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Established Notts/Derbys-based covers band looking for an exceptional drummer who can play a mix of rock, pop, R&B, disco and Motown. Band play through a digital mixer/line array PA, use IEMs/headphones & a good electronic drum kit. If you don’t already own one, we have one you can use! Diverse songbook with material from Supertramp, Pink Floyd and Bruce Springsteen through to Sophie Ellis Bextor, Earth Wind & Fire and Diana Ross. Rehearsals in our own space NW Nottingham and gig around the Notts/Derbys area. Typically 2 gigs a month in pubs and clubs (with the odd bigger event) and currently 20 booked over the 12 months. We play New Years Eve so needs to be someone who's up for that. Interested? Please DM...

Just stand in front of the port. Your trousers would flap nicely.

Short version. Long drive. Double booked. Agreed to be paid of for reduced fee. Then sorted that other band would do one long set then we do two sets for original fee. Landlord getting increasingly 'tired and emotional'. Luckily the band organiser was sober. Landlord decided that as the other band only played half set, wouldn't pay them. They got half fee in the end but we gave them a bit of ours in solidarity. So we went on at 6:45 instead of 5. Crowd were great, several musos present who gave us some reasonably convincing praise. Our setlist which continually evolves works great in the valleys. First half is all pretty heavy classic rock, second half also includes a few crowd pleasers and a 'Welsh Bit'. Anyway landlord disappeared but landlady gave us the full fee and apologised. They want us back (not surprising as normally it would go dead after the band finishes at 7 and we kept it busy until 9) . We were told this had never happened before. Two of our band are in other bands booked there so they checked their bookings. One was double booked and the other was booked in on the wrong date. Apparently we were down for 30 November... this morning I got messages saying 30th November no good can we do the friday. Then actually can we do another date instead. As you might imagine some of us are 'unkeen' about returning.

I have recently bought a Monaco, which is being used for rehearsals and weekly gigs. So far used in smallish Pubs, Largish Pubs, Wedding venues, and 2 Festivals. Used with with an Ashdown ABM 600 and a new Trace Elliot TE1200 with varying amounts of PA support. I still have my Barefaced SuperTwin. Once I get my head round the use with the Trace Elliot, I'll write a proper review. Key findings to date; Played on its own, (without the band) the Monaco has a better tone than any cab I've had previously. (Ashdown, Vanderkley, Mesa Subway, 12's and 15's and Barefaced). It's even across the frequencies, rich and natural. Smooth, I guess, but remarkably clear and articulate. (going to have to work on my technique!!). It doesn't have the "trouser flapping" bass of the Barefaced, which is a benefit, as most of the venues I play are prone to boominess!! I can hear what I'm doing and so can the band, even when the bass isn't really loud enough for the audience. This is quite difficult as it's so different to feeling the bass but with little clarity about the notes I'm playing. Just a case of learning the new order! The Monaco is (unsurprisingly) quieter than the SuperTwin for the same amp settings. (8 vs 4 Ohm and one 12inch speaker vs 2). Because I don't like driving my amps too hard (8 vs 4 Ohm) I bought the Trace which fits better, size ways, and should have more than enough power to drive the Monaco to the volumes I need. Playing live whilst trying to do the sound for my (LOUD) band AND trying to get the bass stage-volume/EQ, the PA bass volume/EQ, and the Monitor volume/EQ "right" is "challenging". Since the Monaco arrived I have not used my Barefaced ONCE! (yet .....).

Thanks for confirming @Hellzero that was also my understanding from the manual, however a thread on Talkbass from a few years ago seemed to throw up some confusion involving old versions of the manual. But good to have it confirmed. Thanks @Dood re teaching and using plugins. My audio interface (and older RME babyface) does not support running plugins directly on interface so I’d have to use my DAW for plugins which (for me) adds latency etc. I also use OBS for teaching but have no issues with routing mics, bass, DAW, videos etc to remote students using RME’s excellent TotalMix software which lets you route pretty much anything to anything.

No real update, but my guy is sending the scratchplate now. I've actually never seen one like it. 0ba2f294-a3b3-41f2-b34d-cc31d1eabb0c.mp4

I owe virtually all of my (limited) ability to my years as a dep. One August (2016 I think) I depped with 13 different bands in one month. 100% the best way to develop your ear and also interpersonal skills with other musicians. Great for making contacts. The variety too keeps things super interesting.

Last weekend I did a dep job on bass guitar for a 16-piece amateur big band. This is not my normal bag. The only regular reading gig I have is with the brass band, which is in treble clef. I did it as a favour to help out the Musical Director and also out of curiousity, to see what big bands are about and whether I could hack it. The set list was 25 pieces, none of which I'd played before, encompassing Glenn Miller, some jazz standards, soul, show tunes, pop songs from the last century, some oddballs like Birdland, You Can't Stop the Beat, The MD sent me a link to a Google drive with 75 pieces in it, so I decided to wait for the set list which gave me about a month to look at it. 80% of it I was able to sight-read in one take. There were six pieces which were more challenging, mostly fast walking lines in unfamiliar keys or timing issues (Birdland!), so I was lucky to have some time to work these up. Finding YouTube vids of bands playing the same arrangement was very helpful to get the sense of these pieces. There were no rehearsals. The gig went pretty smoothly, I got lost a couple of times but found my way back. The MD and the band manager were happy with the outcome and have asked me if I would dep for them again if the need arises. Important points for me: Stick with the arrangement and don't go off-piste. The arrangement is the arrangement, the MD will point out any exceptions before you start playing. In particular, look first for key-changes and geography (repeats, DS/Coda) before you worry about the notes. Be confident, and do as much preparation to help you build confidence. For me this includes bringing enough spare equipment so that you can cope with any kind of failure. Dress code - this is always important and as long as you have black shoes and trousers and a white shirt, bands will provide you with what you need (in this case, polo shirts, but in the brass band world uniform jackets and ties too). Pay? Dream on. No pay, no expenses, and a 40-minute drive both ways. I got the same as everyone else!

Cheers mate! I do alot of this at work so I thought of branding up my vid content 😃

I've never had a problem with them so far, he says waiting for his most expensive purchase to date to arrive..

Another good test for the Monza last weekend. I did a dep gig with a 16-piece big band - drums, keys, trumpets, trombones and saxes. No PA. Outdoors. I was just about loud enough at Fortissimo, with the iAmp Doubler running pretty much flat out. It's notionally 450W into 8 Ohms. The Monza handled that quite happily. To get a little more headroom and move a bit more air, I DI-d the signal from the amp into a TecAmp Puma 10 combo. A more powerful amp would have been a better option, but since I'm not planning to make a habit of doing this gig I'll stick with what I've got for now.

Very different, split coils compared to single coils for a start 🤟🏻 Alembic’s have a cleaner tone in general, while the Jaydee’s out the box have more of a mid range character the best way is to get your bass side by side with one and make the comparison