JTUK

Depends on the gig... I think there is a case for 3 together if you want. Depends how you want to pace the gig.. A good song is a good song so a lot will depend how you put it across and if it is one of your best numbers you'll place it accordingly,

[quote name='Beer of the Bass' timestamp='1455409863' post='2978968'] The cabs' inaugural gig went well. It was in a hall that was a larger space than the venues I usually play, and I wasn't through the PA though the drums were lightly mic'ed, so I was glad I'd brought the pair. I can only describe the band as not-quite-jazz quartet; sax, keys, drums and bass, we get quite noisy and riffy but probably less loud than most rock genres. I had my GK MB200 turned up halfway, and I get the impression that they would cheerfully take a slightly more powerful amp if I needed to (within reason). The MB200 was just starting to compress a little on the attack of hard played notes at that point though there were no noises of complaint from the cabs. I liked the tone;[b] they feel quite lively somehow, sproingy even[/b]. I'm not the best at verbalising such things without sounding silly! [/quote] Don't understand that... what do you currently use and what sort of sound do you go for... When I've really settled everything in... I don't tend to twiddle with the amp but this is helped by the fact that I tend to have two seperate set-ups so an amp 'matches' the cabs, Will listen out for further thoughts once you've used them a bit.

Yes, set to taste... there is no point to a centre indent if the sound doesn't do it for you. I would tend to prefer a swept mid anyway... but that mid pot is your varible 'tone control'. the treble and bass stack are the ones to leave alone for the gig...IMO

IMO, I don't think par is good enough.... I've not seen many good American Fenders of late.

Most people I know ask when I'm playing next... and will say how much they enjoyed it. I don't read anything into it... if they want to come, they'll come. If they are just being polite,..?? no problem with that either. I tend to know if the band is working or not.

I'm pretty sure Graham Edwards did a lot of the bass. Not sure I hear Pino there but he may have been there in the beginning...?

Not my thing at all but I think he is great in that band...

[quote name='mike257' timestamp='1454791604' post='2973097'] You rarely give a straight answer to a question mate, unless you're dispensing your no doubt hard-earned wisdom on something. You never said "I'm going to buy d&b wedges to play down the Dog & Duck", but you've posted plenty on here over the years about the kind of gigs you play. You're apparently very discerning about what you'll take, so it's good pub gigs no doubt, but it's still pub and function world that you're operating in, from what I can gather, just like lots of us on here. You have been asked by a couple of posters in this thread to show some links to your band but you're nowhere near as forthcoming with that as you are with your definitive advice about how things should be done. I'm not pretending to be daddy big balls here, my gig today was putting a pair of JBL Eons on sticks for a poetry recital in a library, that kind of thing very much puts you in your place! Yesterday I took a booking for a festival where I'll be looking after an audio crew throwing up a couple of big hangs of d&b J series for 40,000 people to watch Primal Scream, but that's (sadly) not my typical everyday job. My average gig is probably somewhere in the lower middle of those two extremes. I've done some Academy level touring as a musician for a brief period but all my gigging is in wedding/corporate world now, so I'm not pretending to be a rock star or saying I know it all. My point is that I'm happy to contextualise my input by relating it to my real world experience so people can see where I'm coming from and listen to/ignore what I'm saying as they see fit based on that. If you're buying a d&b monitor rig with a view to hiring it out, I'd do some due dilligence on how much of a sound investment that is. Lots of PA hire companies stock it and can afford to be competitive. They'll also have established relationships with other suppliers for cross-hires to augment their inventory. A man with a decent function level FOH setup and one eighth of an arena-level monitor rig isn't likely to figure on their radar unless you've got a strong personal relationship with somebody there, and even then you're depending on them having a very specific requirement that matches the kit that you're carrying. Don't expect to make your dough back in a hurry like that. There's certainly wiser ways of investing that kind of cash if being a one-man hire operation is your game. If you're buying it for personal use, then good luck to you, enjoy it. It's a bit like the audio equivalent of the mid-life crisis sports car though. Way way way overkill unless you're in LARGE professional venues, where that kind of thing will likely be well taken care of before you're anywhere near the place. [/quote] I do know a few people who could use it and I'd consider it. I don't see the need to publicise bands here, never have done. Nor the people I play with. I'll talk generally from experience in a thread but I don't see the need to more specific. People can believe what I post or they don't... but since I don't know most of them from Adam, I don't really have a position on that one way or another.

[quote name='chris_b' timestamp='1454845206' post='2973391'] Unless it's a totally unique requirement bands won't fly with gear. And probably won't even then. Bringing your own is expensive, complicated and full of potential problems that could kill the gig. Just try getting several tons of gear through customs in some pretty flaky countries. Some international tours have a budget for bribing local officials. If you arrive with broken gear it's up to you to fix it. You might only be in that country for 18 hours. It's just not feasible or cost effective. If they are on an international tour the promoter will locally hire in the gear to the spec provided by the band. If you can drive between gigs the gear will be hired for that phase of the tour and trucked. The tour manager will be responsible for arranging that the promoter gets the right gear to the right place. Sometimes the musician will ask for something that can't be sourced and will have to come up with an alternative. Bass players are the easiest to sort out. That's why you will see Ampeg SVT's on 90% of touring stages. [/quote] A friend was trucking for a major International act. They had something like 40 plus trucks to go around Europe and further East and certain borders they required nigh on $50,000 US so get across and they did this 3 times for that leg of the tour. When I asked what would happen if they didn't pay... they said they literally didn't move... and for a show that size, it was cheaper to pay those fees rather than lose any time. It wasn't feasible not to. Local venues will hire in kit as I've rented my rig and 'tech'd' it. I prefer it that way as I get to see how it is used.

