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Showing content with the highest reputation on 11/04/24 in Posts
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1960 Fender Precision - Slab Board - LPB Refin So I’m the second player/owner of this beautiful bass. It’s original owner decided to paint the entire original sunburst finish black in the late 60s - every single inch. The black was professionally removed - and the bass is now sporting a nitro LPB Refin completed by Angela Arnott (Guitar Angel). During Refin a pencil date of 5/60 was exposed and preserved - this matches the serial number - the original owners address was also found written into the heal - I have more photos of the restoration. The bass was originally owned by Frank Jackson of The High Fi’s - if you Google him you will find an article where it says he is selling his black 1960 bass!! This bass toured across Germany and appeared alongside some big stars of the day! I’ve included a picture of Frank with the Hi Fis in the early 60s. All original apart from pots date to 1966 - the pups have a faint 65 pencil mark and they appear to be green/grey backed which would indicate 1965/66 (according to Angela) - pencil marking under pups were unreadable. The pick guard is also a Spitfire replacement. All other hardware original apart from a couple of pick up screws and the pup cover (although it’s old). She’s weighs in at 7.75lb without the covers! The bass comes with its original Selmer case - and a set of original 60s Duratone Nylon Tape Strings - it’s currently strung with some quite heavy Ernie Ball flats - sounds very old school!! Condition wise the neck is excellent - hardly any fretwear on the Brazilian rosewood slab neck. Truss rod all good. Coupe of little dings where I’ve played her out - and a bit of the scuffing on the rear of the top horn. - shown in photos. All else excellent. Im not massively in a rush to sell but I think I’ve priced this fairly - as a player grade vintage bass. Pick up only from Gloucestershire. Thanks for looking - any questions just ask! No trades thanks.19 points -
Mid week gig at The Chapel in Nottingham supporting Empathy Test and Black Nail Cabaret. Flag Promotions always know how to put together a great gig line-up and look after the bands, even when pre-gig ticket sales looked like being a bit slow. In the end it wasn't a bad turnout for a school night and most of the audience were in early to see us. Not the best gig that we've played, there were a couple of technical issues the most perplexing of which was the complete change in sound on stage from the sound check to the gig, despite being first on and last to sound check. We had no fold back at all for half of the first song and it took another two before the stage mix was close to what we have had during the sound check. This has happened more than once at this venue and beginning to wonder if there is some kind of user error the part of the PA engineer there. Anyway the audience didn't seem to notice that anything was amiss, and we got plenty of positive comments afterwards. We're in London at the New Cross Inn supporting Ghost Dance on Saturday, and then WGW...7 points
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This is NOT a Fodera Yin Yang Standard, but a luthier made almost new excellent copy that cost me €2750 Euros: sounds and look as good as the original, very lightweight without neck diving. TRADES ARE WELCOME, BUT NO SHORT OR MEDIUM SCALE BASSES PLEASE! NON NEGOTIABLE PRICE! Asking price including shipping fully insured with tracking number to your place in these European countries (ask for other countries) : Austria, Belgium, Bulgaria, Croatia, Czech Republic, Denmark, Estonia, Finland, France (excluding French overseas departments and territories), Germany, Hungary, Ireland, Italy, Latvia, Lithuania, Luxemburg, Monaco, Netherlands, Poland, Portugal, Romania, Slovakia, Slovenia, Spain, Sweden and United Kingdom: €1500 Euros (£1300 GBP is an approximation and I will only accept payment in Euros)!!! Shipping to United Kingdom is, of course, possible and included in my asking price, but with an extra customs fee (VAT + other taxes + courier fee), because U.K. is now outside EEC. Here are the specifications : Body: 2 pieces lightly flamed elm (very resonant and lightweight) Thick top: wenge Yin and flamed maple Yang with an ebony veneer underneath and Yin circle in ebony (all CNC cut) Neck: one piece flamed maple Fingerboard: rosewood (12" radius) with perloid Yang circle, white front and side dots Positions: 24 stainless steel frets (fitted with an Invisible Fretwork Technology) Headstock: 2 + 2 wenge Yin and maple Yang veneer plus butterfly Tuners: original Gotoh Res-O-Lite GB350 Pickups: original EMG PX and EMG JVX in 60's Fender Jazz Bass position (for the bridge pickup) Controls (all EMG): stacked volume/VLPF tone (always on), active ABCX blend, stacked bass/treble, stacked mid/sweep, kill switch, with Sadowsky-like knobs Preamp: original EMG BQC (with modified stacked volume/VLPF tone) Bridge: original last generation Fodera 3D Strings spacing at bridge: 21 mm (can go down to 19 mm, as it previously was) Nut: brass Strings spacing at nut: 11 mm Scale: 34 inches Hardware colour: black Truss rod: one, double action, 100% functional Finish: gloss nitro cellulosic Country of origin: Luxembourg Serial number: YYS65820 Year: 2022 Weight: 3.630 kilos Action : from 1.5 mm under the G string to 2 mm under the E string at 12th position (can even go way lower, but was perfect for me) Will be delivered in a brand new original Fodera case. Non-smoking environment as usual. The bass has been fully set up professionally and is totally copper shielded (absolutely dead silent instrument). It has received a set of Fodera ultra light nickel round wound round core strings (40 - 55 - 75 - 95), which really serve this bass. What you see is what you get ! Look carefully at the photos taken from different angles and lights to see the real condition, which is almost new. Here is the link to 38 photos in high resolution: https://drive.google.com/drive/folders/1dFqoAoBIB22OoUMy1GTKVgbxjAdTqIyB?usp=drive_link Due to severe back problems (67% officially disabled because of it) plus left and right shoulders injury (it's really painful to reach the tuners), I'm selling all the basses I'm not using like this one as well as some stuff I don't use. I've also considerably lowered the price for a quick sale. Don't hesitate to ask for more.6 points -
6 points
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Warwick Streamer bass custom from 1990 Bartolini Soapbars and Mec 2 band preamp Ebony fingerboard Really in nice condition for the age Case included No trade Price: 2200€5 points -
some great ideas on this thread. I have the same issue. After my heart OP last year, I did a Cardio rehab program. I've been going to the gym every other day since last August. It's helped so much. Not huge weights but core exercises and back strengthening on the plate machines. takes a while but I've seen a huge change in my ability to stand for over 2 hours with a heavy Sandberg bass.5 points
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I have had my Monza now for a few months. I deliberately held back from commenting until now. I don't want to go over too much history but I have had all of @stevie's recent designs back to the DIY cab, the BC112. I had a Silverstone when it was made and had my Silverstone converted to a Monaco some time later. All are/were excellent cabinets but like many on here I am getting older and am looking at ways to reduce the weight of my gear. So I have ended up (so far) with the Monza. As I have left reviews of the other cabinets soon after I acquired them, I have waited to have a few varied gigs and rehearsals to give my three pennyworth. The disappointing thing is that I have little to add to what others have said. One of the halls we rehearse in has horrid resonances for bass and this was definitely a real problem for the Silverstone but the Monza took far less drastic EQ settings to get a good sound. The gigs have varied from pure rectangular rooms with no real damping to purpose designed clubs with lots of carpets, curtains and soft furnishings. Each so sonically different but with each, a small adjustment to the bass control on the amp got me to where I like to be. It is light and easy to carry with the same top handle as the other LFSys cabs. It is lightweight, although not the lightest on the market but certainly an easy carry for this 72 year old.The custom (Hot Covers?) LFSys cover protects really well. I use a Zoom B2-Four both as a tuner and for some tone shaping on some songs, what stands out on all @stevie cabs is that I can really hear the differences between the patches. The differences are not great but I can hear the changes almost as clearly on stage as I can at home practice. Like all the LFSys cabs, the real difference is the dispersion. Despite being well over 6ft tall, I can hear myself clearly even when directly in front of the cab. Although the dispersion is biased towards the player's head, the horizontal dispersion still really helps getting the real sound out to the whole audience. I have never got the cab anywhere near to its rated power, my amp(s) both poke out about 700 watts into 4 ohms but fewer than 400 watts into the Monza's rated 8 ohms. Rough calculations say that is approaching 120dB with the amp(s) full out. I know one BCer has two of these and that would make a monster rig. Its not as small or as light as a Barefaced 10 but it is a totally different beast. Could you carry it around on the Tube/buses? probably not. However there are no compromises made with this cab and if you want a simple one cab solution, I can recommend the Monza. So there must be some cons, if I am being picky, its a long way down to adjust the amp when you are a long steak of wee. Also when you first use it or any of @stevie 's cabs. you may need to turn up. Certainly when I first got mine, the reports were that the band could all hear me well but I was too low in the mix. I was not used to hearing myself so well and had turned my volume down. On the plus side, below is a real picture of me about to set off for a gig. The Monza is on the right and the other two speaker are my Wharfedale Titan 12"PA speakers. The car is a Ford Puma and the tailgate did shut with my amp box and leads box tucked in the front of the cabinets. Please excuse the random bass stand and the small case and long blue bag are the two parts of my mic stand.5 points
