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Decent attenuating earplugs are great for noisy environments because they reduce background volume but you can still have a conversation with the person in front of you.

Yep, mine kicked off properly thanks to a dep guitarist (who we never played with again - nothing to do with the tinnitus, he was just a bit of a d*ck) and his 112 combo pointing at my head for 1 set at a gig maybe 15 years ago. At half time I moved it to point at his head, he winced and turned down... Anyway, it turned up, moved into the spare room and never left. ACS inears for gigging and ACS attenuators for other people's gigs and clubs. Hopefully that'll have slowed the march of The Whine. One thing that sets me off (well, it draws attention to it) is that thing they do in movies when there's been an explosion and the hero's staggering around in the dust...aaaaand there it is, that's The Whine...

Last night I did a dep gig for a U3A jazz band as their usual chap has various health issues and had been advised by his physician to take a rest. He actually turned up to watch and, fortunately, appeared to like what he heard. Not many in the audience, but it was a fairly rural venue. Nice building, though: https://thehallevents.org.uk/ Gigging again tomorrow: https://www.charlburybeerfestival.org/live-music-and-entertainment/ ...then a jam on Sunday.

I've been looking at LFSys lately as there's one thing on the website that really resonated with me and I need to understand more. It says on the About LFSys page, and I quote, "The lightweight amps were great but the cabs proved a disappointment. First, my (highly regarded) compact cab regularly ran out of steam when I needed to play really loud and second, more importantly, I struggled to hear what I was playing when I was standing close to the cab. Which was more often than not." This is my biggest issue gigging. I've been using one of my (no tweeter) TWO10s vertically on an 18" high platform (alu workbench) so I can hear it but the guys in the band are wondering why I'm so loud on stage when we're setting up and soudcheckingstill. If I come down to an acceptable stage volume, which I have to for the show, I can't hear my rig very well, I just hear the room (but obviously on a lag). I'm between 3-8 feet in front of it depending on venue, where I stand. Now, the "really loud" isn't an issue for me, the venues are pubs/clubs/marquees and I never need the second TWO10, in fact the folding aluminum workbench has replaced the second TWO10 as that was being used as a shelf in some cases. Is a Monaco going to meet my need to hear myself better on stage and if so, how does it do that and why doesn't the TWO10 do it? Also would it still need to go a platform? The guys in that band are "a bit wary" of me having the cab raised as they've never really seen that before.

Its already refinished, there is no value to lose even if that mattered to him.

I can see the convenience but as you have an actual battery compartment on those, its hardly that much of an issue, it takes less than a minute and it only has to be done every few months.

I've tried today to check the voltage when previous stop of working. I took old batteries, the same of last Saturday, and I was been playing. As the batteries recover, they work at first, even though they sound bad. After a while, the bass stopped playing when active. I removed the batteries and they showed about 8 V (together, like 4V each one), but the voltage gradually increases. With the batteries connected, it showed 0 V. What a sh..., I wanted to test them without opening the tap.

Got it too and I can remember the exact moment it kicked in. Funny thing is my hearing has actually become more sensitive...I can hear stuff no one else can, the downside being tho I simply cannot risk playing live anymore even with the purple industrial strength earplugs. Even quietly practising my P bass will set it off....

I think it is very easy to speak out against the paying practices of the Glastonbury Festival for bands when the vast majority of us are never going to find ourselves in the situation where we have to choose between sticking to our principles about getting paid, or sucking it up and playing for the "vibe" or "exposure" or whatever other reason works. It would be interesting and enlightening if @Linus27 could report back after the weekend with how it went financially for his band. Did it cost them overall to play the festival? I notice that they appeared to be playing 4 times - was that required to make it financially viable? How did merch sales go? Were there any and does the festival take a cut? And then maybe come back at the end of the year and let us know if playing Glastonbury got them any more gigs or other opportunities, or did it end up just being another gig in a tent in a field (albeit one that most people have heard of).

Hi guys! I made full review of this pedal, so if you are interested, you can check it out. There is some informations about this effect, sound test and playing with this pedal throught some music styles and bass techniques This video is in Czech language but I made English subtitles 😄

That works for me, see you there. Props to @neepheid for this.

We're going to Ibiza - Vengaboys

These basses are almost free when you consider the performance-to-price ratio versus the vintage Fender market. I purchased a new Squier (Affinity I might add) Active Jazz V before Christmas after picking one up to try in PMT (RIP) ONLY because it was the only fiver they had.I thought it was that good. I'm not knocking the vintage Fender market but I'll confess to not understanding the prices whatsoever.

I think sometimes musicians have a very blinkered or naive view of what it is like for other bands (especially originals bands), regarding the use of deps. There are some great musicians out there but, IME once you step outside of conventional blue-based rock, soul and jazz, finding ones that understand the specifics of the music are few and far between. It's not just about playing the right notes in the right order. For instance it would nearly impossible to replace any of my current band with deps. Firstly if we turned up with a different singer (no matter how technically good they may be) half the audience would want their money back. Any dep for our synth player would either need to have the same synthesisers with the same custom patches or they would need to spend some serious time with the recordings working out suitable facsimiles of the sounds. My dep would need a Bass VI with the same non-standard tuning as many of the songs are completely impossible to play using normal Bass VI tuning and a Helix or pedal board capable of producing all the bass and guitar sounds I use. And all of that is before we even consider band image...

Holidays In The Sun - The Sex Pistols

I've found the easiest thing is to just weigh the bass from time to time. As the battery charge gets used up it gets lighter. Only a fraction of a gramme but kitchen scales are good enough.

Holiday In Waikiki - Kinks

Holiday Head - Screaming Blue Messiahs

Holy Diver - Dio