Muzz

Yep, this is it completely: it's that look of affront with functions punters when you say you don't know the song...I've had this before: (anther Drunk And Overly-Entitled Woman, funnily enough) walks up in the middle of a song and beckons... "Play some Abba" (note lack of 'Please'...) "Sorry, we don't know any" "Noooo..." Here she points at the Mac we use for Mainstage, etc "Play. Some. Abba." "No" "What?" "No. We don't know any. We don't know any Abba." "But you must do...everybody knows Abba" Sometimes I envy Lemmy's approach: I once went up to him in Jillys in Manchester when he was feeding the one-armed bandit: "Lemmy, can I buy you a drink?" "flip off" "OK" I went back to my mates, thrilled that Lemmy had told me to flip Off... 😁 Edit: If you hadn't already guessed, he didn't say 'Flip off'... 😁

OK, for closure: we made sure we spoke to the bride (we'd already been paid, but hey, we're professionals 😉) after Over-Entitled Woman and she said "Oh, just ignore her: she's been a pain in the derrière all day". The venue manager just said "There's always one: if it isn't the food or the loos or the queue at the bar, it's something else..." 😊 I've just remembered, we did an acoustic thing (acoustic guitar, small bass amp, single PA top for the mic, cajon, that sort of hoohah) in a country pub a while back, and some wag shouted "Do some Luther Vandross"...so we did Never Too Much. Never in a million years will it make the crossover to cajon and acoustics*, but it shut the heckler up... Our singer/guitarist does a great Bohemian Rhapsody solo, too, so that's always in the back pocket as a wag-silencer... 😁 * Cue some clever sod here posting a KT Bloody Tunstall** version I've never heard of... ** Her real name. No, honestly: look it up... Edit: Chapeau to the profanity filter for making the bride sound even more classy than she was...however, this was the end of a loooonnnng day for her, and she definitely didn't say 'derrière'... 😁

We used to do some Abba, in the two-guitar, heavier band, which was always useful to pull out of the bag, but the one we, as a 50-something bloke trio, get asked for the most is Tina Turner. I just look long and pointedly at the guitard/singer, and then turn back to the requester and say "Really?" I always love the great combination of a drunk punter coming nearly right up to you, beckoning you forward to them and then telling you that, no, you DO know whatever they want playing... We had a very specially entitled woman* at a posh wedding in the Lakes the other week asked me for a song (I forget what), so I told her we'd try and fit it in the second set. We were actually going to give it a go, but the noise regs round the place were verrry strict, so we were basically cut off at half eleven - we didn't even have time for an encore. She then strode up to the singer (we're packing up at this point) and demanded a) to know why we hadn't played it and b) for us to stop unpacking and play it. When he pointed out we'd used the word 'try, and the noise regs situation', she stormed over to me to insist we play it. We then had a conversation which involved me telling her repeatedly that we'd been stopped playing by the venue's regs, and her repeating "But you said you'd play it..." for a good five minutes. Eventually I said to her "Are you used to getting what you want?" and she said "Yes I am", so I said "Well you won't this time." She then went to complain to the bride and the venue manager... 😡 * One of those "I'm a very good friend of the bride** and she'd want you to play..." ** But not one of the six bridesmaids, obv...

A medium-sized shoehorn and some goose fat...

I really liked the Bongo I had a good go on a while back - an extraordinary amount of very tweakable output, and it played very well. If I didn't look down, it was a great bass, but I'm terribly shallow like that, and I just couldn't live with the shape. I have a friend who has an uncanny knack of vocalising underlying issues, and therefore making them something you just can't unhear - he 'bog seat'-ed the Bongo for me, and even ruined Corvettes with his 'that top horn horn looks like a nob'... 😕😁 I love the head shape, tho... 😀

In a secondhand shop recently, I spotted some (new) D'Addario half rounds on a shelf, and bought a set on a whim. Put them on my Bigman-equipped Shuker which I'd always struggled with because it was too bright (tho flats killed it off a bit too much) and it's a joy to play, and now sounds very good whether through my rig or DI'd. I must go back and buy the other sets before they run out...

This.

