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Showing content with the highest reputation on 12/05/25 in Posts
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Played The Lending Room in Leeds on Saturday supporting The Faces Of Sarah. It's a decent-sized venue with a great PA and lighting system, but is upstairs from a student pub. Every time, no matter what time of year, I have been here, the pub downstairs has been rammed full of students all in fancy dress getting very drunk. It's a complete contrast to the audience upstairs. A slightly smaller crowd than usual, but still very appreciative. Plenty of people down the front dancing. Fewer problems than two weeks ago. The footswitch problem appears to have been solved by a different choice of footwear and the wireless bug stayed firmly attached to my bass. However our singer managed to forget the words to the second verse of a different song to last time. Still sold a decent amount of T-shirts and CDs afterwards. We're close to selling out of copies of "Lost Souls", we have two gigs coming up in a fortnight's time and after those they may well all be gone. As usual gig photos courtesy of Oh My Goth: Next gigs are in two week's time first on Saturday 24th May in Bradford at the 1-12 Club as part of the ReVamped event and then on Sunday 25th in Nottingham at The Chapel as part of the Dot-To-Dot Festival.15 points
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I played two gigs this weekend with blues rock band ‘ The Alligators’. Saturday night we were at a pub on the east coast, which we’d done before. Not many punters in when we started our first set, and then quite a few left due to a guy who was off his head ( not from drink) floundering dangerously around the dance floor in front of the small stage. At one point he tried climbing the stairs onto the stage, so I stopped playing and gave him my best death stare, something I’m not great at to be fair. Amazingly he backed off ( thank god) but by this time the damage was done. Second set was brought forward and only saved by a group of ladies coming in on a night out. Got paid and then beat a hasty retreat - we have two more dates at this venue later in the year, but I’m not keen to return. Sunday’s gig was entirely different, thank goodness. Nice pub in Filey where we played a late afternoon session, starting at 4pm and finishing around 6.30pm. We had nearly a full pub of blues fans, including a few local musos, and went down really well. The landlady is soon moving to another venue in West Yorkshire and wants us to play there, so could be interesting. Used my usual passive Precision Lyte straight into my Rumble 500, along with a very comfortable ( but potentially uncool/embarrassing ) pair of Clark’s trainers. No photos of the gigs, but a nice one of Filey looking towards Bempton Cliffs RSPB reserve. Also for the vintage gear heads, a shot of our ancient ( (1970’s?) Peavey PA amp - and yes, those are jack inputs 😆14 points
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Eh Up Mi Duck festival on Saturday night. All day drinking tends to mean a lot of early nights at these festivals but we were on at 9:15 which is a good time to start. Quick line check and sound was ready in under a minute. Sounded great from behind the kit and loads of compliments afterwards! A single error - When I do any "out there" fills, it can put the singer right off. I try to concentrate and use the same fills over and over, keeping anything slightly "jazzy" for the recording studio. Unfortunately as the huge crowd were so into it, I found myself go to auto-pilot - enjoying the crowd response and "vibe" instead of concentrating on the drums. Out came a particularly off-beat fill (I'm sure any drummers would appreciate it) and sure enough the singer went half a bar out! Ooopsie! 🤣 Other than that, an absolutely flawless gig and such positivity from the crowd I'm still buzzing two days later We sold loads of merch. The new songs from our forthcoming album are going down great and people seem to know the words already! We put it on "pre order" this morning and we've already had orders for 20+ CDs and a load of vinyl and bundles. Very cool14 points
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Played an end-of-season outdoor festival at a local(ish) footy club; you know the thing - bouncy castles, ropey burgers, BYOB, a charity raffle, generally a family day out on the pitch, with a proper stage, unfortunately facing into the sun, so it was verrrry hot (the drummer/PA engineer's iPad shut down at one point because he'd left it on the stage in the sun and it overheated), but a good day. Mostly singers with backing tracks, a couple of solo acoustic types, we closed it out for an hour at half seven. I'd brought my QSC 12.2 just in case the cobbled-together PA wasn't up to much bottom end, and it's a good job I did, as one of the (12") subs (we had 2 x 12" full range cabs each side, too) sharted itself just before we went on, so I brought the QSC up to the front on my side (where the bust sub was) and didn't go through the desk. Made it loud onstage on my side, but I went out front with my wireless and blimey charlie o'reilly