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Showing content with the highest reputation on 13/08/21 in all areas
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I bought this in May as a back up to my main P Bass, but sadly both bands I was in have folded and it has literally sat there doing nothing. For sale is a Fender American Pro II P Bass in Mystic Surf Green. It comes complete with the new style ABS case and all accessories and is in immaculate condition apart from the tiniest of marks on the pickguard near the truss rod access point. It has a really nice low action and weighs 8lbs 5oz according to my wife's kitchen scales. I'm looking for £1,260 delivered. No trades please11 points -
Last year I had a moment of slight madness and sold my short scale ACG. A month ago or so I had a much more serious moment of absolute madness and I sold all my basses and amplification, all I had left was a forlorn bag of leads. Yesterday I regained my sanity somewhat and was very lucky to be able to buy back my ACG Recurve SS 4 and very pleased I am too, this beauty is for keeps. @Clarky gets visiting rights.11 points
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Oh to be perilously turning 30 again...8 points
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I'd be more than happy to post your luggage on 👍😂6 points
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Downsize extravangaza continues. This is a bass I px'ed against another I was selling, and I just dont play fivers at the moment. OLP got a bad rap in the early days (probably for good reason..), but the later models were good in my experience. This is one of the later models, sets up well, sounds really good. I upgraded the pickup to a SUB5 version and the mating with the 3 band EQ is excellent, a real improvement. Its over 10 years old so has some battle scars but nothing horrible. Just honest dints and scratchplate wear. No buckle rash. Body and headstock are capped in curly maple, maple neck, good frets, action is very good, neck pocket is tight. electronics cavities have been shielded. Smaller style bridge on these, nice quality. I'd happily gig this bass. Pickup from Rochester, kent, or meetup within the M25 or thereabouts, or postage and insurance at buyers cost.5 points -
It depends what you’re wanting from it. Each of them does something different and if that’s the thing you’re looking for it’s the best. After reading @MGBrown’s comment, I went back and had yet another listen and the low down, solid sound of the G&L is beguiling, I really like it (it’s not unlike my Mustang, which I’m massively in love with currently). I like the ‘Ray for the added bit of nasal midrange that makes it sit well, but still stand out (if that makes sense) in that track. The Celinder, unsurprisingly, has elements of both the ‘Ray and the G&L due to its J bass DNA, which, to my ears, makes it less distinctive. Ultimately, as I opened with, it’s down to what you’re looking for, which leads to each of them being the best for a given set of parameters. If I heard any one of them on a recording or in a live setting, my ears would be happy.5 points
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2010 Fender Custom Shop Limited Edition (one of only 26)4 points -
I just recorded this clip. I tried for ages to get it so that the song played and the basses switched between as you go through but I gave up in the end. There's a few mistakes and so on but it should give a fairly good idea of how they sound.4 points
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Bottesini used to do it all the time.4 points
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The muted slap tone on the G&L seems to complement the rest of the sound of the bass best for me, after 3 listens, eyes closed, the other two have a slap tone our ears are more familiar with but overall the G&L tone works best for me in these examples, it's more striking, maybe because it is less often heard3 points
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One of the most comprehensive rebuttals that springs to mind is Frank Zappa. He turned 30 in December 1970 with Over-nite Sensation, Apostrophe, Joe’s Garage I, II & III and many others ahead of him.3 points
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This looks like the same vintage 1970s MIJ bass that I’ve seen variously with different brand names, such as Grant, Antoria, Ibanez, etc, and a couple more in Europe that I can’t remember the names of now. Almost every one I’ve seen has been that custard yellow colour that some Fenders have, but I have seen sunburst ones too. Surprised to see this one has been stripped, most folks are fussy about plywood. I wouldn’t mind it though. The bridge isn’t right, it would have had a low quality BBOT originally, and sharp-edged bridge and pickup covers too. Playability and quality wise they’re not far off the old Shaftesbury Tele bass copies (I know they were Italian, but the overall feel was pretty similar). I’ve played Antoria and Grant versions and they were both short scale, but there are also 34” scale versions that look very similar to these. Maybe any Minutemen fans can confirm whether the Tele bass copy that Mike Watt played was one of these? Mods? I’d change the bridge and then just play it. But I’m basic AF 😂 Enjoy it!3 points
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Stingray for me. A bit more fizz and nice depth too3 points
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OK sod it! That's a 1x112 ordered from Muzik Produktiv to match the one I've already ordered locally. Nice little 2x12 600w lightweight stack. Can't go wrong at that price. Even with the delivery charge it's cheaper than the one I bought locally, which itself was cheaper than any of the UK retailers 😁3 points
