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I did a marquee gig once where the lights were running off a generator and the band were running off a daisy chain of extension leads from the house. As I understand it, that had some very dangerous possibilities!!

Hi All, my oldest bass, both in age and years in my possesion, is a ´74 Jazz (at least it is according to the serial number) and I love it. One of my main gigs, at least a couple of months worth per year, is an ABBA tribute. It's a really good production - good players, singers, mates.. I love it. Back when I started doing it, I purchased one of the early Sire Jazz basses in white (ABBA, right?). It sounds fine, is very playable etc. etc. but it's not a patch on the warm, woody goodness of my ´74 Jazz. So, after roughly 10 years, do I get the ´74 refinished in white for what is effectively my main gig or just keep using it at home and making do on the gig? 1.) Does a re-finish significantly alter the sound of a bass or is that a myth? 2.) Should a lovely instrument like that be kept at home for practice and not see battle? BTW, the current "finish" which was how it was in about 1986/87 when I bought it secondhand, would be no great loss.

Glad to be of help! Pretty much, yeah - it’s a rather simple job, really. Google should be able to tell you what to do with which wires pn a Dingwall pickup for the desired result.

Double post!

This is an interesting This isn't about envy, it's about egalitarianism and fairness. Festivals promise artists with exposure and opportunities as an excuse for not paying them. When people refuse to work this way, the whole system collapses and a better one is created. Worked for the Dallas Cheerleaders who worked together to negotiate a 400% pay rise: https://eu.usatoday.com/story/sports/nfl/2025/06/24/dallas-cowboys-cheerleaders-pay-raise/84330932007/ For a more academic exploration of these issues, this is a good book: https://manchesteruniversitypress.co.uk/9781526171269/.

This assumes that all bands and the music they play is equal and interchangeable. Maybe that's the case if you're playing generic covers, but for everyone else it's not. It doesn't bother affect me in the slightest what other bands charge (or don't) because they are not my band, and they are in no way a substitute for what we do, and therefore not seen as competition. While we do have a figure in mind when venues and promotors are asking us to play, what we ask for gig is on an individual basis, and playing in front of a new audience who may well all want to buy CDs and T-shirts afterwards can influence what we ask for.

Who is suffering with this dreadful thing Mine seems to be the worst it's ever been and I'm worried about gigging with IEMs. I make sure that they're not loud but I fear it's still getting worse. It's affecting my hearing too

I fundamentally disagree. This is a commercial festival that's charging £355 for a ticket. I believe all artists who play on a commercial basis should be paid for their time. The artists are as integral to the festival, in fact they make the whole thing what it is. Do you imagine those people who provide the essential infrastructure – toilets, fences, temporary roads, power supplies and so on – work for nothing? We either operate on an entirely socialist basis, where everyone works for free – or a capitalist one, where everyone is paid for their labour.

Does anyone know of a suitable hard case for this bass i dont want to use a full size bass case, i have a decent gig bag but would prefer a hard case thanks Regards jay

Are you using a digital desk with a tablet? If so, we've taken our rig, provided a stereo fed and given the sound guy the tablet to mix from. We then still have control over our IEM. Assuming ofc they are ofay with digital /tablets.

Ask @stevie - he's right here!

Do performers get a ticket too ??? I assume they do.

What 'everyone else' gets, or not, is, to me, irrelevant, and smacks of jealousy or envy. Look after one's own needs and desires, and give 'everyone else' the freedom to choose for themselves what they get, or not. How would that work, the other way round..? Everyone does what they do for free, but the artists get paid. Is that any different..? I think not. Our band play for free (we always have...), whatever the event and its organisation. We're not looking over our shoulder to see what others are getting, or not.

This is also my experience. We gave our baby grand for free to a local school. The upright we had before that the guy who delivered the baby grand took it away for free 'as a favour'.

She's working 24 hours for about £15 an hour which is fair enough. She's exchanging her labour for a ticket, which is part of the ethos of the event, all good. But I still think artists there should be paid. Won't clog up the thread anymore.

Just because some artists are willing to work for free, it doesn't mean that they should. What this does is establishes an expectation that artists will work for free while everyone else gets paid. This is a bad thing.

I can't help you with piano recommendations, but bear in mind the following: 1. There is no volume control or headphones socket on an upright piano, and when played enthusiastically they can be loud. May be a concern if you have neighbours with adjoining walls. 2. They are big and heavy. check that you'll be able to get it into whichever room you want to have it in. I had to turn down the family upright piano because it wouldn't fit around the corner at the top of the stairs, assuming I would have been able to get it up the stairs in the first place. 3. As has been said you need to factor the annual tuning cost. 4. Don't buy anything with a wooden frame. I will never stay in tune in a modern heated house. 5. However it should be possible to get something serviceable for free. Here in the UK people can't even give away old upright pianos. So if the situation is similar in Belgium and you are prepared to wait and see what is available you could end up with something nice for the cost of transport and a full service and tune once it installed at your property.

My daughter is working at her third consecutive Glasto, having failed to get tickets each time. My understanding is that the event is 8-10 times oversubscribed, and if just a small percentage of those unsuccessful applicants are prepared to work in exchange for a ticket, then the event is cheaper for everybody. She works for a charity ( firstly Wateraid and now Oxfam ) , who presumably get paid for providing staff ( toilet cleaner first time, now marshal/steward ). In return for a number of hours work ( 4 x 6 hour shifts, I think ) she gets full festival ticket, exclusive camping area with showers, access to staff bars and food for each work shift. If they fail to complete the work aassigned to them, then they have to pay the full price for everything provided, and will never get invited again. Almost never happens. Apparently, there are many people who do this every year, and the charities tend to look favourably on applications from previous workers. Usually, they are expected to do another festival too, to get into Glastonbury. This year, she's been invited to go early ( she went down on the previous Saturday ) and do all her shifts before it all kicks off on Friday. She was well chuffed about that, but it means spending 9 nights in a tent !