that QSC can generate some bass; lots of it even a good way from the stage. Admittedly we weren't at Knebworth levels of volume, but lots of people said how well it all sounded, and I'd never have imagined playing an outside venue with one bass cab and being heard more than 40ft from the stage against a miked-up drummer, guitar and vocals in the PA. Extraordinary. It didn't break a sweat, either, and was on about 75% volume, with 50% more (linear) input from the Stomp to come, too; clean (Stomp patch dependent) and very nice...as I say, the onstage sound was naturally bass-heavy on my side, but it was the overall amount of sound the thing is capable of which surprised me - I can't think of a full stack rig I've ever used that would've made more, and that's including an Ampeg fridge and SVT...12 points
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So I've spent the last week rehearsing & playing bass for the excellent (and lovely) Whitney Lyman - a singer songwriter from the USA. I got booked a few weeks back and she arrived from LA last Monday. we rehearsed Tuesday, then played in London on weds, then a few gigs up North at the brilliant Focus Wales festival. Some recording got done yesterday and a little more later in the week, then she's back to sunny California. Had great time, band was sh1t hot and enjoyed it. Used my Jazz basses, Peavey MiniMax500 and my Barefaced 2x10 - good compliments on the sound from the sound engineer too (and the EQ was flat as a pancake). Plans being made for another visit and some festival dates all being well..... just need to get asked to do some USA dates now 🤣11 points
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There's been a bit of a development. I was talking to a band a while ago but it all went quiet. Yesterday I heard from them again and they sent over some new material and it's really good. I'm going to give it a good go, write some bass parts and see how it goes.10 points
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Stillingfleet Beer Festival, Saturday afternoon. I've played there probably half a dozen times in the last 15 years and the weather has always been glorious! The band's first proper gig, albeit with a stand in drummer - kudos, he was great! We went down well and were happy with how we sounded, with some lessons for future bookings.10 points
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Just back from playing a solo gig at VE celebration in a local pub beer garden. Personal best - 3mins door to door from my house yay! Scorching hot afternoon but my acoustic guitar miraculously stayed in tune despite the heat (I took a big cloth to cover my kit when not in use). First time there but it went down well enough for the gaffer to ask me about coming back, so that’s a win.7 points
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Combining a rather fetching Warmoth body/neck combination from our own @Beedster (from his current sale of assorted bits), the bass sports a Lollar 5% overwound pickup and Gotoh Res-o-Lite tuners. The obligatory K10gon loom (0.1 cap) and barrel knobs. A nice weight and very resonant. This one's a keeper for sure.6 points
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I just recently bought a Monaco cab from LFsys. I've done a few gigs with it now, and as there doesn't seem to be much info out there on their use for double bass, I thought I would leave a small review. Practicals first: It's really nice and light. Very easy to carry with the recessed handle. It fits in my car standing upright, so plenty of space for other gear. The finish and appearance look very smart, in fact I don't really think the website pictures do it justice. Construction quality feels really nice and premium. For these purposes I'm going to compare to my Barefaced BB3, as they are similar scale FRFR speakers - different price points, but broadly comparable. I've finally realised that I can only really use flat speakers for upright bass at any reasonable volume, because any specifically 'voiced' cab, with humps and bumps in the response, tends to make the feedback issues with the instrument much worse - unusable in fact. Efficiency: The Monaco is plenty loud enough. I would say the BB3 is a few dB louder for a given amp setting, but both are freakishly loud compared with a lot of traditional cabs. It's subjectively the same volume as my BB Supermini T. Response: It's flat - extremely flat. I think I would actually be pretty happy to use a pair of them as studio monitors. Out of box, the BB3 feels as though it has a deeper bass extension (in my case I have to roll all that rumble off with an HPF anyway) but I did check with a bit of tone shaping on the amp, and the Monaco is still very capable of generating those very low notes if you dial them in. I wonder if it's the difference between the big-ass slot port on the BB3 and the reflex port on the Monaco? I guess if you were after a particular 'sound' then you would use a cab-sim, or a head that provided it. But the Monaco is very much a blank canvas. Load: This is an interesting one. If I push my amp really hard at LF, much harder than I would hope to need to on a gig, the Barefaced