JTUK

Not been fired. I've always left.

Funnily enough I've recently heard Schroeders.... it looked like a single 10 or a 12" ..and possibly a traditional throated horn. It was an ok sound for what it was and you could deffo hear the mid prominence but whilst you heard it, it didn't support the band. That can be the problem for a boxy little cab...the sound is too squat so I'd not agree it sits well in the mix...as it gave the band a very squeezed compressed sound.. I can see why the user might like/love it as they are under the misguided..IMO, view that it is enough, Sure the load-in is great but my suspiscion is that you are asking it to do too much in order to be loud enough. It works in a limited bandwidth but it was too squat and indistinct across the full range of the bass. IMO. Talking about the single cab here... I'd think the 310 would be a different beast...as long as they tune it differently.

Was talking to someone (who knows someone very close) to this situation and I asked was there any question that this line-up wouldn't work... and the answer was a categoric NO. Tooooooooooooooo much money involved for it not to happen. Whether that is a good thing for AC/DC..?? well, it is a business first and foremost.

[quote name='M@23' timestamp='1462621273' post='3044433'] I think you'd like it. It is an effortlessly powerful cab and very even across the range. Really fills a room. [/quote] Very happy with what I have but I have a couple of friends who almost beg me to try them on their gigs to let them know what I think or whether I agree, etc. I haven't room for another 212 tho...

[quote name='M@23' timestamp='1462557141' post='3044068'] I've just picked up a Vanderkley 212 MNT. I've not used another cab like it. It's brutal. Still early days, only two gigs in. But, it is quite impressive! [/quote] Good call. Friends rave about them so I need to check them out deeper.

[quote name='blue' timestamp='1462600114' post='3044234'] In the States it would be a learning experience.There's no contracts, no invoicing at the bar level. You play the 4 hours and you get an envelope of cash, your fee at the end of the night. Split up the cash and leave. The whole "trying out live music" out has always seemed shaky to me. If I could afford to be picky I would stay away from those places. I rarely see any of these places succeed. I like the bars that have done a good job establishing themselves as a music venue. The people that go there are going specifically to see live music. Blue [/quote] Yes, start-up bars/venues are as risky as start-up bands....................... but both need each other. Around here you could divide bars into pubs that have music...and Music pubs.

Very easy to push it. You don't know where that output is on the dial. Nothing wrong with the idea, but you need to be hearing if it stresses. That isn't the easiest thing to do when everything is going on. For me, I'd only set up that way, if I knew the gig was going to be quiet..and there was no chance of things ramping up.

Yamaha DXR's have a very comprehensive back panel sp I think you could run a kick thru it. When I tested a few 10's v12's cabs, the 10's won out ONLY if you used a sub (the purpose bening FOH) otherwise if you wanted to put a kick thru it..then the 12's had it, IMO. For bass response, wooden boxes were better than composite, but you have to weight that small compromise against cost. For this purpose, and bang for buck, I'd go for RCF 712...but QSC if the money stretches to it.

Play it in Eb .... must be loads of Youtubes on it..? The hardest part is working out what the drummer thinks the part is....,.. For example, this is 'wrong' https://www.youtube.com/watch?v=KnC6Sfqz6Hc but if your drummer played it like that, you should be able to make it work. Depends if you want the bass driving it..or the drums. The former is harder, but it is a classic part so you have to pull it off.

The thoimann bag is a lot of bag for the money, IMO. Easily beats the Warwick ...in fact, it is in another league. IMO. I'd be happy to have paid £49 for it... but I didn't have to.

You'll need t go thru a good few sets to know gauges suit you. I do 40-120 on all basses

Yep, tune the drums properly and learn how to hit them means the drums sound good unless someone really does something to mess them up. Then a lot of the drum sound is about level... and NOT endless EQ. A kick and a SM58 somewhere near does ok. Volume is the key outdoors as the sound just goes... and you'll need more in hand.

[quote name='machinehead' timestamp='1462282924' post='3041723'] JUK said "I do recall a 'friend's band having massive problems with a room with a Warwick and a GK combo and he couldn't dial the bass boom out for love or money. It ruined and took over their sound check Our sound went straight up and was complete in around 15 mins. Their bass player had to play thru the monitors and ditched his amp." JTUK, although I don't know you personally, I know from your posts that you know a lot about bass guitars, amps, PA and sound in general, so I know you're an expert in these matters. [b]What puzzles me from your post above is this - why did you not help your bass player friend to sort out his sound? Surely you could have done this in a few minutes. It seems to be so unlike your willingness to offer advice on basschat.[/b] Frank. [/quote] Not that easy ... his problems started way before that gig. IMO. His approach was a lot of bass, lots of mids, in order to get a useable sound. And I mean useable in terms of not sounding bad AND being able to play the bass -the way he plays. I'm thinking it was a problem that will always be close to the surface and he'd have a major rework of the way he plays. I don't think the last point would be an option.

[quote name='Musicman20' timestamp='1462281688' post='3041704'] I very much doubt I will in any way be buying any more bass amps of cabs in the next 5 years or more as I am at the point of being content, and have been for quite some time. I also wanted space for more guitar related gear, mainly pedals, so I actually SOLD my Orange OBC 4x10. I am also now in the process of selling my Orange OBC 1x15. Both cabs sounded excellent, more so the 1x15, but the days of lugging super heavy weight cabs are something I do not want to dwell on. I have a few much lighter options, or just cabs that I prefer to use (TC RS210s, Aguilar DB212, Genz NX2 212T). So, although I don't envisage replacing the Orange cabs (but I'm keeping the amazing AD200b), what would the modern bass community advise would be a suitable replacement cab-wise for a big old 200W tube amp or small lightweight 900W Class D to sit on to generate a big sound but still be fairly light weight. Feel free to recommend anything, but as it would be replacing a fairly big rig, it would be interesting to know what people think I could get away with to generate just as much volume for if/when I need it. Discuss! [/quote] A couple of 1126's if you wanted a big stack. I still think the tone monster is the samller, 'less sophisticated' S112's tho.

