flyfisher

The parallel/series thing is confusing because there's a difference beween the physical cabling arrangement and the actual electrical circuit. Connecting two cabs into two amp outputs 'looks' physically like a parallel connection and is, in fact, electrically parallel as well. So 2 x 8 ohms in this arrangement will present a 4 ohm load to the amp. Connecting one cab into the amp and them connecting that cab to another cab 'looks' like a serial connection but is, in fact, still an electrically parallel connection. So 2 x 8 ohm cabs connected this way will also present a 4 ohm load to the amp. Connecting two cabs in an electrically serial way would involve some special cables. I don't know how common it is to truly use a serial connection for two cabs, but I've never seen it done. Edit: OBBM beat me to it - drat those phone calls that come in halfway through writing a post!

It's a bit like used cars being sold by "one careful owner". So what? That could mean it was only ever driven 2 miles a day at 28 mph until someone else drove into it. Do such descriptions really matter though? Would anyone really buy a bass without seeing and handling it?

[quote name='pietruszka' timestamp='1343993710' post='1758314'] Haha! In what sense? That about 90% of the gear goes to other BC users, and ends up back on the forum to other BC users? [/quote] Sounds a bit like a village jumble sale where you end up buying back stuff you've forgotten you ever owned.

Some people are always looking for something new. Something new comes out, they buy it, they rave about it, so other people buy it and rave about it. Gradually it dawns on people that the new thing is not such the revolutionary breakthrough they first thought, but they don't like to admit it. Besides, by then there is another new 'best thing ever' to try out. And so the GAS perpetuates itself. Meanwhile, in a parallel universe, others successfully 'plod along' using age-old Fender Ps & Js etc and just concentrate on the music. Ridiculous, of course, but there we are. I've even heard it said that there's some guy from Liverpool who still uses a cheap old bass that was all he could afford as a teenager. If only he'd later bought something decent it wouldn't have held him back so much. Such a waste.

[quote name='kevin_lindsay' timestamp='1343892913' post='1756802'] Hahaha!!! I had the very same thing happen to a band I was in years ago. Knob end guitarist arrives at the audition at the rehearsal room, and before even saying "hi there, my name is xxxxx", he said, "that guitar amp (Marshall head with 4x12" cab) won't get my sound. And, I bet the cab is the wrong impedance. Plus you guys will have to move it to the other side of the room for me". Next thing that was said was me putting my bass on it's stand, walking to the guy to shake his hand and say " thanks for coming. Don't bother getting your guitar out of it's case, you'd be a nightmare to play with". The guy replied "WHAT??? Aren't you going to at least hear what I can do?". To which my response was "to be honest, I think all we want to hear from you is the door closing behind you, you need to work on your people skills. Thanks for coming anyhow". A bit harsh on my part, but saved us a half hour of grief I reckon. The next guitarist who came in was great!! Really nice guy who actually listened to what everyone else was doing and played to enhance our sound. [/quote] Excellent story and one of those 'real world' lessons for the guy concerned. This sort of thing doesn't just apply to bands. I've interviewed loads of people for jobs - professional people, highly qualified with relevant experience. Of course, they only got to the interview stage because of their CV and, broadly, they were all capable of doing the job in question. By this stage, success is largely based on whether they are judged to able to fit in to the team and the company. I'd bet we'd all rather play with competent musicians who are great company than socially-inept virtuoso primmadonnas. It might not be fair, but that's life.

There's probably a guitarist on 'RhythmChat' somewhere ranting on about how he's walked out on a bunch of @rseholes. Glad to hear it's worked out in your favour, but something like that seemed inevitable really. If bandmates don't get on together then it'll never work out. Onwards and upwards!

It does sound as if there is never going to be a reconcilliation here. As others have pointed out, if the personalities don't work then the band is doomed anyway. If the three of you are of like minds, why not just start rehearsing without the interloper while looking around for another rhythm guitarist (if you must).

[quote name='Machines' timestamp='1343755372' post='1754725'] I personally find endorsements to be a little odious. [/quote] It's just marketing isn't it? The use of well-known people to endorse a product in return for something is as old as the hills - even Michael Parkinson sells OAP insurance (or whatever). I can't really see a problem, either way, though like any contractural agreement it's not a good idea to break the terms.

Actually, it was that post that prompted me to post about that PC Pro article and the references. I'm with Silddx on this and use OBBM cables. The physical construction and quality is great and, although I've made plenty of cables in my time, it's not really worth the time and trouble given OBBMs prices. As for any 'audio colouring' - who knows? I've not noticed anything but even if there is something I doubt it's anything compared to the amount of tone control fiddling I do with my amp at different venues anyway. And anyone using a pedal or more, well . . . .