cabs will eventually cause the class D stage pop into protection/mute for a few seconds. This isn't a criticism of the Barefaced, because I'm taking about abusively high loudness levels at this point. But this doesn't happen with the Monaco. And if I run the Monaco in parallel with the BB3 then the combined load doesn't cause the class D to trip either. I'm not sure what's happening here, but certainly it points to the Monaco being a good, consistent load impedance and easy to drive. Actual use on gigs: It's a very clear sound, very easy to hear what you're playing and get your intonation right. The notes bloom into the room (or field if it's an outdoor gig!). So the dancers get a tasty set of low notes to set their pulses racing, but the player gets something that's nice and focused so you can hear what you're up to. The low end is present, but really tight and punchy. And here's the big deal for me, very little feedback. Loads of BassChatters will know if you're playing upright with a loud guitarist and drums then managing feedback is a full time preoccupation during a gig. I don't have a 2nd sound posts fitted. I don't use a mag pickup because I'm playing guts. We don't generally use IEMs. So all I have to damp things down is a pair of F-its sound hole blockers and the fact that I'm playing a laminate instrument with a lacquered finish. And using this Monaco cab, I can get to a perfectly acceptable volume without causing horrendous feedback issues. I have got a quieter dinner jazz gig coming up in a few weeks, for which I'll use a carved bass. So maybe after that I'll report back here. You always take a bit of a punt when you buy a cab online, without trying it out via a dealer beforehand. But generally speaking I'm really pleased with it so far, and thanks to everyone on here who recommended LFsys to me. If anyone is near York and fancies trying it out for themselves then message me on here and we can sort something out.6 points
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1965 Precision... It would be greatly appreciated if you guys in the know could advise me if I bought a bitsa, which I purchased over 10yrs ago from Kings Rd Vintage? The only thing that bothers me is the neck plate serial, which relates to a late '50s P. ? Anyway, it's such a joy to play and was always going to be a keeper. Supposedly, it was the house bass at Shangri-La recording studios. Arrived with period correct case with 'Mountain Dew Boys' stenciled on it. I can provide more photos if required. Thanks 😊6 points
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We had a lovely day yesterday. It was a VE80 celebration organised by the local council and the Royal British Legion branch. It started off at 2:30 with the Leicester Big Band. The decorations were fantastic and the room was packed. After that was a ukelele band in the other room (I was, erm, too busy to go and watch them 😜) So the evening was then split between our guitarist's brother's Beatles tribute band and us. We shared kit - most of it ours. I didn't get any photos of us, but shot these 3 that I've chucked together in a collage... I was quite pleased with that set of shots Usual Sire into Rumble. More importantly footwear were my custom suede Converse6 points
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5 points
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Hi All, Genuine rare US-made Musicman Sub for sale. 4 string, passive. Comes with a soft gig bag with assorted spare strings and a strap. Selling because I no longer use it. Good bits: Good usable condition Fantastic tone Recent strings Intonation good It does NOT have the original plastic pickguard with the metallic pattern on it - I hated this and replaced it with a far nicer looking item. There is a chip on the main body near the volume pots as you can see in the photos. There are a few marks on the back of the neck too. Neither of these have any impact on the feel and sound of the instrument - it's a gorgeous piece of kit and comes from a relatively small run of 'Sport Utility Basses' (hence SUB) apparently Musicman lost money on these and didn't make them for long. Would prefer to meet up rather than post 'cos it's heavy! Looking for £650 ono. Reduced - £5955 points
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As mentioned in the SGC Nanyo thread, I have joined that gang - yesterday I acquired what I think is an SB310 with a Glockenklang preamp. Spent the afternoon restringing it (it came to me strung BEAD - my poor little brain can't handle that!) and giving it the once over - a clean, lemon oil on the fretboard, new strings, full setup, sorted out a little niggle where there was an odd screw in the bridge which stuck out because the head was too big to fit in the hole - found an M3 machine screw in my spares which had a small enough head to fit in the recess. Chrome instead of black, unfortunately, but it's a lot less noticeable than before! Only thing left to do is new knobs - these are press fit knobs but the pots on the Glockenklang are solid shaft so they kinda work but want to keep turning after the end of pot travel. Got some tasteful black flat tops coming in which are set screw fitting. I tried to find period correct ones but it seems the bevel topped ones with the white dot like the ones which SGC Nanyo used back in the day are only available as press fit - boo! I might revisit this though, been looking at ways to convert press fit knobs into set screw... Anyway, enough guff, here are some pics:5 points
