All Activity

Thanks Dave, It's one of those venues where the owners put in a lot of effort to take care of the bands. You can drink for free. Plus these folks have live music booked for 3 nights a week in the summer. Friday, Saturday and Sunday. Very cool vibe, money people, no " riff raff". Lol Daryl

It's expensive in my neck of the woods. Especially these high end "snooty" Winery's. When I was going out with Connie last year she was always broke. I'd take her to a gig and I had to pay for everything. I'd end up spending half of my pay on drinks and meals. Daryl

Not necessarily. I'm still measuring the same way today as I did in the 1970's and every product I have designed uses power based on RMS metrics and states THD. For MI applications, especially where the distortion harmonics components may be integrated into the signal in both the preamp and power amp, I have standardized on 10% because after a lot of test player contributed their perceptions, 10% was pretty much the sweet spot where most players liked both the tone and texture. The most common numbers I see for bass amps range from about 5% to 20%, depending on the application. For guitar amps intended to be overdriven as part of their native tone, 10% to 30% is more common. Of course, the amps must be tested and safety certified under these conditions if being honest. For pro audio, the numbers are different of course, and as powers increase the duty cycle factors into the equation. This is most common at very high powered pro audio amps, where after a second or two, the limiting algorithms fold the power back to about 1/2 the rated power and in big powered speakers, the HPF may shift upwards and the crossover points may also shift along with the limiting thresholds. This was all started with Meyer, Renkus Heinz, Apogee and later with JBL, etc. This has allowed maximum performance with minimum damage and warranty claims.

I was quite recently recruited to be house bassist for a couple of local open mics, and then the organiser asked me to dep for their bassist for a gig. This then turned into two gigs on successive days as their bassist had had a gig in Wales (hence the first dep) but had also written his car off (hence the second one as he couldn't get back in time). After a couple of rehearsals, we went ahead - I haven't depped for a few years and then it was for bands that I'd played with before. First gig was a bikers' pub in Old Arley, near Coventry. The stage area was shared with a T140V Bonneville and a Triton (can't say more than that except it was a pre-unit Bonnie engine). Used the Sei Flamboyant 5 through my trusty Zoom MS-60B to the Tecamp Puma 900 and GR Bass AT212 cab. Footwear was the usual Caravelle memory foam trainers (a bit past their best now, but I have a couple of new pairs waiting). I noticed partway through the first set that the Sei was choking out on notes below the fifth fret, so took the opportunity between two songs to grab an allen key and quickly adjust the truss rod. Quarter turn looser and everything was fine - saved me swapping to the Cort Space 5 I had as a backup. Didn't make too many mistakes, just buggered up Gangsters in the guitar solo. The second gig was a Fathers' Day barbecue at the pub where one of the open mics is held (and that was thoroughly slagged off by one BC member a little while back). Same equipment and footwear, same buggering up of Gangsters. Evidence of dancing being perpetrated:

Power is measured differently than it used to be. The numbers get blown up and it seems like power just ain't what it used to be. It is, it's just sold "differently"... Advertising...

Transfusion - Nervous Norvus

I think it’s possibly a Squier standard series body in charcoal frost metallic. The neck isn’t original fender I don’t think, maybe a mightymite with a decal. if it’s any less than £200 probably a very serviceable bass.

Dude in grey Tshirt: 🤨 "shouda brung his other 212".

I have just used https://lenspeedlogistics.com/ to get a bass shipped a similar distance. Have a search on BC and you will find multiple good testimonials. They charged me £55 + VAT. The bass was sent in a gig bag and then had bubble wrap over the top and arrived in perfect condition. This is higher cost than other shipping methods but I paid more for near total peace of mind and that is what I got. Check the link for their insurance levels.

So I ended up buying this amp a few days ago...first impressions.... It's LOUD. It's HEAVY It runs pretty hot. A minor service is in order, but I'm pleased so far. Will keep the thread updated with pictures at some point in the game since I'm in the middle of moving... To be continued...

Yup, agree they’re all great solos, although Ronnie Wood’s solo on ‘Maggie May’ was played on electric, probably a Zemaitis. He also played bass and acoustic 12 string on it. 😊

The bridge would be positioned the same distance from the 12th fret as the nut, give or take a smidge for intonation.

Shake Your Blood - Probot

They look the same as the ones I use here - https://www.bitsboxuk.com/index.php?main_page=product_info&cPath=225_232&products_id=1699 Which I can vouch for, never had a problem with them in lots of builds, excellent for tighter spaces.

Lots of members travel around … you might get lucky

I had the privilege of seeing Dill Katz play on numerous occasions in the 80s and 90s. In particular with his “Mr Gone” ensemble featuring Ted McKenna, Tommy Eyre and John Etheridge. He was a masterful player, with a very distinctive style and sound, with his fat sounding Ned Callan modified Jazz Bass, the unlined fretless fingerboard extended to the pickup. His soloing was captivating and expressive, unafraid to push the boundaries. A great shame to hear of his passing.

I depped for “Matt Guntrip and the Roadsters” at the inaugural “Epsom Square Festival”. We did 10 or so songs: 8 OGs and a couple of covers. I played 2 of the songs a couple of weeks ago, so it was only 8 to learn 😀. I really enjoyed the gig. A few highlights / lowlights: 2 of the band couldn’t find the car park they’d parked in, so we were without the stage piano. I (the Epsom local in the band) eventually worked out which one it was (almost directly underneath us) and showed them how to get there. When we got to the car we couldn’t get stuff out of the boot. Then we couldn’t work out how to turn on the ignition or where the handbrake was, or maybe wasn’t (it was another band members car).😂 We were sat at the stage we we were going to play on, then saw my mates band go on who were on a different stage to us. Quick panic to find the organiser and then our stage.🤔 One of guitarists snapped a string in the 1st song and couldn’t see to get a new one on.🤷‍♂️ A gig of 3 halves. Ist half we had a good number watching, who all left after about 3 songs that we’d played well (broken string faff not withstanding); we later found out it was at least 2 groups leaving for restaurant bookings. 2nd half playing to 2 tables who looked like they’d just stopped for a beer. 3rd half a load of people piled out of the indoor stage for the last 4 songs or so. I used my wireless system for the 1st time at a gig. I went for the odd wander in the 1st and 3rd halves (I.e. the ones for which we had an audience). I think it helped engage the audience. Saw a few people I hadn’t seen for a while, so good to catch up with them. Chatting to one of them was responsible for me leaving my wireless stuff on top of a wall. Luckily I realised before I drove off and they were recovered successfully. Bass G&L L2000 Outfit: Hawaian shirt, shorts, cap (for reasons of sun and bald patch), neon blue trainers. And glasses, which I thought were so I could see, but I’ve found they also help guitarists change strings on the fly 🤣.

You're so Vein - Carley Simon

That's very interesting to read and food for thought. Thank you 👍