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A sad bass related day today. My 1976 (first year of production) Musicman Stingray Fretless Bass is leaving my studio for the last time. During the pandemic, after really getting deep into the playing, style, tone & bass history of Pino I sought out a standard fretless Stingray from anywhere. After nearly biting the bullet & getting a custom EBMM fretless from them directly this wonderful bass popped up after I placed a wanted ad on Facebook. I looked over it for a week & got it on the way to me. A perfect bass for what I was looking at and at the time, an instrument I couldn’t put down! Studio sessions & some live work with it too. This bass was the sound of Feralman Music the artist's set & such a distinct bass sound for his tracks live. It was used twice live with him & the band, numerous rehearsals, numerous recording sessions too. This was the bass’s first artist appearance for myself. As time went on I got more and more reluctant to take it out in public, along with the actual need of this sound live/in the studio. Plus a new addition from Overwater basses really covers the sounds needed for a MM Stingray and in the form of extra low notes too. It’s definitely a regret that I felt almost instantly & still do but needs must & this bass is one that I feel needs to be played. Maybe one day it will make its way back around to me (fingers crossed) but definitely a special bass & leaves me with just one "vintage" bass going forward & an empty slot on my guitar rack too. IMG_4497.HEIC IMG_4498.HEIC4 points
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Persistent neck and shoulder woes mean I've decided to try to make a walk up performer stand that fully supports the bass, thus taking all the weight off my shoulder. There is/was the Mbrace, but it's no longer made: https://www.imuso.co.uk/itm/mbrace-stage-guitar-stand I've made am Mbrace-like back plate from MDF and covered the front face where the bass will be with carpet. Don't laugh - I know it's a bit thick and heavy, but it's the only suitable material I had. Besides, it's a prototype and will surely be hacked about and drilled. I'll cut some slots at the ends for an old bass strap to feed through and tie across the back. This should hopefully produce a secure back plate to carry the bass. Next issue is how should I mount the back plate, complete with bass, onto some sort of stand? I was thinking about a cymbal boom stand, with the back plate positioned over the cymbal stand/boom junction, so as to get the full 3-plane adjstment from the boom clamp. The back-plate could be fixed to the boom with cable ties or bolts. I did consider a mic boom stand, but decided it wouldn't be strong enough. An alternative might be a boom-less cymbal stand with the back plate fixed on to the vertical pole with cable ties or bolts, but you wouldn't get the adjstment afforded by the boom. Drummer in my band has a garage full of old stands and he has very kindly offered to lend me anything that might work to cobble together a working prototype. I'm going round in a couple of days time. I'll stop there. All design suggestions gratefully accepted!3 points
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Limited editions for 2024. They're so hideous I want a VI.3 points
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It was just a solo gig, guitar and vocals. I don’t totally rule out live shows again but there’s no venues where I live, so it’s unlikely I’ll play live again. I still make records so I still play and get paid, but nobody sees me and my terrible technique. Perfect really 😂3 points
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3 points
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Linval Thompson and U brown, big tune3 points
