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Absolutely! First gig when I was 16, still gigging at 73 and not done yet.

Twenty years TODAY since my last ever cigarette. A real milestone. The 90s always saw me onstage with a cigarette, smoking in the studio or in rehearsal. 100% willpower and positive mental attitude.

Careful Blue, you're starting to smile in that photo! 👿

If you don't want to take a flame thrower to a body the stain mixed with grain filler route works quite well. This is an ash body, grain filled with filler mixed with dark brown stain to the desired darkness. Apply the filler, wipe of the excess and when fully dry sand the body.

Pretty early on I realised that the gig is the only reason I play bass. It's not why I picked up the instrument. After that first gig I was traumatised, but after the second gig I was hooked. The bigger the audience the bigger the buzz when you get it right. Trying to be a better musician and come together and excel as a band is the challenge and when you get it right there is no better feeling. When an audience is enjoying itself and you know that's because of you, it just brings a smile to your face. The journey, the idiots you meet, the miles you have to travel, unsocial hours, the years of practice, getting ripped off, cheated and treated badly by agents, managers, promoters and other band members etc. . . all fades away if you get those few hours on stage right.

Bit late to get upset about that. JJ Burnel: Worth reading the whole article too - I'd love to have heard the 6-part prog rock suite that Golden Brown (that one that alternates between 12/8 and 13/8) came from. https://www.loudersound.com/features/rick-wakeman-meets-jean-jacques-burnel Also always felt very strongly that JJ might have had the occasional sneaky listen to Chris Squire, to end up with such an upfront, technically dynamic & attacking style. Have the same suspicion about my other big bass influence from that era, Bruce Foxton. I sort of think, @Barking Spiders, it would be good if we could raise our discourse above the playground rivalries of 1977. I play bass because of JJ Burnel - I probably would never have picked up the instrument if I hadn't heard Peaches. I play guitar, and was motivated to compose music because of Stuart Adamson, whose band The Skids (as you probably know) got their big break when JJ invited them to support The Stranglers at the Battersea show mentioned upthread. I'm (broadly speaking) a prog rocker but the punk era is a huge part of my DNA. It shouldn't upset anyone to understand where music comes from.

Or not quite seamlessly, hence the topic...

I respectfully disagree, many of the punk pioneers were very competent musicians and song writers, it almost like Sid Vicious was punk in many peoples eyes, yes there were many bands who lacked even the most basic skills but on the flip side punk also brought us some very talented musicians and song writers who still hold their own today, some 40 years later

Jamming and writing music is where the fun's at for me. Gigging I can take or leave. Fortunately my current band plays originals, and we mainly play small festivals, which is usually good fun. I played in crappy pubs on and off for years and, with the odd exception, I really can't be arsed with all that any more.

Here is mine I didn’t capture the roasted neck very well!

hmmm From your perspective, if it's not making you happy, don't do it. S'fine. I have a very different perspective, but we're all different and that's what makes the World an interesting place But also think of it from the band's perspective. I've been in bands where one band member has not enjoyed gigging, or hasn't wanted to do as much of it as the rest of us, or doesn't want to play gigs more than half an hour from their front door, or has come up with cunning excuses of why the band isn't really to play gigs. And it's never ended well, even when they've reluctantly played the gigs - the whining about every little thing that didn't go right is really tedious and spoils what everybody else is getting out of it. Don't become that guy. So I'd suggest letting them know that you're really not enjoying it and then give them the option to find a replacement. Drop out gracefully

Pertinent copyright infringement alert... Yes, I know my enemies! They're the teachers who taught me to fight me! Compromise! Conformity! Assimilation! Submission! Ignorance! Hypocrisy! Brutality! The elite! All of which are American dreams! All of which are American dreams! All of which are American dreams! All of which are American dreams!

I have their Motown DI, it’s great. It’s not the definitive Motown tone people search for, but it’s a step towards it. Way too expensive though. For what it’s worth I don’t think Motown bass tone is that difficult to work out. Booze, P-bass, rosewood board, dead flats, high action, tone down a bit, pluck in front of the pickup, straight in to a D.I., then a bit of tape saturation, or if you want it to be a bit more legit, actually record to old tape, then you’ll get all the dusty artefacts too. There’s not much more to it than that. The breakup you hear is the signal clipping, it goes way past the threshold on the lower notes in some places. The transformers, tubes etc that people obsess over when trying to recreate that sound have far less to do with the fundamental character of that tone than we think, and they will only really make a difference to engineers listening on super high end monitors. They’re just the cherry on top. You can get to 99% of the Motown tone even with a fairly basic setup. Don’t forget the booze though.

Sounds like you need "the talk" with the bandmates and manager. "It's not you, it's me" is a good line... Seriously, if you don't say something you'll end up with midweek gigs too at this rate and everyone else will assume you're ok with that.

That's a sarcastic smirk.😁 Blue

I've played big stages before, but not to crowds like this - two or three thousand folks, and they kept on coming - the Craft Beer Stage at the Silverstone F1 Grand Prix Campsite - Silverstone Woodlands with my 70s Disco Funk Band - FUN.K. Top sound guys - we couldn't get there early enough to do a sound check and had to make do with a line check during the 20 minute switchover between the bands - got the 10.00-11.30 Friday night slot and the crowd were on it big style singing and roaring for more. Still coming down.