I play live a lot, and it's exactly what's been said above - all that searching for lovely bass tones in bedroom studio isolation goes out the window when in a band scenario - Schroeder cabs are a good illustration: they can be honky and unpleasant in isolation but they work really well with a band. You only have to hear, for example, Geddy Lee's soloed tone to hear how clanky and buzzy and gnarly it really is... It's also why all the navel-gazing and hand-wringing about tonewoods and fretboard materials makes me smile: it matters not a jot (well, maybe a jot, but a small one, at that) once the band starts playing. If you're a solo player, then yeah, knock yourself out, but with a live band (especially anywhere near a rock* band)? Nope. IMHO, YMMV, etc, etc... 😉 * Other genres are available, obv... 😁

Or sell them both and DI with in-ears....c'mon, someone had to say it... 😁

I've never noticed any mids cut with stacked cabs...and I've stacked all sorts. HTH 😊

Stack them, don't split them. You can angle the One10 on top of the SC, even better for hearing it to your ears if you're on a space-compromised stage area.

When I think British, I think Wals and Shergolds, and the Burns Bison. And possibly headless Statii, although they're a bit 80s Start-the-Quattro shiny suits and hitched sleeves for it to be entirely positive...and that's without all the LEDs... 😕😁

Awful. Thank the Lord for Cliff... 😁

Post-Savile? Don't even think about it...

For a small (and there's part of the the problem for reproducing the massive fundamental of a contrabassoon*, although I don't know how low that is) cab with maximum, erm, output, for want of a better word, I had a BB2 which was very very loud indeed, and could handle an awful lot of lows, whilst still being light... * Just a fantastic phrase to type... 😁

I use a BF Super Twin 212 with a Walkabout - 300w and it can drown the drummer and 2 412 Marshall 100w geetards. It goes silly loud... 😀

I'm with BRX in the James Randi camp here (without the cash, sadly ) - show me the actual, repeatable, provable science, and I'll believe it. Electronics, pickup placement, strings, design (in the extreme) yeah, everything else? What BRX said...

Hmmmm...Hunky Dory, LA Woman, Led Zep IV, Fragile, Aqualung, Master Of Reality (Paranoid and Black Sabbath were still in the charts), then for the non-rock-fan there's Curtis Live, What's Going On, Surf's Up, Joni's Blue, The Allmans at Fillmore East, Shaft, Bryter Layter. Whilst I fully agree Mr Daltrey is hitching his latest project onto a controversial statement, outside of the pop field there was an enormous amount going on in 1971... I think picking the top of the pops in any year can ruin its credibility...look at '78: in the midst of the Punk Revolution(tm), Paul McCartney spent nine weeks at number one, and Boney M's Brown Girl In The Ring was the biggest selling single of the year...

If you're wanting to gt away from the usual clones, then with your budget, definitely a call to one of our fantastic luthiers: Jon Shuker would be my choice every time, but I've owned a couple of very nice ACGs, too. Never seen a Dingwall fretless, though I have a fretted which is a fantastic instrument. You'll be in secondhand territory there, though. Depends on what you want: if you're confident and definitive enough to know exactly what you want, talk to a luthier and you'll get something unique which is exactly what you want. If you want to pick off the peg, then there's a lot of options for your budget in a similar quality bracket, especially secondhand...you'll just need to pick around the clones...

Compression is your friend to define the bass and give it some more 'punch' through the PA. The Behringer should be able to do that, although you'll have to do a little playing with it.

If we're talking about feel and playability, A Mike Lull Jazz with a P/J setup in Bass Direct when I was just faffing about was very nice, and also a Bongo I played once in PMT. I wouldn't have bought either, for the looks. Yeah, I'm shallow I really liked a BB2024, again in BD, but wouldn't have sprung the £2400 to buy it new. Other than that, I've never played anything I didn't own and would really, really want.

You're asking the wrong questions. Someone pointed out earlier than the BF cabs have a very wide response range, greater than many out there...FRFR was mentioned. The cab will put out what you put into it. If you EQ a lot of sub bass, you will find that's a bad thing for a bass backline cab in a band scenario. That has got nothing to do with Barefaced. I'd like to know what car you drive, because if it's capable of more than 60mph then by your reasoning it should have been avoided, because driving at 60mph in a car park will mean bad things will happen.

The point is if you put a lot of energy at 30hz into a bass guitar backline cab which is capable of reproducing it, you will get mud. If you took a top-of-the-line PA sub to your gig at the Dog & Duck and bunged a lot of 30Hz sub bass out, it'll sound like mud, even though it costs thousands of pounds. It's got nothing to do with Barefaced.

Hahahaaa...I play a lot of these songs, and though I wouldn't listen to them at home, I enjoy playing music to singing, revelling crowds who are enjoying themselves, and that elevates the song every time. Like it or not, Oasis are the anthemic band for a generation (or more). I see it every weekend