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Ah, that's great to hear. Everyone was very welcoming. Up early the next morning for a rainy 7-hour drive to the Laundry Theatre in Bowness the following night. Another lovely venue. ...and then back to 'proper' work for 8am Monday morning. Even so, I'd do it again tomorrow.

Looking forward to seeing her in Woking at the weekend!

Personally i think you're fighting a losing battle if the amps they have are that small and they can't understand how bands function at live gigs. Out of curiosity what ages are they ? I guess if you're enjoying the songs its no different from "forever rehearsal bands". I'll wish you all the best with it and hope things improve for you Dave.👍 Dave

If it helps, it's an amp that is well worth trying, which you'll only know works or doesn't work if you do (no matter how experienced we all are, none of us have your ears/your expectations/your band), and which is getting harder to find as well as more and more costly when you do. Given i'm confident that whatever you pay for it at Bass Bros you'll get back if you decide to move it on, I'd snap it up 👍

I think until they get much closer to the giving stage I'll keep quiet about my PA etc. The lead guitarist has a Boss multiFX so can go directly to the PA, he just hadn't thought of doing it until I mentioned it. He seems fixated with IEM, but has no clue whats really involved. Every conversation i have with him its 'well me and you can use IEM, if the other don’t want to f%%k them'. It's like he has read up on what a few big bands use and thinks its as easy as plugging headphone sin to a mixer. Ill be civil to him but wont entertain any conversation as far as sound etc goes. I know before I joined he was trying to get them all to go IEM and he felt that having me there would help push them towards that, but I cant see any reason to, and I know what will be involved if we did, and it would be all on me.

I've had this jazz neck for years, it's been on loads of different bodies and is by far the best neck I've ever played, but I'm now worried that the truss rod might be coming to the end of it's life because it's now pertruding out of the truss rod slot, does it need replacing, and if so, is it costly to do so? Thanks.

2,4,6,8 motorway - Tom Robinson band

Hi. I have this same combo. Just wondering if you can run another cab from the outputs at the rear. So I could have a 2x10 and the 1x15 that's built in. thoughts

Last Friday we went to see Nerina Pallot at The Exchange, Twickenham. For this solo tour she’s playing at smaller (250-500 seater) venues which are in towns less frequented by bands and artists. Given her set up was a piano and an acoustic and an electric guitar, the intimate venue worked well with a capacity 300 folks there. She’s such a good singer songwriter and we’ve been following her for the last 20-plus years. Can’t wait to see her again next year when she’s playing the Royal Albert Hall as a big 25th anniversary celebration gig.

Depends entirely on the particular pedal, some can and some can't. If all pedal manufacturers included the necessary information in their specifications, specifically the maximum output level, it would be a LOT easier to determine this.

Reading through this I have gained the impression that you won’t get full power out of most power amps using pedal preamps, because their (preamps’) output is insufficient. However, there are some power amps on the market specifically aimed at pedals, modellers and preamps for guitarists/bassists. Examples being the GRBass Pure, Seymour Duncan Power Stage series, Harley Benton GPA-100, Fryette Power Station, etc. Are these not designed to match the output levels of typical pedal preamps? If not, their marketing promises are very misleading. Personal experience of using the (cheap as chips) Harley Benton GPA-100, is that I seem to be getting the full oomph out of it driven by my Bass Flyrig II into an LFSys Monza. The Monza does seem to have great sensitivity, which may explain some of the apparent volume I get from it. It works fine as a combo for rehearsals and coffee shop/bistro type gigs (our drummer uses an electronic kit, so can be turned down). This positive experience had encouraged me to consider a more powerful (and expensive) preamp like the Palmer Macht 402, or even the GRBass Pure. Reading this thread has made me question whether I might be very disappointed with the resulting output. Any thoughts?

For me G&L has always been the workhorse of all these three brands because of the versatility. Especially models L-2000 and 2500 (and Wide-5): modern electronics and 2 pickups. When Nirvana started to use those cheapo and old student instruments, a friend of mine went to US. He came back with a neat G&L and said that Fender prices were sky high while his instrument had a very attractive price tag. George & Leo would be my choice of all his three companies. Well, an old Sabre could be close.

Bring your rubber car mats in to chuck over cables?

Sounds nice, F hole from the title? Action, check the truss rod first, Then check under the bridge blade, often a shim above or below the transducer piezo element. Easy do, Budget Adagio Flats? Bit of Blah Blah, nut, bridge etc. on my Harley Benton - might help?

I was thinking of this with regard to a temporary lecture theatre situation I have to set up soon. As it's for work not play, I've ordered ten feet of cable guard, but I can bring it along. If anyone wants to buy some, this seems to be a good deal 10 feet (3m) for £16.99. Beware lots of what look like good solutions are self-adhesive for semi-permanent uses, and I'm fairly sure folk will want versions with a grip underneath for temporary use. I may get commission if you use this link, but it won't cost you extra: https://amzn.to/426GFTI