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I think it’s time for me to have another rationalisation drive. I’m not really a huge user of compression and my much more basic Cali76 Compact Bass covers what I use. However, if you want to go deep, the Atlas covers loads of territory and you can really sculpt whatever compression tones you can imagine. Or you can just use presets that others have already crafted. It’s dual input with two completely independent compressor channels so, for example, you can have one style at the front of your chain whilst simultaneously having another different style one at the end. Or run both together for dual-band compression. This pedal has barely been used. It’s in outstanding condition. Comes boxed with power supply and connection cables. Price includes postage to the mainland UK via Special Delivery. I have a couple of other SA pedals up for sale. Save on postage.4 points
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4 points
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7.00am this morning - in the cool of the yard outside our Oil City workshop - I took off the extra unwanted neck heel - bringing the neck angle to 90 degrees. This was a bit of a 'brown trouser job' as a cock up here could ruin the whole neck. I am getting used to the Japanese saw ... it's very strange cutting on the draw stroke - but by the Lord Harry it razors through maple like soft wood! That's a huge slab of American oak everything is clamped to - somebody just fly-tipped down the road from my house a few weeks ago - amazing what some folks throw out! I got thing mostly bang on - with a bit of end grain No4 Stanley plane work which was pretty soon sorted. The only slight downer is that I now find out the base of the neck pocket itself is a tad out of true with the bass centre line - clearly their production tolerances were a bit iffy - so a little bit of extra plane work will be needed. The lower part of the heel also needs tapered down a lot ... but that's not so 'mission critical'.4 points
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This was October 1977 - I was there🙂. The pelting was aimed at a comedian who was the entertainment between the Dictators and the Stranglers. He came on, said "I hear you Welsh can't play rugby" and....you can guess the reaction. Roadies returned fire, but I think things had calmed down a bit by the time Stranglers came on. It was a very...kinetic gig, a very boisterous crowd!4 points
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I just bought a lightly roasted maple jazz neck off Ebay. Coming from China. It's going on my PJ parts build. I have a nice Fender Vintera 60's Roasted maple neck on my jazz bass. It will be interesting to compare them once the Chinese version arrives. Will update once it's installed.4 points
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This bass is in excellent condition. The spec is as follows. Alembic Europa 5 string bass Scale Length Long scale 34" Neck through design with maple and purpleheart construction Ebony fretboard Adjustable height brass nut Solid machined brass bridge with brass saddes mounted to a large brass sustain block Solid machined brass tailpiece. Top wood is Bocate Body is solid mahogany Headstock has a bocate laminate on front and back, with cast brass alembic logo on the front. Tuners are gold coloured. Pickups are alembic MXY low impedance pickups. The Europa controls are volume, pan, filter, Q switch, bass boost/cut switch, treble boost/cut switch. The quick tone switches are bass and treble and are not individual switches for the pickups. Each switch provides 6db boost, flat, and 6db cut. side mounted 1/4" mono jack (see image link) http://club.alembic.com/Images/16271/106010.jpg (Owners Manual) http://www.alembic.com/support/care.html The bass is a neck through design made from maple and purpleheart. Ebony There is an inlay of my initials in the 12th fret which was done by Jaydee custom guitars about 12 years or so ago plus and my name engraved on the truss rod cavity which i may be able to remove if if is a deal breaker or the buyer can just reverse it. The switches are mounted on chrome plated washers as a few years i installed some East ACG filter based electronics which required enlarging the existing switch holes to fit the filter controls. The original electronics have been back in the bass for ages now but I had to get larger washers mount the original switches. If I can find some black washers I will install those instead. The back control cavity cover is gold plated and was like that when i bought the bass. What else can I say. Well it is a great sounding bass and i am only selling it because it is not getting enough playing time so i'd rather it went to someone who will give it more attention. Send me a PM if interested. I have an original case