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Very nice! Euro ltd order runs are possible with a minimum order of approx 25 pieces. That's how I organised the Euro X basses last year...

I am looking to buy a Wal MK2 Fretted 4 String bass guitar if anyone is looking to sell one to me. I am based in London, UK. Thanks Maxwell

Parking any comment about the odd arrangement the band have remuneration/expenses wise, I would share your discomfort. There is money available, none of which will be going to the dep who is doing everyone a favour.

I have to love how the Japaneese always getting some extra limited run / one off Czech Spectors like this one Spector Euro 5 RST PJ with darkglass preamp Also in 4 string version

BassTheWorld's video touched on it all too briefly. I heard the test tones that sounded familiar of other analysing equipment. What Boss hasn't disclosed is how it measures the response - there must be a microphone embedded in there somewhere.

I suspect they’re going to sell a boatload of those red ones with the binding. I think I’m safe until I look at a good photo of one …

Aside from this, the main bug bear I had with my previous Mighty Plug (non-pro) was Bluetooth. The latency when playing along with youtube videos, particularly ones with tab/score was unbearable. A good second out of sync. I also discovered that it added a significant bass boost to Bluetooth streamed audio. The Katana:Go fixes both of these issue. Oh, and there are octavers, and pitch-shifters. I wrote to Nux about this a couple of years ago, before the Plug Pro was announced and they said their hardware didn't have enough dsp for pitch-shifting. I was dismayed to see the Plug Pro didn't either.

As I said - that's a different discussion. Happy not to get paid in this particular instance. My issue is with what money there may being paid to two people only for expenses, and then when someone is doing us a favour and will have some small but genuine expenses, he's told "nope".

I kinda get what you're saying. The key point for me was what you said in your post - the band who sounded terrible had "no real out front mix". That sums up the issue in a nutshell! The starting point for any gig has got to be how the band sounds out front to the audience i.e. the FoH mix, right? Sorting out what it's sounding like on stage / via monitors or IEMs is then a separate issue which is obviously also important. Do you guys play a song at, or close to, gig volume during sound check with one of you out front listening to what the FoH mix is sounding like? We've found our FoH sound has been improved a lot by putting as much as we can through the PA - the guitar is finally not stupidly loud and in balance with everything else. We're also getting much less feedback from not having backline. The most common complaint we used to get was "your singer can't be heard over the band", that also now seems sorted, so all in all a very positive journey. In the main line-up for the band 3 of us are using (or planning to use) IEMs and the guitarist who's not keen has a small monitor for his guitar and is standing pretty close to a PA speaker which gives him pretty good monitoring for the rest of the band.

I use a .125 too. I have tried .130 and .135 but never had anything over .135 on my basses. I like having enough tension in the low B string, but I feel like fatter strings sacrifice clarity, definition and intonation because the extra gauge makes them more rigid. On my Status basses I use their own Hotwire strings which are all taperwound except for the G and I love their quick response and great definition. That said, I'm not someone who experiments with strings a lot. I have used Elixir nickels for many years now, and only started using the Status strings because Elixir doesn't do double ball end sets - and stuck with them because I like them a lot. And now my venture into shortscales also forces me to start experimenting again, which is fun so far.

The easiest solution, and fairest IMHO, is to divide the "money behind the bar" equally between those playing on the night. If money is starting to change hands now, just because you're local doesn't mean you shouldn't get paid.

my 2002 EB MM Stingray 3 band EQ with RW board and in Red - 21st birthday gift off the 'rents...... still got it although it doesn't get used much at all. I don't think its been used live since about 2015 and that was a musical theatre gig...... I used it almost exclusively until around 2009 when I moved over to passive Jazz basses.......

Looking For Glues - Robert Palmer

That's the UK Dist' I'd be given too, hmmm, I find the universals not ideal as my poor lil ears have narrow canals. Full moulds are really the best way for me and if I were to, I'd need to go down that route rather than risk an ear piece fall out mid performance.

You guys should defo be getting paid IMO. I’d imagine the barstaff and sound guy all get paid. You should too.

Yes.

I’d much rather the cash. None of my band drink due to living out in the country or carrying loads of gear. Or my case, trying to be healthier. Collectively we probs spend less than 10 quid the 4 of us. But saying that, we’re an original synth metal band. £20/30 total usually. Though we did make £80 a few weeks back. Picked the gig up the same day and didn’t manage to invite many people but the folk there apparently enjoyed us. We genuinely didn’t expect a penny for that show ha.

Interestingly, you’d be surprised how many organisations still push them. I’m a security architect for work, and remember going into a high profile insurance provider based in London and noticed they were pushing security info on screens (awesome!), except to get more info you had to scan a random QR code. The same code was printed out around the office. I told them to find a better way, and to train the users or we’d be burned. Few weeks later, there was a red team (simulated attack) performed and lo-and-behold they gained access via QR code. Temptation was immense to say “told you so”.

I don't understand... when you previously did gigs with this group, before the "£100 behind the bar" was ever mentioned, were you all doing the gig for no fee at all?

The instrument I've had the longest is (I think) my Eko Ranger 6, bought new in the early 80s. I'm not entirely sure as I also bought a Roland D10 about that time that I also still have, but this gets used regularly for practice for open mics with Mrs Zero and for songwriting. String ends flying wild and free to make some here get all twitchy. The bass I've owned the longest is a Warwick JD Thumb, bought new in early 1988. I'd gone into Musical Exchanges in Birmingham to try out an octave pedal and they handed me another Warwick, a Streamer IIRC, to try it out. It was rather badly set up so I put it back on the wall and took down this one, and from the first moment I played it I wanted it. Absolute dream of a neck - at the time I had a Fender P and a Hohner B2 and it surpassed both of them by miles, so despite the £950 price tag (which Dave the Bass kindly reduced to £900) I took out a loan for £500 and PXed the Fender and the Hohner to get it. It appeared live on TV when we played in the late early hours on Telethon '90. It still gets occasional outings, and was going to feature in the Marillion tribute that I got dropped from, although since about 2007 I've been 5-string.