Muzz

This is a good point; most of the Oasis stuff works very well as an acoustic singalong (especially things like Half The World Away), or part-acoustic (Don't Look Back In Anger the band comes in on the chorus, kinda thing) - plenty of space in the arrangements for the unwilling bassist to go and have a right old sulk...or, as I mentioned earlier, go and order a round... 🙂 Edit: If you do, I can recommend taking your bass with you: it helps to underline the fact that you might be in a bit of a hurry* * Being bassists, no-one will have noticed who we were onstage, so the visual prop is sadly necessary...

I think we gig for different reasons. And in different pubs...

Ahhhhh, I seeeee...tho I have ordered a round at the bar during Half The World Away... 😀

There's lots and lots of songs like that; just watch the audience instead... ...or, if you've got wireless, go and order a round while you're playing it... 🙂 PS Don't forget to tell them the singer's paying...

Anyone chucking anything out of a pram about doing Oasis covers is missing out on happy punters and big singalongs; like it or not, they're the Beatles for at least a couple of newer generations...

Gotcha...re-reading, they seem to think that the alternative to not paying for live music would be to not pay for recorded music...if that's the case, they haven't really thought it through...

I play in a couple of covers/wedding bands. For those, we expect to be paid (especially the weddings), because we're good at what we do. We've done a few favours in terms of free gig slots for people who've helped us in the past, and if the pubs on our circuit reopen for bands with restrictions, we expect the money not to be as much until the pubs can pack em in as before. Anything personal, like benefits for people we know, etc, are a different matter. I also play in an originals band, we're preparing to do a few festival gigs for nowt (tho we'll sell merch), and we'd all kill to play Glasto for nowt...there's exposure and there's Exposure... In terms of the OP's festival organisers, I'd be interested to see how any of their excuses for non-payment for music would go down with the PRS if they were pinged playing records...

This. Our singist is very keen on harmony vocals, and was (note the 'was') a firm proponent of the 'everyone can sing' school of thought. It took about an hour of my honking and hooting to change his mind. He looked broken, defeated, and well he might. Though your similie was eye-wateringly memorable, I'd modify it slightly if I may: my voice sounds like a bull elephant who's just had it's penis stepped on by another elephant. More surprise in the tone, y'see... 🙁🙂

It occurs that I did The Cocteau Twins a passing injustice, so here's a lovely soundscape:

...which reminds me, some legend on here introduced me to this a while back, and it's always a joy:

Anything by The Hu, most of the Cocteau Twins, then there's Babymetal, with a banger that makes Maiden's gallop sound positively pedestrian 😀:

I only subscribe to one YouTuber's output, and it's Rick's. His breakdown of More Than A Feeling is worth it for that alone...

If you're (not) buying a new Fireglo 4003 from PMT, you're missing out on having a hole in your finances £3,349 deep... Have you seen those two Rickesque basses Jon made a few years ago? Just a thought... 🙂

'How much more black could this be? And the answer is 'None. None more black.''

Yeah, despite all that, I've always favoured front ports...probably cognitive bias...mind you, I've never been that squeezed up against a back wall... 😐🙂

No problem - cone diameter is no real indicator - of much, to be honest; it's more down to cab design - I've had/got twelves with much more low end than a lot of fifteens in the past...it's the rating of the driver that really matters, and 120w will be a bit of a weak spot when paired with a 400w cab...the 15 in that cab might be rated higher than 120w from the combo, but it's hard to say, and even then it's not likely to be in the 102HF ballpark...

Very sensible if you can't try before you buy; a returns policy can save you from a costly mistake (I sent a brand new 4003W back the day after I got it for a full refund from GAK)... The only place I'd buy without trying is from Jon Shuker, and that's only because I've had several basses from him before, so he knows what I like (and importantly, so do I). I'm awaiting a P from him at the moment, funnily enough...

Maybe not that (80hz having a wavelength of 14ft, so it's not that), I forget the precise details and I can't find the exact post, but it was Bill Fitzmaurice who mentioned it; a few inches from a wall is all that's needed to negate any effect, ports being omnidirectional and all that...

Our drummist is also a recording engineer who's been honing his skills while stuck in lockdown - at our first rehearsal last week he took my (Post-EQ (Stomp)) DI into the PA (with a HP set at about 70Hz), then I cut nearly all the bass out of my small onstage monitoring combo, and it sounded really, really good; no boom, no mud. He was then able to EQ for the room from the desk (OK, iPad). This is all on a very small scale, of course, but it illustrates Bill's point - just replicating stage sound to PA can cause problems in the bottom end without some clever adjustment...

If both cabs are 8 ohms, then the amp won't blow up, how it will sound is another matter entirely. The second cab will be taking much more than its thermal wattage rating (if it's rated to match a 120w amp) from the LM III, so it'll be the weak link, and you might easily drive it too hard. The general consensus of thinking towards a second cab is 'another the same as the first', so the best two-cab solution would be a pair of 102HFs... I ran a LM III for a good while with a 104HR, which was plenty volume-wise, and not too bad a lift for a 410 (it's a fair bit smaller/lighter than the HF)...depends on your approach to weight/size...

Might look nice with some chrome pickup covers - I got mine (and the surrounds) for my Shukerbird from crazyparts.de, not sure about sizes, tho; you'd have to have a delve and a measure...

IIRC, someone who knows much more about these things told me a while ago on here that the wall thing would only be an issue if you were verrry close (like, inches) from the wall - down to the wavelength of the lower notes...

I had a go of the Jackson Minion in a spare few minutes in PMT yesterday...great fun, and for the money, a good bass. The looks won't be to everyone's tastes, I know, but it's very cute...

A slight aside, but funnily enough, I had a few minutes to stray into PMT Manchester on my way to our data centres this morning, and they have a 4003W on the wall, the same bass (sic) I paid £1599 for in 2014. It's priced at £2999. Still cheaper than the Fireglow next to it at £3349...

My favourite has always been Earth And Wind For Hire...