So I finally got a chance to play this and I put a quick video together with my Gibson LP DC Tribute bass played with a pick. It's my first time using a loop pedal so forgive the sloppiness. I'm really happy with it. It's pretty easy to find a sound I like, even with the most anti-geddy bass ever, but as well as it being easy to get a good sound, there's alot of tweaking you can do.

I can't be the only one, can I? Don't get me wrong, I love being in a band, hanging around with my mates making music, that's where the pleasure comes from for me. I know public performance is the pinnacle of being in a band for most people, but I'm just not feeling it. The way I feel at the minute, I honestly wouldn't care if I never played in public again Lugging gear around, trying to fit it all in the car. Spending the best part of an hour at the other end unloading it and setting everything up. Standing round like a spare part waiting to go on, then performing to a load of annoying, well lubricated people, who, in many cases aren't even interested. Only to have to break everything back down while the audience who haven't shown a bit of interest all night, start demanding "more". Then lug everything around back into the car, drive home, lug it around again into the house and finally get to relax about 3 hours after the people you've been "entertaining" have gone to bed. The only part I actually enjoy is if we get time for a couple of cheeky pints after the gig. Why do I do it?

Ordered this a few weeks ago from PMT and it finally came today, I've already got a honeyburst one but being in a UFO tribute band I wanted to get the right colour, I know the bridges are different but what the hell. These 760 humbuckers are fantastic, plenty of tone and bags of power, the neck feels to be a slightly different profile to my other one but its still slim, neck dive is negligible and the finish is flawless. Overall I'm very happy with it and tonight is it's first gig.

Esperanza Spalding too. Pretty much full scale so no deep note issues, just quieter ...THIS could be your solution. There was a bloke on here trying to make one from a normal laminate bass ....

Had a punter trying to give the band a tray full of shots while we were playing. We were actually mid song and he was trying to hand them out. During the break a barmaid told us a punter had got a round in for us. Great, we thought, so we started to tell her what drinks we wanted. 'No' she said 'he's already ordered them'. Oh.

Did a wedding in a castle on sat night here in Ireland. Savage venue and great crowd. Half Irish, half Scottish. Brilliant dance moves on show 😂

Last night. Played a lovely venue on the river. Nice owners, great welcome. good crowd. We were told they'd all be gone by 9.30 as it was a Sunday night. Still dancing on the road at 11.00 PM. We were all shattered from the night before and it felt quite subdued on stage but we actually played better than the previous night. Three "this is definitely the last song" encores with the last being an extended Pride, in the name of love. Smashed it. Think it's our new final number. They went crazy.

Got it

I bought a Dubster 2 from a member on here last year and I think I've used it on about 4 gigs. Two were when it was twinned with a Big Baby II and powered in bridge mode from my Crown XLS1502. The sound density was ridiculously thick but the addition of the BB2 enabled more upper frequencies to come through. However but I think next time I take it out I will have the two cabs on different sides of my power amp so I can balance the sound between the two cabs better as in bridge mode the dubster does tend to over power the low end and I think it would work better if I was able to use the BB2 for most of my sound and let the dubster add heft without taking over the volume loud. The other two times, I have used it as a stand alone bass cab which was rather good. Just to add, all gigs were reggae which it is deal for. The only other time I think it would be suitable is if I was gigging outdoors. If you can find one, it's a great addition.

The other side of it is the countless number of folks who think they can upload and do what they wish with someone else’s music. Those who show no respect for the work of creative artists, not just for big acts, but for us bottom-dwellers too. For example, I released some music recently, recorded with a mate. Ahead of the full release date, we released one song on youtube and, a couple of days later, another song on bandcamp. A few days later, we released the third and final song on youtube (we do very low tempo stuff so our three songs clock in at just under half an hour 😂 ). The next day, my mate sent me a link to a youtube video asking if I had put it up. I checked the video. It was our three songs in one video, compiled by someone in Poland who had ripped the audio from bandcamp and uploaded our music, ahead of our chosen release date, using the original artwork we paid for, without our permission. It’s small potatoes, I know, but to have someone wrestle what little control you have of how your music is released and presented is a pretty crap feeling and takes a lot of the fun out of what should be an enjoyable event. Checking the guy’s channels, he had more than one, all he did was upload other people’s music from all genres randomly and try to monetise it. Around the same time, we received an email from another guy asking permission to upload it. His channel is also just music he uploads, but he promotes the kind of genre we operate in and he asked first, so we gave permission. To get onto Spotify, itunes, etc, we had to go through a broker service - we chose cdbaby - and also published through them. A few days later, I noticed the licensing information added to the second guy’s video, see below. This was done via the clever algorithms called out in the OP’s video, no doubt. While I think the situations outlined in the OP’s video are extreme and pushing things a bit too far, it should be remembered that there are plenty of people using original music without permission for their own gain. It’s not just The Eagles who won’t miss another ivory backscratcher, but us nobodies, too, who are getting screwed. There is merit to both sides of the arguement. As with everything, some balance is required to find the appropriate solution. We’re not there yet, though.

