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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!

Alas, I have a gig the night before, so no Scottish invasion this time, sorry!

It’d be interesting to hear your version of mustang sally . This tuning is going far beyond beard twitching territory. If I was in a gigging band with a 5 string ( bead) ,I’d be a little put out as more often than not Low B is supposedly enough to deal with lower range of vocals etc . Your vocalist must sound like a dying dog . Having said that, I do like the Warwick vampyre tuning for some reason but it would seem to have very ltd purpose , unless I was in a gigging death metal band etc . Speaking of Warwick vampyre it doesn’t seem to be available anywhere anymore . Maybe lack of demand or price ? The other thing I was wondering is , how many 4 string basses are available down tuned as standard ?

Some of the synth modules in the Helix will do this.

That looks brilliant! Good luck!

That looks amazing, I hope it's a huge success, good luck John 😎

Had a proper conversation with the guitarist. He was very understanding - he's known for a long time that the band wasn't my vibe BUT we're going to do a few open mics as a sort of accoustic duo with him switching between guitar and keys and I can break out the fretless! We do vocalise well so it' ought to be fun...

I can thoroughly recommend listening Red by Black Uhuru. Every track is a banger, and it features Sly and Robbie (and the rest of the Compass Point AllStars) at their very best. I've been listening to that album since it came out in 1981 and I never get tired of it. The first few UB40 albums a great, too. Good songs, good playing. The early 1970's to the mid-1980's was, for my taste, the Golden Age of Reggae. Check out anything on Studio 1 Records from that era.

That looks great! We need more venues, so it's great to hear of one opening!

Excellent, looks really good

Though probably more ska, Jackie Mittoo is also well worth checking out. He was the keyboard player in the original line up of the Skatalites. As well as having their own career, they were also the house band at Studio One…

By the way, this version is the one I was mentioning, more intimate than the Lang Lang version: