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16 hours worth culled from the Bass chat thread. Couldn't keep up with it in the end 😲 https://open.spotify.com/playlist/59RhYT5dLPwboS9u3njL4S?si=eqXaQgxpTV-nCwXW18bOxg&pi=AYELaBxHRR6-T

Stephen Thanks for this. Ambient temperature is around 7-8C, air moisture level is pretty much saturated as it's raining constantly such that flood warnings are in place and I am told Keswick Campsite is being evacuated which is a step into the unknown. Very little wind so air drying is probably not on. I do have a nice space heater courtesy of ScrewFix so may use that and see how it works. I suspect without artificial heat, we're into next year for painting Rob

Brilliant work Tom.

For me one of the main factors is 15min changeovers. Even when the band set ups are the same it can be a challenge, throw in left handed drummer etc and even more so. Add in bands who take forever to pack gear up/set up, chaos abounds. I’d prefer 30mins from a performers point of view, would be interested how long people who do sound engineering would like.

You use what there is, as best you can. Antagonising the sound man is the biggest mistake you can make - however justified you feel. The rubbish amp (the hire car of backline) is likely to be just your monitor. Live with it and trust (or just hope) that the guy out front is making it sound as good as he can. Let's face it, the only performance that will suffer is yours. I was about to be broadcast live on BBC TV, switched on the supplied bass amp and it gave a light show reminiscent of a car audio demo. I had no idea what did what and was just thankful it made a noise at all. Subsequent listening showed the FOH sound was fine. Sure didn't feel like it at the time.

And Greg Howe! And Guthrie Govan...

New covers ep/album by early Weeds guitarist https://chrishaskett.bandcamp.com/track/pick-up-the-pieces

Well, if she's good enough for Simon Phillips....

RIP Rob Reiner.

great looking place!

Bought an Atlas compressor pedal from Andrew. Seamless transaction, good comms, quick delivery and item in excellent condition. Thanks!

Another Green World - Brian Eno

Hi all, So just to clarify - my sound experience was being an in-house engineer. In otherwords, the bands were touring, but I stayed put. I think this is where the most of this thread is aimed. I fully understand that bands want the best sound ever, but the in-house engineer is dealing with the limited equipment they have, along with pressures from venue managers to cut the soundcheck so they can open the doors, or even trying to line check only while the DJ is playing between acts. I can remember doing a festival type weekend with shared backline and only 15 strict minutes for changeover/line check where you would get someone refusing point blank to used the shared gear then unravelling chewed power leads with cores exposed, or the touring name's sound engineer that insisted on rewiring/changing my drum noise gate setup - only for the band to say all the other bands they watched sounded better and he didn't appear with them the next year. In these situations, having venue knowledge of what works and doesn't work is vital. Sometimes you have to put your foot down in the interests of time, equipment capability or standing up for the protection of your own equipment. I have also had it all across the scale from switched on sound-techs playing in bands to keyboard players insisting on stereo monitors with Y splits from the drum mics they can mix themselves (just for a pub gig) to singers that have never seen or used wedge monitors before spending the whole gig with their hands over their ears... I have also had bands soundcheck for hours and say it sounds perfect, only for the venue to fill up with a load of humanoids that then changes the sound for them completely. As a gigging bass player, I always try my best to be nice to the sound guys but I know what it's like to be thrown off my playing by bad sound, so I have had my share of grumpy moments too. I think a lot of it comes down to personalities at the end of the day. As others have rightly said, the sound guys in these small venues don't get paid much to handle a lot of pressure and are usually an easy target if the band doesn't have a great gig. I'm not condoning it, but I think it's no wonder some of them develop an attitude over the years....

I started using it recently. The drying time depends on the ambient temperature and air moisture level. It will dry OK at temperatures of around 10 degrees. I leave each coat for a day at the moment but drying outside with a bit of wind is faster. You should be all right at current Yorkshire temperatures, although it would probably be best to paint in the morning and avoid overnight drying when the temperature is expected to drop to 0 degrees.

The Village Green Preservation Society - The Kinks

Just realised I forgot to mention, the distiller is fitted to my Hohner "The Jack" (double humbucker model, not the ones with jazz pickups). All the recordings were made with both pickups on full.

Brian Setzer recorded a full album with Christmas tunes revisited like this one:

Really good to hear this Linus, once you start exploring and listening to the different types and styles you’ll probably find what artists appeal to you, sly and Robbie have some wonderful songs , they did an album the best of 1978-1985 which is worth a listen, I guarantee you won’t be able to resist picking up your bass to some of Robbie’s basslines, I’d also recommend checking out Flabba Holt who is the bass player with Roots Radics , different style of playing to Robbie, they backed Gregory Isaac’s for years and many other artists, and as some have mentioned There’s plenty of listening on the reggae thread,

Interesting config!