TimR

It's standard practice to charge for missed lessons. Even my dentist charges if you cancel less than 48hours. I believe the NHS won't rebook you if you miss an appointment and you just go back to the end of the line. We ask for a non returnable deposit when we take bookings for gigs. If it's just one student then next time he calls tell him that he's missed his slot this week and will have to wait until next week, that it's becoming a regular occurrence and if he cancels again within 48hours he'll be charged for the missed lesson.

This is another one of those 'I don't understand physics but when I turn up the mids I hear more distortion, therefore turning up the mid causes distortion'. It's just like 'If I stand further from my bass amp I can hear it better, therefore sound waves from bass take longer to develop.' Distortion is mainly second order harmonics added to your original signal. If you turn up the bass, the fundamental will get louder but the volume of the distortion will not increase. If you cut the mid then the distortion appears to decrease because you hear more fundamental. So effectively, yes, turning up the mid will increase the distortion, but only if the distortion is occurring before the EQ stage, eg in the preamp gain section or via a pedal etc.

Phone number and e-mail address. Put them in as JPGs so you don't get spam. I'm not alone in getting put off by clunky contact forms. It's not clear where your setlist is, I took a punt and guessed it would be under Music - listen now. You should also include a wider range of songs from your setlist. It looks like you are aiming your setlist at teenagers. A guide price? I know every gig is different but it would be nice to know roughly how much you charge. Just for the standard performance with a simple caveat for travelling and standing around time being extra.

I've just got round to listen with the headphones. I think the big issue is that you're getting a chorus effect with some of the basses with the original bass sound. On some of the basses the chorus effect is more noticeable and others less. The Warwick seems a bit less bassy. The Alembic and the '95 Stingray seem to have more chorus. Liked the Alembic though and will have a look out for one to try.

I always visit pubs ask if the landlord/lady is in then buy a pint and chat. You are your own best advert.

This is one thing that really frustrates me. The idea of equal temperament was that it allowed instruments to be played in any key. What it doesn't allow you to do is transpose from any key to any other key. It's an approximation and a tune in the key in A has a different sound to a tune in the key of C. Not just pitch. Otherwise singer/songwriters would always write songs in one key. Reserve transposing for soloists who have to sing a certain song in a show, not for songs you will be playing for weeks on end. I've found it can often lead to several problems: 1. The singer starts to want everything transposed to 'his/her' key and you end up with a bland set-list with everything in more or less the same key. 2. They start using it as an excuse not to sing certain songs when you get fed up with transposing and decide to stand your ground. 3. You waste time spending hours trying to find a key that fits their range but also sounds good. 4. Somebody decides to practice at home to an MP3 on the day of the gig, and a car crash results. This happened to me with 3 false starts on We Are The Champions because the keyboard player had been practising the intro at home on the day of a big gig. That's a really exposed start to mess things up on, with no way to recover! I would always advocate if the singer struggles with a song then choose another song, there are millions out there.

[quote name='BottomE' timestamp='1344415350' post='1763992'] Heres the thing - in the studio little things can sound fantastic. The stuff that you do live than nobody ever notices will be heard! Its easy to overplay and a lot harder to just sit in the pocket and nail a groove. Have fun - good luck [/quote] This is why it is important to record your tracks and listen and make sure everything is ok before you go into the studio.

Not really any such thing. I would recommend that the band record themselves on a cheap mp3 recorder and all listen back before you lay out any money on a studio recording. That way there will be no argument afterwards that people weren't playing what was required. Well, less arguing anyway

... and if you're going to include cases then 2 cases for 15"/4x10" and a case for a head is going to be close to £1k anyway. Are cases backline?

[quote name='TimR' timestamp='1344175366' post='1760686'] ... I added a 2x10" Warwick to a 15" trace and got some weird cancelling effects. Mixing manufacturers can have weird effects. ... [/quote] So I got rid of the 15" and bought another 2x10" and stack them vertically so there are 4 speakers in a single column. Awesome sound.

Again, read the link. You've got 3 problems with an 8x10". Vertical and horizontal interference between each speaker and off axis response from the 10"s. It's not sound waves travelling at different speeds or taking time to develop.