I’ve always thought that men in suits do more damage than men with guns.

Alternatively, sell it and have a nice holiday. Japanese Boss pedals command a premium, old and boxed ones even more so. I think the cardboard traps the tone and mixes it with the space-time mojo and then they sound better than the same pedal not old and boxed. There is a hipster somewhere who doesn’t know he needs this in his life yet. To ebay with you!

I insure my gear with Musicguard and get £1m PL cover as standard but it only covers me. When asked to provide evidence of cover the certificate for my insurance has, up until now, been enough to satisfy a venue's requirements.

Yup - that's very much my conclusion too! I think we're in agreement that the new Marcus Limited range has finally nailed it on the EQ centre-point front and I look forward to buying Fretmeister's new amp off him when he's getting his next 'must have now' toy 😂

I heard about this two months ago so, although the press release has only just come out, it isn't sudden or unexpected. They've taken the last couple of months working out their way to bypass the issue (slight body shape redesign). If they had just made the occasional Tbird shaped model they would have probably been OK but the DBird was becoming a key line in their range and to Gibson's mind a threat. I'm just glad I got mine when I did and it'll retain its value nicely :)

I have a Little Marcus 800 and love it. The five band EQ is superb, and the VLE is pretty much the same as the one found on the Litte Mark range (slightly different EQ points). The Millerizer function is a band pass filter than only passes frequencies between 5 and 12kHz. I find it to be very musical: it just adds a nice treble sheen to the sound IMO. That said, if I had the choice of a band pass filter or the para eq on the new version of the Marcus, I would choose the latter in a heartbeat.

I only ever liked playing outdoors at festivals n' ting but hated pub gigs. For starters I don't like pubs. I like pub gardens but still never go inside other than to buy beverages. The types of band I used to play in tended to be upbeat, with a party vibe, lots of movement, a fair bit of badinage and sometimes gimmicks. That didn't really work when stuck between the ladies toilet and the dart board

That is the biggest pain, right there. I generally "accidentally" tw@t them with the corner of a cab......

That’s what mine is now, it’s hanging up in my summerhouse, at the top of the picture, 😀

I recently got a Stingray special and hands down can say it’s the best stingray I’ve ever played I think it sounds completely different to say an older three band eq and of course the classic. I’d say it nails both the sounds but has it’s own sound of that makes sense. The neck is fantastic and the improvements they have done may look like nothing but you sure get a lot more tones out of the special

I'd quite happily settle for the fee paid into my bank account and cut out all that tiresome nonsense too! Roadies that's the answer. Years ago, it would have been groupies but these days having my equipment lifted for me has a far different meaning! 😂😂😂😂

Love playing with people and for people. Hate the travel, loading unloading etc etc

I love the gigs, it’s the band politics that are a pain, the ‘yeah we are 100% going to do this this and this, then come rehearsal time they haven’t learnt any of them but suggest some crap that doesn’t fit in at all but they happen to like, claiming it fits perfectly (last time it was a 70s funk disco song in a band that plays 80s-00s alternative/ rock). Yes that will fit well..........

I like playing guitar or bass/double bass. I love playing with other musicians. I’m fortunate enough to play with some wonderful musicians. I’m fortunate enough to be asked to record with some wonderful artists. Most of the gigs I’m asked to do aren’t grotty pubs. Most of the gigs I play I’m driven to. I just don’t enjoy gigging. Playing in front of people, performing, never have done. I don’t think I’m less of a musician, or should have swapped guitar for golf clubs. The reason I started playing was because of the albums I listened to, not the bands I saw. I rarely went to gigs, still don’t. Some people just don’t enjoy gigging. It’s not a disease. 🙄🤪

I treat the load in and out as a bit of a workout. Some people pay to go to a gym and do a workout, this one pays you.

I absolutely get that when it's something you've been doing for years, it's probably quite normal to become a bit jaded with it. But here's the weird thing. This is a new band and we've only just started gigging. We're maybe 6 gigs in (including one later today) and I hate it already. I haven't played in public (or much at all) since I was 16. I'm now 44. When I played in front of an audience in my teens I felt like a rock God! Now it's more slight apprehension beforehand, go through the motions during, and glad it's all over with in the end. Kind of how I suspect Mrs NFF feels about my conjugal visits.

My darling! I've simply found 'the one' after years of trying many, many, many basses. Tonally the most versatile Stingray i've ever owned, it's very light and looks proper bling in the lights!....yup best bass ever for me.

Hi there to all you BC members ! Yes lets hear about your favourite players famous and not so famous and I will look forward to showing you around the factory here in Sevenoaks to show you how the strings are made. I am sure you will find it interesting.... Here's a cool ad from the 1970's featuring a few more Rotosound artists ! Regards, Jason How

Jean Jacques Burnel. 15 seconds into Hanging Around, and I knew I wanted to play bass. An epic bass tone that defined the band, and, for me, has still never been bettered. I've spent the last 35 years trying to get that sound juuuust right... 🙂