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Mine had horrendous electrical noise on it. It may have been faulty. I didn't really manage to get a setting I liked either and preferred the sound I've been getting from the settings on my mixer. The plan was that the Critical Mass would fil out my bv's but would make it possible to mute the effect when talking between songs with the stomp pedal. I thought it would be a quick simple solution but I wasn't prepared to spend time getting it replaced or setting it up to get a sound I didn't like as much as the one I already have.

Don't Call Me Baby - Madison Avenue

Aye, that is what age does to you! 😁 But to be fair, people's favourite musical moments are often based on how they were feeling at the time they first heard it. So all Mr D is saying is that he prefers "Smoke on't Watter". Doesn't mean it's better or worse than owt else, just that it's more to his taste and it obviously moves something in him. And why not! For me, I love the bit in Rollins Band's "Liar" after Melvin Gibbs' wonderful phased bass intro when it comes in, completely in your face. Or when the crazed guitar comes in in You've Got Foetus On Your Breath's "Wash It All Off". (though the original single version is far better than the album) Or in Jamaaladeen Tacuma's "Let's Have a Good Time" off the Dreamscape album where, after a bass solo and long repetitive Harmolodic section it becomes unexpectedly and impossibly funky...

Two gigs in three days for me. Both with my duo and both open air. The first was a fairly small affair at a brewery tap. The brewery is in an industrial unit on a small indusrial estate next to the Henry hoover factory, nice It is nice actually; a really friendly West Country event every Fri. A bit odd but normal for Chard and the beer is fantastic. Anyway PA for this was Two RCF 310's for FOH and a single one for monitors. I can't persuade my partner on iem's but we aren't loud on stage. Mixer is an RCF M18 and we've done so many gigs that no tweaks are needed for an outside gig other than turning up the bass a touch. we don't use back line and drums are programmed. Last night was outdoors in a lively music pub, a much bigger space and audience so we got out the RCF 745's. Two 310's for monitoring and our new lighting set up. Again no tweaks to the M18 mixer other than turning the bass up. The bass tone outdoors with the 745's was fabulous and the vocals are stunning, well the speakers are anyway. I love this set up, you can just relax and concentrate on your playing knowing you've done everything you can and that the sound would be fabulous, or at least makes us sound as good as we can. The new lights worked well. We've settled for six identical LED strips all a metre long and mounted vertically on stands. Two static illuminating us and the other four behind us on a sound program. We also use one of the usual four PAR's on a stand running a chase program. Indoors we add a couple of low power lasers to add a bit of movement but outdoors there's nothing to project onto so we didn't bother. I think that's it for us with lighting for a while. it takes us 20 mins to set up and knock down and for what we charge I think its at the top end of investment, complexity and time and we probably do it better than most of the other local bands. it looked good but I think I need to adjust the sensitivity a little lower on the soudn setting as the lights were maxing out a little too often. They looked pretty good for a first outing but I think a bit more dynamic range would make for more drama

Exact opposite experience for me. I think this is their best record in years.

Like @jazzyvee and @Aidan63 said, but don't attempt to do it yourself if you don't know what you're doing. A luthier will ask you first if you've done any attempt in repairing it, and if yes, won't do the job, because glue can't be glued again if you don't remove completely the residues and it's a huge time consuming work... It's a fast and easy job to do and without any lacquering afterwards if it's still clean, so won't be expensive at all. After that, it will never break again at the glue point.

Aside from question of whether it’s art or not, AI will destroy the ‘incidental’ music industry and those are real jobs that will disappear. We should feel sorry for those people. My business (journalism and copywriting) has been destroyed by AI. I’m lucky that I have a specialism and industry connections that will keep me on work for a few more years, but trust me it’s destroying livelihoods for real people. I have an estimated 2 years left doing my job. I’m actively retraining into a new career which isn’t as easy as you’d hope at 44. Technological progress comes at a cost to real people (the many) while increasing profits for some (the few).

Think it depends on the venue over here Daryl. Bar gigs are usually free but most of the Clubs are tickets. The clubs are usually Bowling Clubs or Ex-Services type clubs rather than the usual Sat night clubbing scene from when we were younger 😂 Dave

Haven't been captivated by a story-line this much since Amos and Mr Wilkes were int' Woolpack.

I had used Vanderkley too although the new MB58 series cabs are in my opinion much clearer sounding than some older MarkBass cabs

The fuse is directly under the power supply connection... so I would assume between the PSU and the amp (I'm not very electronics literate though).

Just landed in my inbox, thoughts? https://youtube.com/shorts/FK6B7kPO5Wc?si=KTrM1smCbpEEXvQB

The first photo is pre 1989, I'd bought a Hohner Stienberger style headless by then. The band existed for several years under several names doing original songs before disbanding (Got tired of going nowhere) After about a year the singer got us back together playing 50s and 60s rock n roll under the name Captain Jive and the Pink Sectets for a run of paid gigs. The bass unbranded but almost certainly an Antoria. This picture was taken in July this year, I'm playing a shiny new Rick and singing in The Dooks ( Buzzard County's finest country rock trio) Weirdly I accidentally stumbled on an antoria again last week so there's potential for two NBD threads.

Love your set up, I've a pair of RCF 745's with a single 905 sub but I think I'd go 932's if I wanted to go again. Such a fabulous sound from the big RCF compression drivers but the 745's are such monsters to transport and take up too much space in small venues. The 932's look like a great speaker. I can feel your joy, maybe gigging isn't so bad after all

Give it a few years and it'll probably be impossible to tell if music is AI created. I guess it'll mean that people making original music will need to up their game - no point doing anything generic and derivative. Live bands might do alright, people will probably still want that interaction and 'realness'.

I didn’t ‘pass’ the audition because I didn’t agree with one of the guitarists that John Deacon was the best bassist in the world. I said he was a ‘great’ bassist but definitely not technically the best. And it was a blues band and we weren’t playing any Queen songs 😂.

Opens notebook. Writes down "Don't piss Andy Travis off". Closes notebook.

Absolutely it can be repaired Maybe take the string tension off slightly to help ease the crack and keep it clean so there's no contaminants to interfere with the glue up All things being equal it should be stronger than ever after repair Plenty of Gibson guitars with repaired headstocks following complete breaks out there so skills are well established

Yeah, that's pretty much what the MU told us, if memory serves: in our case, the singer had written that particular song, so she was welcome to re-record it, but the recording belonged to whoever paid for it, i.e., all four of us. And it was pretty obvious that it was the same recording that was on our album! In fact, thinking back, she may not have even paid her share (I think the guitarist kindly covered her share at the time as she was tight for cash, and may not have paid him back)...so she may not technically have had any claim to the recording!