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@SpondonBassed I earlier contacted a specialised carbon fibre manufacturer and asked them about replacing the aluminium backbone with a slimmer and lighter CF backbone. They were really quick and helpful, I paraphrase their response below. CF is about as strong as aluminium (a little stiffer) but its approx 30% lighter. The current thickness of 15mm will probably need to stay but the replacement would be lighter. The CF piece could be made stronger by going to Unidirectional fibres, but multiple test pieces would need to be made. Structural calculations may help. So thats not an option here. The CF rods will be less stiff than the plate (unless they are bigger), so need to put the thinking cap on again. I include one of their futher comments as its very helpful and really explains it. As I don't have permisison to use their name, I'll hold it back, but they were very good. "A lot of people hear comments about “carbon being stronger than Steel” and although not untrue, its very specific - eg in reality “weight for weight” carbon IS stronger than steel but the volume or dimensions of a carbon part replacing steel would be bigger but the low density means it is still much lighter overall. Certainly we have seen people use carbon rods etc in instrument necks but to replace what you have, you are likely going to need to bond a lot of pieces together which is not so practical." Thanks Rob3 points
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Wholesome Prism Blues ～ Johnny Cash3 points
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I’ve always thought that too. There’s also the thought that if they’re not asking for more it might be cos they don’t want it.3 points
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Yep, I linked Bass Direct up with Lonnie West (LHZ) and persuaded Mark to bring some of his preamps (& pedal version) for the UK market. Bought 3 for myself too!3 points
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And that's why I don't like cricket..3 points
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Just in case folks haven’t perused the manual, here’s the new Editor:3 points
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The audience has to earn an encore. Tell them it's the last song and then stop. Bass comes off and is put onto stand, if there's no immediate shouting for more. Then the amp goes off. I've seen a few bands hovering around expecting to be asked to play more. It's not a good look.3 points
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Yes indeed. The guitarist videos our Bandeoke every week - you can bet he doesn't care how badly I played when he chooses which sing to broadcast!3 points
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Found the perfect container! This box is a slightly curved shape, designed to hold 4 rolls of 35mm film. It fits the WS20 absolutely perfectly which is super satisfying. Can’t remember where I got it, probably eBay3 points
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With an Olympic White bass I would have said black, however seeing the photo, the burgundy does look good3 points
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The burgundy looks nice3 points
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Here is my Ibby. A 1993 SR1306pd. Been playing it alot lately, it absolutely sings and is such a joy to play. Bought it last year. The preamp had been replaced with a Bartolini NTMB/918, but it's still got the original J6 pickups.3 points
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I was in a duo with a guitarist and Amazing Grace was in the set. One night he started it in 4/4 (should have been in 3/4!) and I had 3 mins of hell, firstly trying to understand what had just happened, I didn't even recognise which song he was playing. I should have sat there and let him play it on his own, but I tried and failed to fit the old bass line into the new time signature. He did apologise afterwards!3 points
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Well after an evening of glue sniffing and the like, I bit the bullet, pulled everything together to see how it worked. Nothing worked for a while until I realised that the metal control plate acts as an earth and as I hadn't used it, plastic wasn't the solution. A quick application of copper tape on the back of the control panel solved that little issue. The pickups actually look good and work well. Not set anything up beyond screwing it together and tuning it. Plugged it into GarageBand and it sounded fine, plugged into a NUX micro headphone amp and sounded fine. Plays OK, zero neck dive. The neck is great, the Hipshot tuners work well and it's a good guitar. Not tried to compare it to my Fender Jazz or Mustang, but good first effort. Will now try and set it up properly. The last photo was coz I left the camera in black and white mode. It is a very black guitar.3 points
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Back in the Sandberg fold after picking up this nice soft core aged Lionel from a fellow basschatter yesterday. Just fitted my strap locks of choice and I’ll pick up some appropriate string’s tomorrow (it’s currently wearing some longscale flats…) and then it’ll be good for next weekends gigs. Didnt know what to expect on the relicing, it’s very different to my JMJ, doesn’t look artificial at all, similar to how my old 1990 Stingray looked after 15 years of heavy use.3 points
