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[quote name='Gareth Hughes' post='1194313' date='Apr 10 2011, 09:15 AM']Result!!!!! As a noob I must have gone about 4 years playing with the most hideous, demoralising action before I went to a luthier. I always put it out because I thought it would be insanely expensive. Thankfully it wasn't, but even if it had been it would have been worth it to have an instrument that was a joy to play and not a struggle.[/quote] Out of interest Gareth, have you ever taken your Eminence to a luthier for a set up? Do semi acoustic EUBs befefit as much from a professional seeing to as proper DBs? I'm quite used to the set up on my Eminence but I do wonder if it would benefit from a proper set up. I din't have a huge ammount of experience with a DB before I got the Eminence so it could be playing like a sack of sh!te and I'd never know.

[quote name='hubrad' post='1194530' date='Apr 10 2011, 01:03 PM']I have an AI combo too, which makes for a great natural sound pretty much anywhere in the room except for your own position - the downward-firing speaker rather seems to spread the sound past your ankles, so folks at the back will get a great bass sound but you have no idea what you're playing![/quote] I actually like the sound I get from a downfiring speaker -pop it in the corner and I can get a nice full woody sound. The caveats here are that my band is fairly quiet (acoustic guitar and a respectful, quiet drummer), I'm not going through the PA and I'm not using a full DB but an Eminence EUB. On a small stage with limited choice for amp placemment I've found that even if I raise my cab to ear height (I use an X type keyboard/amp stand) I can't go as loud before feedback compared to having my cabs downward firing. Of course, this could all be totally subjective, but I find I spned less time fighting feedback (and therefore playing more) with a downward firing setup than a forward firing one. In an ideal world I'd persuade the singer to put his gig money towards a bigger PA that I coud put the bass through, then we could drop the onstage volume, feedback problems go away and the world would be full of embroidery and fluffy kittens.

If you can avoid standing directly in front of a speaker (not just you own) then there's less chance of the feedback being kicked off in the first place. I've also found downward firing speakers bass cabs help, as does having forward firing cabs lifted up around ear level. Personally, I've not found stuffing or covering t-holes to make a huge difference, but it certainly can't hurt. At the end of the day though, DB feedback was the reason for the invention of the electric bass..... I think Slobluesline has his bass modified with two soundposts to stop the table moving and thus, stop the vibration that sets off the feedback. The downside is that there'll be a big reduction in acoustic volume.

[quote name='gcordez' post='1190854' date='Apr 6 2011, 07:15 PM']Blimey, i'd better back to practise.[/quote] +1. That vid from the 60s really upset me - 'NHOP. 15 years old.' Anyone wanna trade my bass for a tambourine?

[quote name='JPJ' post='1190657' date='Apr 6 2011, 04:36 PM']Yep, if I had room for a DB (as against having to convert the garage) then I'd go for the DB everytime but what I can read about the Stagg for example appears to give a pretty good starting point for a DB newby at a reasonable price point without the obvious storage problem. Unless of course I'm wrong......[/quote] You're not. I was in the same situation when I started - wanted a DB but living in a one bed flat on the third floor made it totally impractical.

A lot of this stuff is also covered in the Talkbass DB forum - but it admittedly it takes a bit of digging to find what you want. DB vs EUB? = Can of Worms......

Thanks for the tips , Hector. I was working on this exact same technique last night while trying to transcribe a Danny Thompson solo (though I think he only ever uses two fingers - b@stard) and was having trouble getting the rakes right and not playing triplets. I'll give your exercises a go and report back.....

27 volt Do you have to wear rubber gloves when you play it?

I know that GK amp is teeny tiny, but it makes it look like you're using a cab with a 6 foot diameter speaker.

LM2 & Bill Fitzmaurice Omni 10.5. I have 2 Omni 10.5 but I've never needed to use both at the same time.

