JTUK

[quote name='andydye' post='1301174' date='Jul 12 2011, 03:40 PM']Ah Aguilar, I'd forgotten about them (oops!), they're a good price too compared to GB and Vanderkley! they appear to be marginally less sensitive (vanderkley quote 100db 1w m) and Aggie are quoting 95. So are they not quite full enough to use individually? Do they take a low B nice and tight or do they get flappy? Thanks matey[/quote] I am not sure I would say GS112 are not quite full enough and others are.... I wouldn't use just the one for anything but a jazzer gig I suspect that most single 12"'s would have the same limitations and you'd need to pair them as well. Used as a pair, the bottom end is massive and you'll handle a very good low B with defintion and authority at big volume..IF.. the bass is capable of giving that in the first place. That is a BIG IF, as well, IMV..but you can't blame cabs for that. My bass sound is 'lively' compared to a lot of bass sounds so I have to use a horn to get the full range but they don't lack anything, IMV. I prefer the the pair of 2xDB210's myself over 2xGS112's but that is a preference not a flaw, IMO. Our drummer..who is more into metal than I ever will be.. is amazed at the bass end I can put out of 2 tiny GS112's... and his other gigs are all about volume. I would say with these types of cabs..that the size..whilst appealing..has it limitations..but you'll be hard pressed to notice that in a pr of GS112's with a horn, IMO. all bets are off without a horn, IMO.

I agree about the pi$$ed off Landlords bit..as her supposed top draw on £300 a night obviously aren't worth it to her...and it is a way to force rethinks in these austere times..!! I think she is killing her gig..but maybe the nails are in the coffin as a venue already and this is a last throw

Big fan of GS112 here..but only as a pair.... wouldn't use only one. Easy to get hold of and decent value. The DB version uses the same chassis and has tad more presense, IMO The GS crop up here SH ..but Berg and DB options less so. Not sure about GB cabs... if you think Berg will run out of magnets, you might apply that thinking to NEO in general.. or at least think price HIKE..???

Dave I have a couple of GS112's you could borrow for a short while if you are thinking about runniing 2 cabs. As much as I like 2 112's, I wouldn't consider using one. If you are down my way and want to collect them, give me a PM. All my gigs till early August are on large stages so I will be using my DB210's and P.A support.

[quote name='dc2009' post='1300955' date='Jul 12 2011, 01:12 PM']I wasn't saying they were any better or worse, but learning someone else's material undoubtedly takes less time and effort than writing and arranging your own to a standard at which you are happy to put it up for public scrutiny. So purely on a basis of time spent, it would be fairer for the originals bands to be earning more. In my book a good covers band deserves every penny they get and more, why shouldn't they get a portion of the take they provide the bar with the punters they bring, it's just a shame that's not the same with the originals world, is all I was saying.[/quote] hmmm.. not sure about this... there is no benchmark as to what lines may have to be played if you write the song.. You pick on the wrong cover and you have a right handful to play it..potentially..and get it to work. There can be a lot of bad playing on originals but who is to know...??? there is no ref to counter against.. But anyway..that is a tangent.

Not unusual for very talented people to be useless and closed off to the outside world to various degrees. It is a question of how you manage it..and if it is worth it. Expect this to be a roller-coaster ride, IMO.

[quote name='wateroftyne' post='1300761' date='Jul 12 2011, 11:12 AM']And then... some pubs have a reputation for only having good stuff on (by and large). They tend to get bigger crowds.[/quote] This is the model I am referring to. Ex big name muso vets the bands and they become part of his rosta. His pay isn't the best but this seems to work as a sought after gig. And by and large..people go there on his gig nights as they trust his judgement. PR is very low key, and there may be an e-mail group for special dates..but a few pubs get the vibe right and then the music follows and then they cherry pick bands. Long drawn out process but all round the best model, IMO. of course, some bands are good draws and will bring a crowd.....but then the control is with the band...which isn't the best ideal as the venue is at the mercy of that sell/promo on any given date.

I think our scene is quite vibrant with new gigs coming online all the time... but the fees are at a standstill..understandably. Most venues do make an effort to promote and this eventually pays dividends..but what this current venue doesn't maybe get is that by cutting this fee to the new deal..decent bands will not bother with it and nothing kills a venue that a seriers of bad bands...which is probably why this place is struggling in the first place. The best places to play..which are the hardest to get into..have their own 'rosta' of proven acts and people know that the quality of the place garauntees a decent band..so people will turn up on spec. Here, promo is less important...but it takes a while to sort wheat from the chaff..?? I would say that most bands that I know, put far more effort into getting people there than most venues do, IMO/IME. I have to say, any venue that does not have its own following, wont get ours either. We have helped build up places so it is not all a one way street from our POV.

