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this is the other driver for me to use in ears, Floor monitors are so depenedant upon the acoustics in the pokey little 'stage areas' we often play in. As is our bass sound whe using back line. IEM's give you pretty consistendt monitoring.

Very much so. The problem stems from a few things but mainly the bass from the PA. However good your in ears are they are probably only going to reduce the ambient sound by 20db give or take 5db, maybe a little better if you have customs. the trouble is that it is often less than this for bass frequencies. The PA meanwhile is omnidirectional in the sub bass frequencies of 40-160Hz so if you are 2m behind the PA you hear s much bass as if you were standing 2m directly in front of the PA. If your PA is banging out 110db of bass and your IEMs are trying to feed you 90db of your monitor signal then with 20db of attenuation you already have 90db of bass from your PA leaking past the IEMs and you need no bass at all. (very rough figures here but you get the point. On top of this most venues have you hard up in the corner of the room and in spaces prone to low frequency resonances. So, I now HPF the bass at 80 Hz and then also shelve it down a minimum of 6db below 200Hz for my in ear channel. I also boost the mids a little and roll off the highs at 3kHz. If anything in most venues that still leaves me with a bass heavy sound so I'm considering raising the HPF even higher. I'm not claiming any expertise here though so hopefully others will come in with suggestions. The same thing is true if you are using floor monitors so maybe we should run a separeate thread.

Who nicked six machine heads off the middle one?

This is for the guys in this for money. Not so much for those primarily in this for fun. I think this guy is credible. I always thought if you were on tour on a bus with a popular signed act you'd be rolling in cash. Let me know what you think Daryl

I'm in Wylam, happy to go with you if you want a more experienced eye. Edit - nope, not on Friday though! Good luck!

I did ask if he was open to offers, and he said not yet as it had just been listed. Might still ask on the day, no harm in asking.

Jees, I thought the £100 behind the bar was in addition to the fee.

You’re right - cases were often not included at that time.

Most of my contemporaries (musicians generally eg keyboard players, guitarists) bought what they wanted on finance. However I got bought something slightly different (instrument wise) for a landmark birthday - and no one had more than one instrument - by the time I was looking to buy a quality instrument a few years later it was a Stingray (at £375 with no hard case - I’d already got one so didn’t bother and in any case I’d only just about got the money for the Stingray). I would confess to having played several natural/maple Precisions in the last few years - have not succumbed although got quite close with one. The other interesting point is that in 1973 I could have probably picked up a custom colour Precision for less than the price of the new one - I would have been as likely to do that as buy a Shadows record at that time (both considered equally past it and an anachronism at the time!!!!) I would confess to having been more tempted by both in recent years 🤣😀

Tiny board, monstrous tones.

When I first started reading the Melody Maker each week around 1970/71, I remember poring over the musical instrument adverts at the back and seeing some large shop advertising US Strats/Teles/Jazz and Precision basses starting at £199. Maple boards always got charged a premium then ( how things change!) and I’m not sure but I don’t think hard cases were included. Bell’s catalogue was always more pricey as they offered hire purchase terms. My first US Precision cost me £199 s/h from a shop in Leeds - that would have been mid 1980’s. It was a late 70’s job and pretty grim - dead sound and just an uninspiring instrument. I ended up selling it and buying an early Squier 57 Precision in black with a maple neck (and having a lot left over from selling the US one) - wish I’d kept it.

This is horrible to read. I’m not sure I’d be able to help, but happy to try. Will @ BassBros is a great guy too. However, if you can - I’d try and keep one at least. Something to focus on etc.

The TSFTS quote is actually in Cozy's other big hit 'Na Na Na', is played by Bernie Marsden and references an earlier line in the lyrics ("I know you get your kicks Playing Hendrix licks, You're a wizard of Wembley Central"). Still one of my favourite lines in a throwaway pop song...

I'd still ask if they would take £100!.. they can only say No...

In Trance As Mission ～ Simple Minds

Superb!

You can get E,A,D,G,C sets. Then you're just drop tuning a tone, which will be fine. Tho if you insist on A not B for the top string it might be a bit flappy.

I saw Knower at the Jazz cafe. Great gig and Sam Wilkes was amazing.