a jazz concert. People were sitting and watching and listening. I didn't have to make them. I played at a BBQ the night before 60s/70s pop, people had come to eat, chat, maybe dance. Most people spread out around the field and chatted. I played in a power trio, blues rock in a pub a week before people had come to drink and listen. I don't think in any of those scenarios anyone thought the bass player needs a bit more in the 5kHz region...

[quote name='Truckstop' timestamp='1373675883' post='2140588'] ... He also spends ages getting the effects right for each song and has loads of really expensive and rare vintage effects and all that kind of stuff. ... [/quote] Very often, as seen frequently on this forum, people forget that it's all about what notes you play and how you play them. This guy has all the gear and only some idea. It's a lot better than all the gear and no idea. You've now seen at first hand how its not about the gear it's about the player. Learn and get better through practice and experience not by twiddling knobs.

Exactly. He's after a replacement for adobe. The recordings I get from my H4 only need normalising ang multi band compression. Anything more is just turd polishing.

Gents. We're looking at a stereo recording from a hand held recorder. Goldwave is free, has all the basics and will split your large recording into smaller individual songs. Maximize volume, do batch conversion to mp3, add reverb if you want. Allow you to add fades. You can zoom right in to individual samples. Very good bit of software.

Goldwave.

[quote name='28mistertee' timestamp='1373265588' post='2135327'] ... Also what has been baffling me is how is the power distributed when you daisy chain 2 8ohm cabs together to run at the amps 4ohm recommendation. In other words how is the wattage distributed between the two cabs? [/quote] Beware of using the term 'daisy chaining'. Daisy chaining implies running the speakers in series. You're actually connecting them in parallel. The current splits, half goes down to one speaker, the other half goes down the other speaker. Although because of the way the cables are run it does look like the speakers are daisy chained. The first cable takes all the current for both speakers, half the current goes through the first speaker, while the second cable takes the other half of the current to the next speaker.

That's what I mean. When the money starts to get big, people forget why they're doing it in the first place. There's not a lot of room for egos and people who won't play Sex on Fire due to artistic reasons.

[quote name='molan' timestamp='1373488613' post='2138287'] Forgot to add corporate functions are often a bitch to play - good money but not always that much fun [/quote] It stops being a group of mates playing for fun and becomes a professional outfit.

They also do the PAR64 version for an rxtra £10. 8" and 180 leds instead of 7" and 150 leds. I'm using 2 64s and 2 56s. One of each either side of the band up as high as possible on T bar stands £25 from maplin. I've seen pics and video of the band and they give enough for good mood lighting without overpowering. Depends what you want. I did have a controller but found it was easier just to let them do their own thing. I'll probably go for two more 64s up high on the stands and put the 56s down on the floor as uplighters to catch the drum stands.

Play more pubs, travel away from your home town a bit. If you're good, word will get round and you'll be asked.

It really depends on how the kick is tuned. Again it's the room that influences what frequencies have to be cut so you're usually limited in that respect. Outside gigs are different. The soundman will have a bunch of default, always go to, settings that he knows will work with his gear in that type of room. He's no different to us knowing which frequencies to cut on our rigs for problem stages. When I saw Rush at Birmingham last month I'm sure what Geddy wanted, what he could hear and what we could hear (depending where we were standing) were a thousand different bass sounds. Once the strings and keys kicked in it was mush.

I found my latest band through bandmix. They're pretty good. 2 gigs done and 4 more booked. You have go wade through a lot of no hopers and the obvious time wasters and tyre kickers like any joining process. The band I joined previously were through word of mouth, recommendations and people I'd played with before. It never got past 4 rehearsals...

[quote name='Jazzneck' timestamp='1373009278' post='2132646'] My abject apologies Tim - I didn't realise that I had to answer my own questions....... ... [/quote] That's not quite what I meant, usually people post to discuss things. Just seemed to me that you had fired out a pretty common question then run away. That's all. Almost trolling

Jazzneck, you start a post then don't reply? This is a pretty common topic here. What exectly sounded 'the same'? The FOH can only change a few things. Compression, reverb, and EQ. The mixer, power amps and speakers are going to be exactly the same - and technically should be fairly transparent. If you are DIing the only thing that will be majorly different is the player and the bass. Talk to the engineer about what you want to hear otherwise he will use his experience to dial in something that he knows will work on his gear at that venue.

As long as the monitors are good then I'm all for DI'ing. I've done this at practices lots of times. Live is a bit more of a problem as the mains have to be able to cope. Monitors, I would be happy to pay for my own and just have a FOH mix in it. Essentially a band with their own PA don't gain anything because you either need a powerful monitor and mains or a decent bass rig. However, you don't need both

You just mix the wet and dry so that when you play up the octave it all sounds good. Then you play the whole tune up an octave on the bass and let the octaver play all the bass notes. Thickens up everything.

Everyone develops at different rates according to their needs. If you'd been playing in a band reading from charts you'd have searched this out a long time ago.

[quote name='Ian Savage' timestamp='1372777224' post='2129823'] What are people filling the fret slots with when de-fretting? I smell a summer project coming on... [/quote] I used plaster polyfilla. Would probably use proper wood filler if I did it again. The proper way is to use thin strips of wood and open up the slots first with a tenon or fret saw. Then cut the strips down with a knife and sand.