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  2. A dressing room full of hookers and a mountain of coke. As everyone else has said, if the audience are into it.
  3. I have one of those coming up in September. I'm not sure I'll get two monitors. Daryl
  4. I've played a couple of small outdoor festivals and they usually lack the energy and audience connection of a more tightly packed indoor venue (ideally I'd like 100 club on a busy night sort of thing, I expect most people would prefer to have seen bands like The Who, the Clash, Sex Pistols, Oasis etc. there than a stadium), so I don't think a massive crowd is necessarily on my wish list - but need a good up for it crowd is needed. Anything else is a bonus for the mundane stuff (good sound, easy access, not too far to travel, free food/drinks).
  5. I usually have flats on my Sandberg TT4. Usually EB Group 2.5 flats, but sometimes Ti flats or La Bella depending on what I need. I've just put rounds on it for the first time in about 3 years!
  6. A couple of 45 minute sets to an audience who appreciate some hard bop, ideally in the afternoon so I can get away for a decent dinner and a few beers afterwards (no drinking and playing!). Some pay is nice but the top requirement is that the venue staff appreciate the musicians and we don't have any hassle about load in/out, some refreshments etc. etc. Playing at the Rose & Crown in Oxford is good, but they don't have many openings.
  7. I seem to have collected far more of these than I actually use, so here is a nice selection of vintage Boss pedals for your perusal. All of them are in used working order. All have the labels an no Velcro, unless otherwise stated. Some have the original boxes - basically see the descriptions of each. Top row L-R OD-20 - July 02 - Missing insert for box - £80 FZ-2 Oct 95 - Silver label, boxed, no manual - £200 BF-2B June 91 - Green label, boxed no manual - £100 PS-3 Nov 95 - Pink label, box, non original manual - £135 Middle row L-R DM-3 84-86 - No label, velcro on bottom, rubber foot intact - £110 CS-2 Jul 82 - Black label - £100 NF-1 80’s - Black label, No serial - £65 PH-1r Sep 83 - Black label - £115 TW-1 Mar 84 -Black label - £115 DSD-3 May 88 - Dark blue label - £100 RV-2 Apr 88- Grey label - £100 Bottom row L-R DS-1 4A - No Label/serial - £55 KM-04 - June 82 - Very tatty box, no manual - £65 CS-3 - Black label MIT, no serial, Boxed with manual - £80 The mixer I used to re-combine split/parallel signal paths. Feel free to PM for more pictures or questions. Happy for collection/demo here in London or add £5 for UK postage.
  8. 16 pedals to start. Then about £10 per new pedal as they are launched. Limited user slots for new pedals. Have to use an app to put new pedals on it. I'm sure it will sell loads, but it really looks like Boss had a look at the Line 6 HXOne (200+ pedals in it, no cost for updates and new sounds, no need to use the app) and just did the opposite. The Boss is slightly more expensive too. I would really really like a Turbo Distortion that didn't have the mad hiss levels of the original, but I still wouldn't buy this.
  9. Thanks to everyone that's commented. It's definitely NOT taboo . Going to string my Sandberg DK Marlowe with a set and feel the warmth.
  10. Boiled Beef and Carrots - Harry Champion
  11. Ideal gig for me is: A 45 minute set, as main support to a bigger band Guaranteed parking at the venue Some form of backstage/dressing room (not so I can be a pop-star, but just somewhere I can sit down, due to back issues) Provided back-line (again, not so I can be a star, just so that I have as little to carry as possible cos of said back issues) Venue has at least a 3 feet high stage (so moshers don`t end up on-stage/knocking me over when they get over- excited) Two monitors for each band member Proper sound-check Bottled water for on stage
  12. I do get that the relic job alone isn’t worth the extra (not least as you’re doing it deliberately) edit - I hadn’t realised that this is your battered aria that I’ve seen before
  13. Looks interesting. Takes the same concept they use on their plugout synths:
  14. Yes, my experience too... the string retainer bends and the string takes pretty much the same path as before... The Sandberg triple tree is far better but then it's down to looks...
  15. That is the usual recommendation for HiFi speakers but they are in quiet rooms. 20 is fine for a bass cabinet in my opinion.
  16. Oh, tell me about it. I've done some rehearsals where the air con is on the blink and I feel bad for anyone close to us when we go for a post-practise pint!
  17. When you say deathcore breakdown are you meaning what happens to the drummer after they have been forcibly mated with their chinese crash 🙂 ?
  18. You would have a very strong argument though - if someone is trying to claim copy write, but you can point to a document where they explictly said they are selling it to you, then you have a pretty decent defence - certainly strong enough for me to run with.
  19. How would we have Deathcore breakdowns without them? 😶
  20. Of course with my luck neither fit precisely but the one made to my measurement was closest and was able to be secured enough to use. Likely I will have to enlarge the holes at both ends so that the screws can sit as they should. Its been a long process, fine motor skills are not my friend (with a digital calliper at least) but I'd highly recommend Tim at Zero Mod if anyone else has a need for a scratchplate mounted thumbrest on their bass.
  21. Possibly not an irrational prejudice: china crash cymbals should be banned.
  22. Today
  23. I guess I was a quarter right. 😄
  24. Sadly no. 13 year clean and sober, only excuse I have for the myriad of mistakes I make daily is I'm thick 😬
  25. Torte scratchplate and leather strap for sale £12 Posted.
  26. One of the nicest and most chill gigs I've played is a Sunday afternoon set at a members only club. Nice change from midnight/1am finishes.
  27. Tapewounds specifically, according to the quote in the Bass Culture book, used after JE kept breaking the strings on the Danelectros he was using.
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