We've had a few discussions about all this but I came across an article in PC Pro magazine this month that included some interesting references: The general conclusion is that there is a definite benefit of spending a bit of extra money higher quality cable and connectors from a [u]physical/mechanical[/u] perspective, especially in applications where they are regularly being plugged/unplugged (which is typical of band gear of course), but after that there is no real impact on the actual sound. Anyway, this isn't really to rekindle the debate, just to point interested parties in the direction of a lot of other information on the subject. I couldn't find a link to the PC Pro article, probably because it's the current issue (Sept 2012), but here are the links to the references within, just in case anyone is having trouble sleeping at night. www.pcpro.co.uk/links/215idc www.pcpro.co.uk/links/215idc1 www.pcpro.co.uk/links/215idc2 www.pcpro.co.uk/links/215idc3 (comparing expensive hookup cables with coat-hanger wire!) www.pcpro.co.uk/links/215idc4 www.pcpro.co.uk/links/215idc5 And one all about digital cables, e.g. HDMI www.pcpro.co.uk/links/215idc6

Surely the answer is for the band to take control? Juke boxes only have a limited selection of songs, so if the band makes the initial selection you can safely let the punters choose whatever one they want. I saw Elvis Costello do this at the Royal Albert Hall in the 80s. All the songs were on a big spinning wheel and wherever it stopped they'd play that particular song. He reviived the idea many years later on his 'Spectacular Spinning Songbook' tour and got audience members to spin the wheel. It all makes for good audience participation: http://www.youtube.com/watch?v=HFpJyb4yo1A

[quote name='essexbasscat' timestamp='1343413285' post='1750483'] It's art, it's free, you make it what you wish. For every person that says "do it this way", there will be someone else saying "Why do the same as everyone else" ? [/quote] Agreed. Do whatever you like - if you like the results then it's good. Just don't expect everyone else in the world to like it.

[quote name='neepheid' timestamp='1343297398' post='1748392'] Just gig it - I'm playing my RD Artist tonight - anyone who comes near me when I'm playing who isn't in the band or bar staff can eat maple death! [/quote] Yep, Keef would agree with you there: http://www.youtube.com/watch?v=KyK0y02HvVc And the reasoning: http://www.youtube.com/watch?v=GODaPVTvYKs

Didn't he marry Mrs Merton? (not that it's particularly relevant either way)

It's a personal decision, of course, but the only reason I'd sell my stuff is if I needed the money. Even if I wasn't in a band I'd still want something to play.

This one, because I remember rushing out to buy the single the day after watching it on OGWT. (skip to 3:10 if you don't want to hear a gushing whispering Bob explain that Lennon's fee for this piece was 4 box of chocolate oliver biscuits ) [media]http://www.youtube.com/watch?v=ISkLWgLpwRI[/media]

Our old friend Bill . . . . http://www.youtube.com/watch?v=nI5XVxdWqUA

Another oldie: http://www.youtube.com/watch?v=zXBG73TnEZQ

[quote name='peteb' timestamp='1343202065' post='1746798'] Does anyone else think that Stevie Ray Vaughan's versions of Hendrix tunes (most notably Voodoo Child) are better than the originals?? I think that it's more to do with the rhythm section than anything...... [/quote] Yep, and here's an SRV nursery rhyme cover . . . http://www.youtube.com/watch?v=vaX7Y1GQl5w

An oldie, but stellar line up on this one: http://www.youtube.com/watch?v=SUYo8PeO96g

It's a tool. If you get too precious about it you'll spend more time worrying about it rather than playing and enjoying it. Failing that, hang it on the wall in a reinforced glass case and just admire it everyday (and yes, what a bloody waste that would be!).

I don't use mine too often but, coincidentally, I did last weekend. I just clip it to the strap as it's a pretty tight clip. I've never felt the need for gaffa tape and it's never fallen off. I'm not what you'd call athletic on stage though.

How important is the centre detent? Still, ALPS is a quality manufacturer.

Farnell has 65 different types of 50k single-turn potentiometers: http://uk.farnell.com/jsp/search/browse.jsp?N=2031+204275+110167408+110190129&Ntk=gensearch&Ntt=potentiometer&Ntx=mode+matchallpartial&No=0&getResults=true&appliedparametrics=true&locale=en_UK&divisionLocale=en_UK&catalogId=&skipManufacturer=false&skipParametricAttributeId=&prevNValues=2031+204275&mm=1002553||,1002571||,&filtersHidden=false&appliedHidden=false&autoApply=false&originalQueryURL=%2Fjsp%2Fsearch%2Fbrowse.jsp%3FN%3D2031%2B204275%26Ntk%3Dgensearch%26Ntt%3Dpotentiometer%26Ntx%3Dmode%2Bmatchallpartial%26No%3D0%26getResults%3Dtrue%26appliedparametrics%3Dtrue%26locale%3Den_UK%26divisionLocale%3Den_UK%26catalogId%3D%26skipManufacturer%3Dfalse%26skipParametricAttributeId%3D%26prevNValues%3D2031%2B204275

[quote name='BigRedX' timestamp='1343145205' post='1746037'] No. At the risk of sounding like a broken record the only reason for an originals band to play for free is because they want to. There are paying gigs out there for bands playing their own material. You will probably need to put in more effort to get those than you need to for the free gigs, but they do exist. Put on a show when you play. Make use of all your contacts. Get to know other bands in your genre. If your home town doesn't want to know then play somewhere else - if you're being paid you can afford it. However playing for free because you believe there is no other way to get gigs is just defeatist and all it shows is that you've already given up. [/quote] Given up on what? If earning a few bob isn't important to the band, why bother to jump through all those extra hoops you describe to get a paid gig? Who pays for all the time you would have to spend marketing the band, sending out flyers and/or demo CD/DVDs, finding venues outside your home town, emailing or phoning them and generally hustling to get a paid gig. Lots of extra hassle for relatively little reward.