[quote name='Stacker' timestamp='1344199471' post='1761209'] come on.... [/quote] I made my comment at 8:20, you replied an hour and a half later and expect me to reply to it in 5 minutes? I'm not here all day! Then there is no way you could have read and understood every page on that link in the short time before your next post. Relax. There's a lot of myths in the bass world about sound propagation. There are also a lot of myths about 10s, 12s, 15s and 18s etc Read the link and the other pages properly.

The only time standing close to your rig is bad is when you have the speaker pointing at your knees. ie a 4x10, a single 15, or a 2x10. As explained in the link, the high frequencies are directional and will have a narrow off axis response. ie the highs and mids will only reach your ears if you stand about 10ft in front of your cab. Tilt your cab up and hey presto the highs and mids are directed to your ears. The op has stacked 15s he should be able to hear the top one with no issues.

[quote name='Stacker' timestamp='1344199637' post='1761218'] And? [/quote] Read and understand everything on that link. You're right it's physics but you're applying it incorrectly.

[quote name='Stacker' timestamp='1344199118' post='1761198'] Really? I'm always willing to learn, so why don't you explain where I'm 'completely wrong'? [url="http://www.homeworkassignmenthelp.com/images/loudspeaker-waveform%201.GIF"]looks like physics to me.[/url] [/quote] That gif shows the pressure in a standing wave of a fixed frequency not a dynamic wave containing many frequencies. The peaks and troughs aren't showing the loud and quiet parts either. Sound is a compression wave, not a longitudinal wave. They're showing the high and low pressure areas of the air.

http://barefacedbass.com/technical-information/

[quote name='Stacker' timestamp='1344193644' post='1761074'] Yeh, isn't it? Physics, to be pricise. [/quote] No it isn't. You're completely wrong.

Low ceilings and beams will give you all sorts of problems. Sometimes you're better off just using the top 15 unplug the bottom one and use it as a stand and for show. What are your guitarists using? If they've got 4x12"s you're going to struggle.

I've voted sub £750. For 10 years I gigged with a second hand Trace GP7-300 15" combo that I picked up for £300 quid. It got too heavy and I moved to Warwick separates a 211Pro which I got new on a deal £400 and ProFet 5.1 which was £300. I've recently added another 211Pro second hand £250 for bigger gigs. I guess my cable was £20.

[quote name='essexbasscat' timestamp='1342194847' post='1731414'] ... I thought I'd ask the same question about rigs, y'know all the stuff you use for the backline. ... [/quote] You know if we all read each others posts properly there would be a lot less arguments.

[quote name='JTUK' timestamp='1344175477' post='1760691'] If you want to know how I value my gigging rig at shy of £10k to replace, consider 2x Sei J5's Thunkferfunk 550-A amp racked with a tuner 2 DB210 Or I might take out 2 Berg NEO's instead but if it is either, or.... So if anything was stolen I'd commission 2 new Sei J5's and go to Thunderfunk for a 750 as they don't make 550's anymore. I'd stick with Aguilar cabs. My gig bag must have £3-400 of stuff in it.... If you include a pedal/DI box, mic, cables. So, if pond life emptied my car.....?????? [/quote] Come on! 2x Custom built Sei J5s? That's not backline unless I'm missing something. There is no way anyone gigs with £10k worth of backline!

If the pub is very small you may even have phase cancellation from the wall facing you or ceiling or low beams. Try angling the cabs diagonally inwards next time.

I would try the speakers separately in the same configuration. ie Warwick on top with Ashdown unplugged then again with Warwick unplugged. See if you get any difference in volume. I added a 2x10" Warwick to a 15" trace and got some weird cancelling effects. Mixing manufacturers can have weird effects. How close to the back wall were the cabs? If they're more than 1or 2 meters you can have cancellation problems where the sound bouncing off the back wall interferes with the direct sound from the cab. The cabs were stacked vertically I presume?

You don't necessarily have to be have playing very loudly. If the 200W cab was hitting it's limits of excursion it's distortion could have been masked by the sound from the other cab. I think it's more likely that you just busted the driver by driving it to it's mechanical limits, rather than overpowered/heated it.

[quote name='bluejay' timestamp='1344018837' post='1758878'] I think many of us were young when Kate Bush was young as well, so we've sort of grown old together, hence the attraction for our male contingent...? I find that much more dignified than perving after women young enough to be their daughters. [/quote] She's 10 years older than me! She shouldn't have dressed like that, corrupting 9 year old boys! Disgraceful behaviour.