for it also. Some information from the Alembic web site. EUROPA With its elegant and understated form, the Europa bass is the type of instrument you return to again and again, and each time you're reminded of why you love this bass so much. From the moment you wear it on strap, comfort and balance greet you. Plugging into the side mounted jack gives a satifying "kerchunk" in response. Once your amp warms up, the tone that piqued your interest in the first place comes flowing back. This bass is home. Quick tone change switches give instant access to useful on-the-fly sounds. When you're ready to take that solo, you can simply flick the bass and treble switches to the boost position, knowing full well that when you're finished, that original sound is just a click away. The Europa comes standard with Alembic's classic Maple and Purpleheart neck lamination pattern. This engineered beam supports even response across the Ebony fingerboard, and assures that snappy Alembic brilliance will be delivered at every note. Like most Alembic basses, Europas are quite happy in a variety of musical settings. Turn the low-pass filters down to 300Hz for deep tones suitable for blues. Turned up to 6KHz, there's plenty of zing for slap or driving rock technique with a pick. Versatility puts the tone control in your heart and your hands. Since each Europa bass is handcrafted right in our one-and-only shop in Santa Rosa, California, you are able to custom order any aspect of the bass. Custom fingerboard dimensions, wood choices, decorative details, or even things not yet invented are possible. More information Here are some soundcloud clips from a rehearsal with this bass. This is an amazing sounding bass and I have used it on numerous gigs though in recent years I have used it less and less as I have been using my two filter bass more. I would love this bass to go to someone who can get more use out of it than I can. I would prefer not to post it if at all possible and if you want to try before you buy, i can arrange that in my mate's studio so you can hear it at full bore.3 points
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3 points
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Arthritis in my thumb has forced me to only play short scale basses so I am continuing to reduce my collection of basses. So, to gauge the level of interest: - Here we have a genuine N.O.S. Korean made Spector neck thro Legend Classic. ( Tonepump Jr ??? ) The bass is literally brand new it has never left the house and played once or twice a year. It was bought as a collector’s piece and has lived in its Spector case in my music room since purchase. As New Old Stock it would be the buyers joy to have a brand-new bass needing the protective film taken from the control cavity cover. The serial number suggests that it was produced in 2017, probably one of last batch of Spector basses manufactured in Korea.3 points
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Well I did it. After watching this one for over 2years online with the local agent, I pulled the trigger and bought myself the one bass I will never put down. I have promised both myself, my long-suffering better half and most of my mates that this is genuinely the last bass I ever buy. Feel free to screenshot this post and remind me if you see me lurking 🤣🤣🤣 But anyway, here she is: One N.O.S. 2021 American Pro 2 Jazz bass 75rh Anniversary FSR Dark Night with Rosewood board. Genuinely cannot describe how beautiful this thing is, all around. It feels amazing in the hand, sounds exactly like a Jazz should and it has the most beautiful rosewood I have ever seen on any neck! This is a pretty good place to end my GAS Odyessy 😎3 points
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3 points
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3 points
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God. Spent ages looking at the label for something new... then finally read the quote. Doh!3 points
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3 points
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I think it’s an old 210 watt mixer amp. We use it with a pair of 1x10 passive cabs ( just for two vocal mics ) and it’s actually pretty good! Bloody heavy though. On every gig we just turn it on and don’t touch any settings and it sounds great, whatever the room. No soundchecks needed! One day it will surely conk out I reckon, but old Peavey USA stuff was always pretty bombproof - I had a Mark111 bass amp from the same era and it was just as reliable.3 points
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Today I tried the transformers in position, listening on headphones for hum in the OT while the PT is powered up. As expected, setting them at right-angles at opposite ends of the chassis (as planned) produces virtually no hum. If I rotate either transformer 90 degrees, or move them close together, there is audible hum. I also measured the PT voltages off-load - with 243V AC from the mains I get 6.44V AC across the heater supply, 387V AC across the HT, and 42.7V AC across the winding that I plan to use for the bias supply - all good! I've been working on the layout, including a rough mock-up of the eyelet board. The bias circuit will go on a separate board above the PT.3 points
