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I dislike noise as much as the next guy, my neighbour is a particular nuisance when he starts drilling into the party wall at 7.30 in the morning, but you don't move next to the M1 and complain about the traffic noise. You don't move next to a pub and complain about drunks. . . . etc etc

A friend of my wife’s owns the only pub in the village. She’s always been strict about closing at 11pm and is only open four days a week. She used to put on live music in a dedicated function room. Then a couple moved in next door and started complaining… So, no music anymore, live or otherwise. This isn’t good enough, though, oh no! They don’t want people talking while walking past their house at closing time. So she had to buy signs that tell people to be quiet when they leave. She has decided to sell the pub, and those neighbours are part of the reason for it. There used to be two pubs in the village but the other one got turned into a bistro/deli. Who knows what’ll happen to her pub once it’s sold?

Bad sound engineers are a different issue though, if I was doing circuit gigs using house PA/engineers and didn't know what the setup would be I would take my own preamp and just give them a feed from there. Having an optional Sansamp provided if any bands on the bill didn't have their own pre should be seen as a good gesture by the sound guy, not them trying to exert control. If they're one of those goons that removes everything except rumble from the bass signal then address that. Most of my experiences with house engineers has been good, we only do a few gigs like that every year though and they're usually in dedicated music venues away from cities.

Agree, I live next to a school and wouldn’t do it again

This is why I hate live sound guys. That would be a provocation I wouldn't be taking at all. I mean, what is it with them? What part of it do they not realise that people want different things? Obviously, I'm not playing an Alembic because I want to sound like a reggae bass player you melt. Oh, you're just cutting off everything above 800Hz when I specifically told you not to? Thanks for that. In more than 20 years of playing in London I've only had maybe 10 decent live engineers. All the rest have been megabells who have ruined my sound by tearing out all the top end and mids. The pinnacle of this idiocy was playing my 12 string Hamer through a Tech 21 Dug pedal which as some of you might know has a balanced xlr output with a cab sim. I was told "pre eq DI only." I refused point blank to do that explaining why. The bloke refused to take the feed from the pedal and took the DI output of the amp I had plugged into. He then tore all the top end off in the PA. I had to be restrained by my bandmates after that gig.

Thanks for information!

Two gigs over the weekend with two different bands (photo from second gig), both at local beer fests with during the day slots. First gig outing for the the new (to me) Rick, love the sound but I'm still getting used to playing it (right hand placement). First gig was with a rock covers trio, took a little while to get going, you don't get the same buzz as a gig at night but it went well, there was a crowd and we got some pocket money so what more can you ask for? Second gig was with a seven piece "function" band, apart from myself and the drummer, the others don't gig much at all, so you're having to support them, depending on how nervous they are or how many beers they've had. It was enjoyable all the same, I have to say its the first time I have waited over an hour and a half for a burger because the vendor couldn't find me, being 6ft 3", 18st and wobbling/limping that was a first!

This depends on the sensitivity and power amp performance. But the loudness difference is most likely negligible.

Funhouse - Pink

The Lunatics (Have Taken Over the Asylum) - Fun Boy Three

Lunatic Fringe - Red Rider

I didn't want to start yet another HF thread so I will use this thread. A couple of tracks with Hadrien using Jaco's Bass of Doom:

Do your due diligence when selecting somewhere to live. When I was looking to buy my first house in the early 90s, I had found somewhere suitably interesting and convenient for work and the city centre. However it was only a couple of doors down from a pub. So before making a decision on whether to put in an offer I spent a Saturday evening in the pub to see what it would be like. Based on my experience I decided that I would become very unhappy about the noise quite quickly and therefore decided to look elsewhere. IMO that was the sensible course of action. It doesn't take much time and effort to do the research and anyone who doesn't only has themselves to blame.

I bought this last Friday week, so have had it now for around a week and half. It was local to me, and stopped on the way to a Ska gig. I still used my Jazz type 5er that night, but used the Roscoe the next night for the party band gig. I’m not a fan of these sticky black strings on it - also they’ve appeared to leave sort of tram line residues all over the fingerboard, so I’ll clean them off when I change strings. Will have to have a search on what most folks use with these basses. It’s completely different to my Japanese Sadowsky Will Lee 5 - which was the idea really. I’ve no way to measure, but I’d say it’s 18mm at the bridge, as opposed to the 19 on the Sadowsky. Also the fingerboard radius is pretty flat, and the action is crazily low, making it a breeze to play. As mentioned by others, the B string is epic. Sorry that the pictures aren’t that good…

Mama we’re all crazee now - Slade

Also during that period, he played on a couple of tracks from the album, 'Transition'. A Collaboration album between Buddy Rich & Lionel Hampton' Both tracks feature a Bass solo, and the credits list two Bassists, the other being 'Bob Cranshaw'. I found this on a 'ChatGPT' search, but it's anyone's guess who is playing what. There also seems to be a Phaser FX on the solos. Personnel Details: Both Anthony Jackson and Bob Cranshaw are credited as bassists specifically on the tracks “E.G.” and “Fum”, and George Duvivier plays bass on the rest of the album en.wikipedia.org. The two tracks in question—E.G. (composed by Mike Abene) and Fum (credited to Jack Wilkens/Wilkins)—each feature both Jackson and Cranshaw sharing bass duties, including bass solos en.wikipedia.org. So the bass solos on “E.G.” and “Fum” were performed by Anthony Jackson and Bob Cranshaw, not George Duvivier. If you’d like more information about their individual playing styles, other performances, or how they collaborated on these tracks, I’m happy to help! Solo starts at 6:44. Solo starts at 5:55.

Crazy - Gnarls Barkley