Haven't been approached myself ..and we tend to be quite picky about the places we play for various reasons, but I have heard a couple of bands being approached by a pub they play, that the new pay deal is ........£100 plus 10% of bar takings. These figures horrified me ..as you'd need to proove a bar take of a £1000 to get back to a start-off figure of £200..which is most bands entry level fee round here. If this idea gets legs and is adopted by others, this will have a massive effect on local music. Most bands will refuse this initial attempt..which will leave the venue with a poor selection of bands and maybe the end of that venue. I understand why the venue is trying to do this as their biggest draw only got about 20-30 people on a sat night the other day ..but maybe that so called big draw aren't worth their £300 (guestimate) fee in many pubs. Any views comment on this? heard of anything similar around your way..?

[quote name='chris_b' post='1288379' date='Jun 30 2011, 11:25 PM']Well, that was a complete waste of 2 mins of my life![/quote] ha ha ..I got as far asn the 4th pick. It is a popularity contest voted by punters.

It's a paid gig... but they should giving him a P-bass and a chair.

No..but it has a good reputation. Broadstairs/Thanet is a bit too far for us. Plenty of other festivals going on in Kent though... LOADS..!!

hmm... what goes on tour..stays etc etc .. But... In Hamburg you can spend a LOT of money, depending on which street you meet someone on..it is that controlled..and we were staying right near the Reaperbann. After the show, we went walk about and we all decided to leave our money back at the hotel. After walking a few 'streets' drummer ask if I have any money on me..and I only have change for the bars and a few drinks as I was sticking to the sensible 'idea'. I'm so rockNroll Drummer disappears with one of the girls and the dissapears again and we meet back at the hotel where the girls often have a drink after their shift ( 4:00 AM ) as the girl behind the bar is one that never "saved and went home"..like they all plan to do and open a hairdressers shop. He was clean out of money..!! having done more than a few nights wages..!!! He was pretty popular with the girls in the bar though

agree that small pubs are off limits for some bands... You'd do as well to not bother playing unsuitable venues that are too small unless you can gear your volume to that place. A good gauge is when bar staff can't hear what drinks are being ordered and you get a lot of leaning closer and cupping of the ears. It is these smaller places that do the damage as well. I've played on stages with a good few 000, watts of side-fills and foldback..and the sound was so comfortable you can talk loudly to the drummer....!! If the stage is so small, you are pushed up against the cymbals....then you have to decide whether that place is worth it...and certainly have ear protection to hand. We find our drummer is the reason for our volume creep..as he thinks he can't be heard. Once we get that sorted..our stage volume is far more comfortable. If gtrs are loud enough to blow intrsuments and drums out..you can bet the Vox PA is struggling..and that is the point when punters realise the band doesn't sound good.. Nothing is as unforgiving as poor vocals..and distortion on the signal..it dooms anyone..!!

Over 35 years. Low points...?? got totally jaded and stopped altogther for 18 months and I never knew if I would get back. I can say that break was the best thing ever and now realise how much I was coasting prior to all that. But the break cost me so much work and contacts..that you never really get back. Good points..?? too many to mention. I like gigs where they look after you well. I have so much more musical energy now as well...and my playing is better, IMO.

Make him swap gtrs pdq..!! but I'd expect him to get to the end of the song without too much trouble. Make light of it and move on. Then we would be asking why he isn't carrying a backup. Cut down bass grooves would just highlight how embarrassingly unprepared the band were/are.

Serious point is that most bands are too loud for the venues they play..god knows what the bar staff make of it, having to put up with getting deafened every gig night. Any band with Marshal half stacks or the like in a pub is one to be avoided.. I take my plugs with me now... but hopefully, if good weather, I'll be outside or just give them a miss. If you are not heard with a bass stack, there is no point the drummer bothering. Your stage sound must be awful..and too loud...and that will chase some people away in itself. I'd bet the vox struggle as well and he ends up hoarse every night..? Sound familiar..??

No, but you may have to trim the gain control to stop the signal over-loading. Also, remember that batteries die...so if the bass has no passive option, you'll have a dead bass when this happens. Also, for actives...get into the habit of unplugging the lead when not in use as this will complete a circuit and drain the battery. This will happen over time...you just don't want it to happen at important times. Batteries can last a year if looked after properly, this way, but if the gig is important have a spare for an easy and quick swap.

Soundchecking yourself or the band. For me, I'll just goof around for a few minutes max....nobody in the room wants to hear endless noodling, from bass, gtr or whoever. If we are soundchecking the band sound..we will pick a number that we aren't going to pay that set... If we don't get that chance on a low key gig..our first number will be chosen as being specifically an easy song to soundcheck to..

I have Sei 2 J5's... a MM tone capable of violence and a vintage take Love them both

I knew where there is a version of that Staccato MG bass in the UK if anyone is interested..

Long shot but we might be playing with a few bands in Winchester on the 23rd...all to do with ther army Any BC'ers doing this show..? I should post more when I find out more...gear-share, billing etc..

Everyone is different..some people can get a long way without any direction..others have no chance at all.

He can certainly put wood together with a great eye Everything fits, everything works. Great luthier, IMO.

but it is a bit concerning that you may need the horn to liven up the cab that much... that seems a LOT of work it will need to be able to do. IMO