[quote name='Doddy' post='1184768' date='Apr 1 2011, 02:26 PM']But on the other hand there are bands on the covers circuit that get £400-500 (and more) and the clubs charge 5 or 6 + quid on the door and still get full,be it from a regular crowd or from people who have come specifically for the particular band.[/quote] Absoutley. The best covers/tribute bands in the area will be able to draw a big crowd and therefore will be able to charge more which the venue covers with a door charge which the punters are willing to pay because they know they like the band. IME, the bands that can do this are usually revue type outfits doing classic soul, funk, glam etc that have been steadily plugging away for 10+ years. So, in answer to Bilbo's original question, yes, a covers band can pull a crowd, if they've been on the same scene for long enough to build up a solid reputation (weddings feature a lot here) and play popular, well known stuff. Newer bands, or bands playing more obscure material will still have their followers but will have to rely on a venue having a regular supply of bodies.

[quote name='Pete Academy' post='1184481' date='Apr 1 2011, 11:33 AM']There seems to be a reluctance for people to pay to see cover bands. I remember one of the regular pub venues in Stoke charging two quid after he had always let people in for free, and there was much moaning from the visitors, many of whom walked away in disgust. Personally, I think you should be expected to pay in most cases. All the hard work rehearsing, not to mention buying expensive gear, deserves to be recognised, and a couple of quid wouldn't go amiss.[/quote] I'm very much in favour of venues that don't charge on the door and pay the bands a decent whack as 1) you get lots of punters through the door and 2) You get a better quality band who will work to entertain said punters and keep them in the bar all night. A local example of this is on Gloucester Road in Bristol - a busy main route into the city centre with a large student population. There are two live music venues practically next door to each other, The Prom and The Blue Lagoon. The Prom charges £3-5 on the door and pays the band £60 plus passing a hat round. The Blue Lagoon doesn't charge on the door and pays £190. On a typical Friday night, the Blue Lagoon is rammed and the Prom is half empty. I've seen people walk past the Blue Lagoon and stop and listen to the band before going on to the Prom. Most of the time they come back 2 minutes later because they don't want to pay £5 for a band no better that the one they can see for free. Most of the bands that I know (myself included) would much rather play the Blue Lagoon as it's decent money, you get well looked after by the owners and there's a regular flow of punters, ranging from drunk students out for a laugh to wizened old jazzers who regularly come along for the quality of the music. I believe that a band should be paid well (£40 per muso for a pub gig) and then the venue can decide whether to recoup the money by charging on the door or allowing people in fro free and hoping that the band will draw in enough punters to cover the band in the bar takings. A good band will keep a venue full and keep the bar busy, resulting in a happy landlord and a repeat booking. I know that times is hard and staff have to be paid etc, but the above model works for the Blue Lagoon, who have staff and serve food etc, so why can't it work for other venues?

There are a couple of really good cover bands round these here parts and I would make an effort to go and see them - but I wouldn't pay to see them. One of my bands has a small regular following, but again, we don't charge on the door.

I'll bring my Eminence EUB and my LM II/BFM Omni10.5 rig. I can bring my EBMM Sterling as well if anyone's interested?

[quote name='silddx' post='1182421' date='Mar 30 2011, 04:25 PM'] I actually think the poor guy may have some kind of problem, clearly he has an enviable lifestyle though Here is his website [url="http://www.ryan-larson.com/"]http://www.ryan-larson.com/[/url][/quote] I've just looked at this - at the top of his page it says 'Sol Prophet' which I think is some sort of PC-speak for 'deluded b@stard'

[quote name='Doddy' post='1182332' date='Mar 30 2011, 03:17 PM']He's an 'expert'...that's all.[/quote] In that case, I proclaim myself a vitruoso and all round musical genius.

[quote name='lojo' post='1182138' date='Mar 30 2011, 01:15 PM']Most likely to do with crash cymbals at ear level in some cases[/quote] Yup - I have significantly less top end sensitivity in my right ear than my left - the result of many years stood next to a crash cymbal operated by a very loud drummer.

[url="http://www.flyguitars.com/gibson/bass/1972gibsonEB3.php"]http://www.flyguitars.com/gibson/bass/1972gibsonEB3.php[/url] Sweet.

Whata pile of crap - not a single Nikki Sixx solo

I thought it was because the scale length is double that of a 'cello.