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Like this? It works very well, although the original preamp isn't great.3 points
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3 points
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I’m glad you’re liking your cab,whilst I don’t play double bass, i have a pair of the Monza 10” cabs and can confirm they are fantastic little units too. . One does me for 90% of gig situations .Stevie is very easy to deal and has great products. It’s nice to support small home grown businesses. For the record, I’ve owned loads of different barefaced cabs too what served me very well.keep enjoying your sound! 😊x3 points
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In uk law, unless it’s changed since my law degree anything that’s a custom order you’re pretty much stuck with unless it is manifestly useless, eg a fridge with a custom paint job but that doesn’t actually refrigerate food3 points
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I find it quite easy but I've been using the Helix system for 5 years. For the Stomp I hardly ever plug it into my PC and just do it all on the unit. I only plug is in if I want to do a firmware update or if I download a patch from Customtone or similar. Setting up the sounds at gig volume is vital. Even with very good headphones or studio monitors it really isn't close. Just like your real amp settings are probably useless at a gig. I definitely recommend a Technical Rehearsal for that - where the tones / mix etc are the focal point rather than performance. Then - and this is the best bit about all modellers with loads of memory - when you soundcheck at a gig, save the patch(es) under the name of the venue for any venue you visit more than once. Then when you pitch up next time the sounds that worked at the last gig are ready straight away and as long as the venue PA doesn't change you'll be up and running far faster. It's the modern equivalent of the FOG guy's little black book of settings. If you have your own PA and it has memory slots - do it with that as well for the other instruments / vox etc.3 points
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Always been curious about those parametric eqs, specifically that one or the slightly larger one he makes. I'd probably also get the tiny DI he makes too ... How are you finding it? Great pedals but have to ask, what are the connectors/cables? In other news I finally got around to putting my QC on a board. I have been using my Stomp-based board through essentially inertia as everything was already set up, but as I find myself not actually in a band, but depping for 3 bands and rehearsing with a fourth, it's all getting a bit messy. Decided to start from scratch, and now with 267% more buttons!3 points
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3 points
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Gig yesterday afternoon. Multi band outdoors community event. Nothing special to report about the gig, but it seems the pa guy was kinda stitched up as to the nature of the event. So we took along our Soundcraft Ui24 which we use for gigs (which we run a silent stage). We also use this for rehearsals with IEMs. So we all plugged into that as normal (Roland Electric drum kit), gave him a stereo feed with our ipad for mixing and took our aux feeds as normal. Worked a treat. Great sound on the IEMs and had a hassle free fun gig. Win win3 points
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There's something so energising about an audience up and dancing and loving your music! LA Mixtrax (@lamixtrax) • Instagram photos and videos Had a couple of great back to back gigs on Friday and Sat night, at two different venues, both of which left me and my crew with a happy grin on our faces. Could have been a disaster last night with our drummer having a flat tyre! But he managed to set up double quick, and we started our sets with only a 15 minute delay, and made up the time by taking a shorter break. Our PA/sound set-up is relatively simple: 2 x RCF 912As (no backline) which delivers a meaty low end without needing a sub, but is not as good as the higher-end RCF 932A's for mids so we probably will think of upgrading at some point this year. The band had a few line-up changes at the start of the year and we no longer have a keys player; so it's now a pretty basic instrumental trio of guitar, drums and bass with female vox fronting, but we're starting to figure out how to fill out the sound e.g. by making sure that any doubling-up of bass and guitar lines are kept to a minimum or me occasionally adding a little octave or synth when the guitarist is solo'ing. The current line-up all use IEMs (wasn't the case previously: guitarists, in particular, seem to much prefer their amps and backline to IEMs, whereas singers seem to love them - maybe because it shuts out the guitarists' amps? 😅). The band are all starting to appreciate the flexibility provided by our A&H CQ desk to give them their own personal monitor feeds and I'm sure this has been key in IEMs now working so well for us. I love the work that has been put in by the new band members to get on top of 5 hours of set material which allows us to keep things fresh/varied at our residencies for both us and our audiences, and we're all getting rewarded by the reception we've been getting when things fall into place, as they seemed to on Fri and Sat night.3 points