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Warmoth Velocity Single Cut Medium Scale 32" Fretless (a similar bass will cost you way more than twice my asking price, check Warmoth website and hardware prices). This bass has received a fingerboard dressing and is in really good condition with some playing marks, dings and dongs. It is really lightweight at only 3.605 kilos as photographed and totally balanced (see photos in the link), but I'm so used to 34 inches scale basses that I barely play it, even if it sounds amazing. TRADES ARE WELCOME, BUT NO SHORT OR MEDIUM SCALE BASSES PLEASE! NON NEGOTIABLE PRICE ! Asking price including shipping fully insured with tracking number to your place in these European countries (ask for other countries) : Austria, Belgium, Bulgaria, Croatia, Czech Republic, Denmark, Estonia, Finland, France (excluding French overseas departments and territories), Germany, Hungary, Ireland, Italy, Latvia, Lithuania, Luxemburg, Monaco, Netherlands, Poland, Portugal, Romania, Slovakia, Slovenia, Spain, Sweden and United Kingdom: €900 Euros (£777 GBP is an approximation and I will only accept payment in Euros)!!! Shipping to United Kingdom is, of course, possible and included in my asking price, but with an extra customs fee (VAT + other taxes + courier fee), because U.K. is now outside EEC. Here are the specifications : Body: 2 pieces alder (Velocity shape, not proposed anymore for bass) Top: book matched black limba (or korina as Warmoth is calling it) thick top with a walnut layer underneath Neck: 3 pieces wenge with tilt back headstock (Super Bass construction without stiffening bars) Fingerboard: Macassar ebony Positions: 21 (fretless) with front and side dots Headstock: 2 + 2 wenge Tuners: Hipshot Ultralite USA Pickups: 2 x Bartolini Original BC4C in equivalent 60's Fender Jazz Bass position Controls: stacked volume/tone, blend, bass (push-pull active/passive), treble (the side mounted barrel jack is brand new) Preamp: original Sadowsky VTC (modified for stacked volume/tone as I prefer it) Bridge: Warmoth/Gotoh (not proposed anymore), through body stringing is, of course, possible Strings spacing at bridge: 19 mm Nut: white corian Strings spacing at nut: 11 mm Scale: 32 inches Hardware colour: black Truss rod: one, double action, 100% functional Finish: oil and wax Country of origin: USA Serial number: none Year: unknown Weight: 3.605 kilos Action : from 1.5 mm under the G string to 2 mm under the E string at 12th position (can even go lower, but was perfect for me) Will be delivered in a brand new guitar (yes it fits in it perfectly) Thomann Premium BR (top of the line) gigbag. Non-smoking environment as usual. The bass has been fully set up professionally. It has received a broken in set of Fender 9050L stainless steel flatwound strings (45 - 60 - 80 - 100), which really serve this bass. What you see is what you get ! Look carefully at the photos taken from different angles and lights to see the real condition, which is really good with usual wear. Here is the link to 33 photos in high resolution: https://drive.google.com/drive/folders/1fiF6gvPxvtsdChTNKi01zjRnkYFmekBx?usp=drive_link Due to severe back problems (67% officially disabled because of it) plus left and right shoulders injury (it's really painful to reach the tuners), I'm selling all the basses I'm not using like this one as well as some stuff I don't use. I've also considerably lowered the price for a quick sale. Don't hesitate to ask for more.2 points -
So here’s the first of two basses I never thought I would be selling, but it is what it is. You don’t see too many of these, the photo’s don’t really do her justice, she’s a blingy beast of a bass which I have had from new about 7 years maybe? In that time I have recorded with it once, rehearsed possibly a dozen times and played live maybe twice, the rest of the time she has simply been hanging on my wall, so her condition is excellent. I’ll be happy to take more pics if asked and will happily answer any question! Currently strung with GHS Pressurewounds. Collection from BH1 preferred but prepared to meet up somewhere mutually agreeable! Thanks for looking.2 points -
Managed to sell my MXR VBO instead.2 points
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My brother's band took the "leave them wanting more" approach on the grounds it makes them look good and helps secure more bookings.2 points
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I'm with you fellas...if I didn't already have too much gear I'd be right on this. GLWTS2 points -
Quite surprised no one has snapped this up, looks very nice2 points