As I hear it..you are trying to achieve a chain saw type attack. The pick is one way and I'd be dropping out the low mids..and bring in higher mids...which is where the hole seems to be. I would be looking to not thickening up the sound at all. I'm not sure about comnpressors here... but you might need to use one to tame the sound. First off, I'd be looking to find the sound without. To me that sound is 'thin'... so a distortion pedal with tone on it. Something with a lot of editing capability ..Gt10-B might allow you to take out the conponent parts quite easily to get close.

[quote name='mingsta' timestamp='1462221663' post='3041298'] Yeah, the drummer doesn't need a monitor as he has his own mix from the desk going in to his headphones with the rest of the band in but no drums. He then mixes to taste with his drum and click when this gets to his drum unit. I'm now leaning more towards getting a 12inch wedge monitor such as the Thomann The Box Pro Mon A12. [/quote] I've used Box cabs and they aren't very good for vocals, IMO... the horn wasn't very robust. Wharfedale might be a better version..? If drums need to go thru it... I'd get a RCF712...as the 12 should give tad more back re the drums, IMO. I HAVE to hear the drummer so I'd be against elec kits unless the monitoring is spot on. Most guys I know who have them only use them for studio/practice and they NEVER make the gig so if a drummer had one...he should be the one to make it 'live'. It would be like a gtr not having an amp.. and keys using headphones.

[quote name='NJE' timestamp='1462264512' post='3041474'] I don't think living in Gloucestershire is any different to anywhere else in the country with perhaps the exception of London. It depends a lot where you are looking for bands and musicians in my opinion. I wasn't in a band when I moved to Cheltenham a few years ago, I found one band on a muso-finder style website, joined them and through that band (who consequently didn't play music I loved particularly) I have met so many brilliant musicians and been in 2-4 bands at any one point since, playing good variety of music [b]Judging by a few posts you have made I guess your into funky/jazz/fusion kinds stuff, Incognito and Brand New Heavies etc? I LOVE music like this, but sadly I don't think there is much of market for it venues up and down the county. Some of he busiest working bands I know and have seen, play crowd pleasing stuff, big 'cheesy' tunes that you can either sing along to in pubs or dance to at weddings.[/b] I play in a tribute band, a wedding pop covers band, and up until recently two soul bands. I cant say I am a massive soul fan but I learned to almost remove myself from what I was playing and I just get a buzz playing any kind of music well with good musicians to people who enjoy it. I think it is just abut what you want from music, if you cant find a band playing what you want, try and put one together. [/quote] Maybe it is regional but the bands that get out of pubs round here tend to be blues/greasy funk bands doing stuff like Maceo, Meters, swampie stuff and long forgotten 70's funk. In that respect a lot of the blues bands have been left behind altho there is always room for a classy blues band. (The trick is being more that a one trick pony tho..??)

[quote name='mingsta' timestamp='1462215589' post='3041211'] Because our drummer uses an electronic kit, we'll definitely need to hear that. We don't need to feel the kick, but need to hear enough to lock in. [/quote] I think 10's will 'do' drums but I generally think 10's need subs. In this situation.... I'd put the drums thru a decent combo and keep him out of vox 10's... If the drummer has an electronic kit I assume somewhere along the line he'd have thought about his monitoring needs?

MB 102 combo and then buy another 210 when the time allows. Or a 112 to go under the combo if modular. Not so much a fan of MB 112 I've heard so I'd avoid the 112 combo, but if you like this idea...you need to try it. Personally, I'd be looking at seperates but that adds to the cost.

Hard to say...there is a big gaping EQ hole there.... so something with distortion, a flanger and delay might be getting there. I'm assuming you haven't got any of theses pedals so a cheap FX board like a ME might work..

[quote name='mingsta' timestamp='1462193105' post='3040927'] We upgraded our PA last year to a pair of Yamaha DXR15 and Allen & Heath ZED60FX-14 desk and now we're having a look at our monitoring. We are a four piece band (e-drums, bass, guit, vox) and play mainly pubs and parties, plus 3 or 4 weddings a year, but nothing particularly big as you can probably guess from the rest of our kit. I like the idea of using a pair of active 10inch PA speakers such as Yamaha DBR10s for our monitoring as they're light and don't look they'd take much floorspace. Also they're useful for other applications such as backing up the main PA or for some guitar/vocal type stuff. I know that it's a bit of a compromise compared to a big full range wedge, so wanted to get your feedback on how well this works and what the main drawbacks are. The guitarist and singer will have one of them and just need to be able to hear themselves and a bit of drum. I'll take the other. In an ideal world, I'd put lots of bass and drums through and just enough guitar and vocals to know what they're up to, but realistically, I can see myself using the monitor for drums/vocals/guitar + separate bass amp. [/quote] Depends what you need to hear. With basic sound set-ups I think FOH and mons are best left to do as little as possible so that means vox. Depends what comes back from your desk. For me, a DXR10 or QSC K10's, main use would be Vox..maybe some keys ... but it depends on what the band want/need to hear. For small stages, and quick set-ups, you don't need to over complicate things...IMO.

Don't blame you... if it is worth doing then do it properly... You'll only mess them about when you leave soon anyway, so don't get started in bands that aren't going to work from your POV. IMO

I mostly hear lines fingerstyle..

Played it for the first time the other week.... funnily enough... with a Rod Stewart act...and you just have to make the line move a bit. There are a few standard bits which you'll get if you've heard the track before but I think a good version is from Letterman.

It is just chords..play it loose.