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New venue for Blockbustarz last night in Croftfoot Bowling Club in Glasgow. This was a special event for us as singer Lynn was brought up in this area and it was a special birthday for her and both her sisters came along with partners so we had an honoured guest Pat Bonnar goalkeeper for Celtic football team and he looked like he was having a great time along with everyone else. Small stage so both singers on the dance floor which I'm never comfortable with and that was justified when an over excited girl knocked over singers water which ran straight towards a mains bar. Quick mop up by club members and off we went again. Very hot last night even with the 18" fan on full I was still soaking wet. All part of the job I guess. All seemed to go well and we test run 3 new songs which were played well enough for a first outing. We just need more plays to get to the point you don't need to think about what you're playing. 2 x 1hr sets extended for the encores. Club wants us back same time next year as they are fully booked. Decided to use the Handbox WB100 again for this gig and what a difference an all valve amp makes. It's full, deep and warm sound just fills a room far better IMO and I'm always able to hear myself better. Had the gain set just right where I got a nice full warm tone when aying a little lighter but when I dug in for some songs I got that slightly overdriven edge with a bit of clank to go with it. Had my Keeley comp on just to limit my volume. Sandberg Vm4 into WB100 and Mesa cabs. Just glorious. Nice wee one hr drive home mostly motorway with no hold ups. Happy chappy this morning and will be using my HB more often. I think I'm just a valve amp guy. I always get a better sound. Dave3 points
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3 points
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2 points
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My general guideline that has served me well is, if you can lift it into the car by yersel and without the help of your biggest gym-bunny mate, it's not got enough heft and you need to think again. Another ticket closed. 😉2 points
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So would The Chameleon in Nottingham if it was still going. Almost impossible to get to in motor vehicle that wasn't a bus or taxi, and when you did there was no where close to park unless you wanted to risk putting it on the pavement while you unloaded as fast as possible. Then it was down a narrow alleyway and up two flights of steep, dimly-lit stairs to the venue itself.2 points
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I don’t about vintage more like something you find in an archeological dig! The copycat is awesome tho!2 points
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2 points
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thanks all, got my answers, mods can close topic BC still a GREAT forum!2 points
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Yes. They said "Take your market stall and dodgy goods elsewhere, we've got enough problems with the Romans without your sort too"2 points
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Japanese Sadowsky 5 string in very good condition with all the 70’s DNA a five string Jazz Bass could possibly have. Ash body, maple neck/board, bound neck, block inlays. Pickups in 70’s position providing for more clear and tight sound options. Bass is fitted with new Sadowsky single coils and new pre amp with VTC. I can reïnstall the original Sadowsky humfree pickups and pre amp (with no VTC) if desired. Frets are like new and provide for action as low as you like. This is quite an early UV70 which means the neck is not reïnforced with graphite strips as the woods were still top quality. Maybe I am delusional but in my hands I feel a more organic bass that sounds more like wood than the later ones. Not better, but different. Comes with the well known Sadowsky rectangular semi hard case. These are arguably the best '70's Jazz fivers around they are relatively rare (not sure, maybe hundreds or less exist) and they are not being produced anymore. On par with the NYC quality, not with any MIG and MIC I played. Offers considered.2 points
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Gary Barlow on fine form last night in Manchester. Lee Pomeroy (just in shot on the right) appeared to have a ball. Also Milton McDonald on guitar left-front making a second Yes-related band member as he played with ABWH way back when they toured. Add to that Gary himself chose 'Owner of a Lonely Heart' on 'Desert Island Discs' as his wake-up call to step up the production for his music. (https://www.bbc.co.uk/programmes/m0001h1p) However no prog last night, just Gary's solo and Take That bangers. Great show.2 points