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I would send pre-EQ to the FoH if in doubt. Then you can EQ the amp for the onstage sound and fiddle with it during the show without affecting the balance out front. What works on stage and what works out front are not always the same thing.2 points
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The fact is that, these days, the encore is part of the show (whether you like it or not). Especially at the bigger gigs, where punters pay to see you, not doing an encore (assuming that there is any sort of audience reaction) makes you look unprofessional, or even worse, like a diva! For the tribute gigs, we always play one three song encore and that's it! In fact, more often than not, it ends up being a two song encore because the singer has had enough and wants to protect his voice. In a pub band, we will play until the punters stop calling for more, or (more often) the barstaff want us to finish so they don't get in trouble with their neighbours / because of their music licence curfew / they want to finish up and go home!2 points
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Given the choice, I would prefer a 41 neck, but I'm not too bothered. I'm taking a 5 string out to a gig tonight as a spare to the 78 P, so a 44mm neck isn't going to scare me too much!2 points
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I will concur with just about everything brother Cato has said here. I do thunk the presets sound good though. Especially with some light tweaking, but i guess they arent presets then... So many parameters for each effect are tweakable and you have like 60 different effects types. The only cons i can see are only 30 preset slots, i like most of the presets and dont want to overwrite. Agreed on the slap presets, those were the first to be overwritten. Also the preset groupings dont make sense but that is a small small issue that is easily rectified. It sounds amazing. Easy to setup. Strwaming bluetooth from phone or computer works perfectly. I give this product an absolute recommended purchase seal of approval. It will inspire you to play more since it is so easy to use. I qas readkng through the manuals last night. With the wireless accessories it really is a whole rig. Also the tonestation app has some cool automation features for gigging and playback. Could 100% be used as a full rig2 points
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Great review @Chienmortbb. The Monza, plus neutral amp, makes a great platform for pedals/effects. I guess the clue is in the FRFR label but it took me a while to really notice just how transparent it is.2 points
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Kick in the eye -Bauhaus2 points
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Is it me or is that contradictory? Also I think it’s talking more about using compression as an effect, as opposed to how most bassists use it, as an overall tone shaper keeping everything in check in perhaps a more subtle way. Both OD and Fuzz will flatten your signal, so it doesn’t matter if comp is before or after that, I think after is better because you can let the fuzz and OD respond to dynamics which the best ones do really well.2 points
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I think we're doing alright for just getting going. Played 2 in Bristol so far, got another 3 (Newport, Bristol and Swindon) coming up. The Newport one came up as we sent a load of messages to other bands to drum up some gigs. One of the ones we messaged had to pull out and suggested we play. And then they offered us the Swindon gig to play with them too!2 points
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Always this. Unfortunately with so many people filming bum notes can be broadcast around the world before you've even finished the gig!! Last week I was surprised to hear the whole band play a different sequence of bars to the original, which was the version I'd been told to listen to. It's now on Facebook for everyone to see and makes me look like I cocked up!!!2 points
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Something I've learnt when playing unfamiliar material, if I get lost it's better to play nothing than hack around randomly trying to fill the silence. No bass beats wrong bass every time. Wait for the merry go round to come back to a horse you recognise and jump back on. Oh and worrying about mistakes benefits no one. I might think I'm being conscientious and professional berating myself for every slip, but in truth I'm just making myself tense and stressing about stuff which has gone. Focus on the next note not the last one2 points
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Done a fair bit of depping. I think it’s a healthy thing for me. It always makes me reflect on what I am doing…and why. Cues, learnt behaviour, assumed signals; it all gets chucked back at you. Most recent was 6 piece function band a a military black tie dinner. 4 deps, 2 had never played with any of the other musicians. It was a little bit squeaky bottom, but you realise pretty soon that there is a pot of material that 95% of musos have somewhere in their head…2 points