Do I miss my TF550-B....?? well, maybe, but I've got that more than covered with the the DB750 big block. I think it was a loud amp .. and I've had to get 800 Class D watts to cover that. The TH500 wasn't enough for me...altho I liked the sound. The TF has a good EQ stage but I never needed or used it... simply volume to suit and you're good. The only class D amp that gets there (IMO) is a Demeter 800 and the tone is good, I'm just not sure about the sound when pushing the levels... need a bit more time on it....as I think it gets too grainey for my liking..??? The TF or DB's don't break up like that..and I think that is what I appreciate. TF550-B... good amp and I can't think of many, if any, better, at their sale value or around £600, IMO.

[quote name='mike257' timestamp='1454786332' post='2973020'] I've got to ask, are you talking about d&b audioteknik, or dB Technologies, because there's two different worlds there. dB is decent-for-the-price kit, no doubt about it. d&b is a different world, being one of the top live audio brands in the world and on most high end touring riders. To buy a d&b monitor setup (even just for a four way band mix) would set you back about the price of a brand new family car and require specific dedicated amps with onboard processing. I'm lucky enough to get to play with this stuff on some of the gigs I work on, but I'd never be self indulgent or financially irresponsible enough to spec a pile of M4s and a rack of D6 for a pub band. You talk a good fight mate, but that's just ridiculous. More power to you if you want to spend five figure sums on stage monitoring for pub gigs and the odd private function, but you must have more money than sense. ............................ [/quote] All joking aside, go and read my posts and find out where I mentioned pubs gigs for this gear...

Understand this completely... You just have to pick your gigs where this works. If you pick places that what the same old, same old, it can be a tough ...almost marmite gig which is fine, but it will take some work to establish things.

The reason that there is such a good market for Fender type basses is because Fender are pretty poor value for the money... IMO. so if you'll pay upto £1500 for their American Range,,, plus another £1000 or so for a CS... that money is better spent somewhere else, IMO and that brings you into a more custom, but infinitely better instrument for the money. IME.

[quote name='skej21' timestamp='1454619019' post='2971468'] The custom shop pickups are in the American standards. The American deluxe models have Noiseless N3 single coul pickups or the Delixe split coil, so slightly different. Personally, I think the custom shop '60s single coil that's in the Am Std Jazz is the nicest pickup in the Fender basses at the moment! [/quote] I've seen Noiseless pickups in a CS... they aren't marked N3 though. At the monent, I can't find a difference apart from a lot of money between CS and AM Deluxe and a few colours..? Must be very very good wood..

Depends on the song... Some you learn on the gig.... depends what section you get hung on and for what reason.

The list is long this year.... sad to see so many go too soon.

Aren't the CS ones the same as the ones on the Am Deluxe?

Generally I say Bartolini and a John East is good. I'd be tempted to check out Aguilars OB3's... They say it is agressive but can be no mor agressive than an East. I tend to think +12db is pretty extreme on tap anyway. I like the passive option as that is a reference for your sound so if you run active pretty close to that...you just get the bass pepped up a bit. That is how I run it anyway. I think MM defined his sound as 70's... but that isn't the way I hear/regard a 60's sound. Chalk and cheese to me.

Embrace it..it will teach and make you get cleaner. Your touch will have to be precise so keep playing and you'll clean up.

I liked them with original PAS speakers in them.... the problem was if you needed to replace them, which I did.

[quote name='RhysP' timestamp='1454494665' post='2970184'] I saw him in Rick Wakemans band on the tour for the "1984" album. He was the first person I ever saw using a Jaydee bass. Very good player. His brother Gary was a sax player if I remember correctly. [/quote] And Pete is a drummer. Their father is a jazzer so all round a pretty muscial family

[quote name='EssentialTension' timestamp='1454361012' post='2969033'] I don't particularly like either of them myself but ... so what. But also, in most (or at least many) bands, you couldn't get away with playing like either of them. [/quote] This is true... I think I had a very very short period of Chris Squires... in the time it took to suss 'Roundabout' and them moved on. And whilst I was in that plectrum stage , I'd found Glover who was waaay more funky and then there was Andy Fraser so no turing back.

I'd guess it is... but apart from the name how are they different> Colour scheme..?? wow..!!!

Move on if you have the enrgy. There is always someone better and playing with a lot of drummers refines what you like and expect from a drummer. If you play with one who excels at Blues, for example, they can teach you a LOT about that genre. The trick is not to be as pidgeon-holed tho, IMV.

History lesson outside of the standard (Stax/Motown AND Chic) IMO has to include Headhunters, Meters/Neville bros and people like Alan Toussant and Fred Wesley...to name just a few.