TheRev

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.

[quote name='Gareth Hughes' post='1145866' date='Mar 1 2011, 03:04 PM']Which side of the car is best?[/quote] Rear right hand side, just next to the wheel arch. Obviously.

I have a stand that came with my Eminence EUB - it goes everywhere the bass does. However, the design of the stand dictates that the bass is held upright - should I have it modified so that the bass is held on it's side?

That's got to be some sort of world record! I dropped my new MM Sterling (cased) down a flight of stairs onto a concrete floor on it's first rehearsal and dented the body of my Eminence EUB on it's second gig (knocked a light fitting with the scroll), but breaking off the scroll before you even get it home? Unlucky mate.... I suppose you at least got the worst out of the way. I heard it said somewhere that double basses are just splintered wood waiting to happen. If the repair goes well, you'll never be afraid of dropping your bass again. Hope you and your new bass are soon reunited. Dave