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The last time I did a dep thing was about 15 years ago. It was in a place called Bonnybridge just outside Falkirk, some old hotel on the main st. It was all the drummers fault as he was desperate! He gave me a list of songs, most of which they didn`t play, the one`s I did know weren`t in the original keys and the corner of the bar we were playing in was so small that the guitarist, who had a massive beer belly, couldn`t see his pedal board and I changed the pedals for him. Never again!2 points
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Another new one from don chandler2 points
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I must admit that my final straw with those guys wasn't musical but entirely selfish. The few high points of the dep calendar were the shows during summer or Christmas when the students would come back from uni and be persuaded to come down the WMC with their parents. For a start this meant our audience would be 300% more engaged and likely to dance, but as an added bonus being the only man under 30 in the building almost but not quite made up for my many and various shortcomings. This show was one of those and I had been chatting to a lovely young student throughout the breaks. After the set the beer goggles had kicked in properly and she invited me back to hers for a game of dominos and a cup of tea. Of course I jumped at the chance: "Lads, if I stow my gear away can you do me a solid and just chuck it into the room for me to pick up tomorrow? I've only got my bass and board so won't take you thirty seconds" BL: "Not a chance, we'll be down hands on lugging the PA in. You've got five minutes to get in the van." As he was my lift home and also had the taking for the evening I didn't have much recourse so regretfully declined her invitation and got back into the van for a sullen drive home. As we're about to set off the driver's door opens and the guitarist jumps in instead of the BL. "Oh right, yeah. BL has pulled some owd lass so is stopping the night up here and we're on PA duties. He says chuck it all in the room and he'll see us next weekend, also that we need to park the van round the corner because his wife thinks we broke down." Arse 🙃2 points
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My first paying gig was a once-monthly dep for a guy I knew from a local venue and it was like a checklist of club band horror stories. It was all old-school WMC venues so you were going out to play set one to a room full of stony-faced pensioners waiting for the meat raffle during the intermission, and then them all immediately clearing out so you played set two to nobody. My main gripe was that I would often turn up to find out the keyboard-playing band leader was the only regular member and the entire lineup was deps. Everyone got a song list (usually the same one too) but if somebody didn't know enough to fill time he'd pull the old "let's do X/Y, everybody knows that!". Turns out that while many people know how to start Sweet Home Alabama, significantly fewer know how to stop playing it. The band had a house uniform with a costume change (black shirts with white tie set one, white shirts with black tie set two) because that meant you could charge more on the agency. I was warned about this and bought the correct shirts, but told I could borrow the bassist's waistcoat to match the others. Unfortunately he had two feet and six stone on me so I had to belt all the excess fabric in behind my strap. Between all the deps we often looked like a band of kids dressed in their dad's clothes. I didn't have a completely awful time and getting paid to play as a teenager was a game-changer, but it was a rough education. I saw the BL around town a couple years back and we got to reminiscing about the old days - he was keeping very quiet but about halfway through the conversation suddenly went "wait, you didn't play with us did you??". Turns out he was totally pissed for most of the two years we worked together and had very little memory of any of it.2 points
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This was the amp I was going to keep forever, but...... The forerunner of the Trace Elliot V-type valve range, the head and cab have always been dry stored in purpose built flight cases, so they are in great condition . The green pimple vinyl covering used by Trace in those days stiil looks fine, despite being 25 odd years old. 4 x KT88's driven by the infamous V-type preamp into a purpose designed, sealed 4 x 12, celestion loaded cab. Sonic heaven . £950 Flight cases included. Can be trialled in Worthing , West Sussex or, Might be able to bring to the Bass Bashes in October and November 2023.2 points
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