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Strange this subject should pop up as we have just taken on a new drummer in Somerset, although he is from Dorset. We played an outdoor gig in Dorset around 5 weeks ago at a pub and in the break one of the band got chatting to this guy who was a drummer. Turns out he'd done a gig that night and it hadn't gone well, he'd driven past the pub, heard our music and thought he'd stop and have a pint. In the second set we offered him our cahon and he accompanied us on a few numbers. At the end he thanked us and left his contact details saying how much he'd enjoyed our set. (We do Americana type stuff). Then a couple of weeks ago myself and our banjo player could not do a gig at short notice so this drummer was contacted and asked if he'd like to come along, which he did and played the whole set ( which was changed to avoid banjo and bass-heavy songs). At our next rehearsal the band leader was gushing about this drummer and how he really dug our material: last week she announced he was joining us! Whilst slightly put out as I was not consulted ( me being head of the rythmn section......) I thought let's not get too arsey until I hear him play. Given with the last 2 drummers I had to suggest what they played as they appeared to have no natural musical intuition or ability (!), this guy was a breath of fresh air. He did not over play, he picked up on the starts and endings and any stops within the songs. He played for the songs and not himself and could keep steady time too.....! Needless to say, rehearsal volume levels were higher ( we are harmonica/vox. acoustic guitar/vox, electric guitar/vox, Bass, and Banjo) but the addition of drums seemed to help tie things together. So he'll join us for the bigger gigs ( we have a Country Festival gig at the Bath & West Showground in a couple of weeks) and he'll sit out the smaller ones. Our Banjo player got all excited saying 'how wonderful this drummer was and how he'd like to rehearse with him every week' but the drummer lives an hour away and he neither needs to nor wants to do all the travel just for the sake of hearing an out of tune banjo(!) so sanity will prevail. He's a bit like some the deps we used to get when I played in West Yorkshire: we did not have a f/t drummer but used Leeds College of Music students, most of whom knew the material ( female vox covers) and could easliy carry the drums all the way through a vaguely familiar song! So hope I have not jinxed our new drummer.....!3 points
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I 💙 the (OPPOSITE BUS GARAGE) detail3 points
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From my experience, and that of various friends who have sold an instrument through them, they tend to sell it for more than you might on here, helping to mitigate the commission fee. They’re also responsible for the shipping, and completing customs paperwork, and for any after sale service. They’re a long-established shop with a good international reputation. It makes sense - to me at least - if you’ve got something a little out of the ordinary, to use them. They have a wider customer base to sell to. If you look at the BC marketplace, there’s some instruments that have been for sale for absolutely ages.3 points
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I've found fitting Ultralites is a game changer as the weight at the headstock end exerts the biggest leverage effect on the pivot point, i.e. where the strap sits on your shoulder. At around £100 for a set of 4, even if you fit them yourself it's not a cheap fix though.3 points
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IME neither will a real drummer.3 points
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So I've had it a couple of days. Quite into it, it's not quite the same as headphones but it's certainly more in that direction that my previous cab (which I am now going to sell). Put it on a stool so it's closer to head height. It can go unpleasantly loud and make things in the room vibrate. Eventually I'd like to mic it and also run the line in from the head and record some comparison clips.3 points
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I'll be using my battle-worn home-made 15 foot radius dish to form the back curve of the walnut. I positioned the mould and made a couple of mahogany side pieces that will become the ends of the hollow wings and also the mating faces with the through-neck. The side pieces clearly also need curved bottoms (no, @SpondonBassed. Just no. ) These will also be used to press the thin walnut sheet down into the radius dish: They will sit here, either side of the through-neck, glued to the walnut sheet backs with bent sides ( back and sides acoustic-guitar style) and flat-bottomed ebony panels on top: I will be adding some acoustic-like cross braces to hold the shape of each wing's back. I also measured the depth of the intended chamber to ensure enough room for the jack and pots and then cut the tops of the two bearers to final size. The dotted blue line on the mould sides represents where the tops of the sides will sit, with the flat ebony sitting on top of the bearers and sides, either side of the visible through neck: This isn't the neck (or planned lamination), but gives an idea of what the top will look like:3 points
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As a young punker in Chester we had no money, and no access to any fancy punk clothes shops (though one of our tiny band had a rich dad, so he had tartan bondage kecks and a leather jacket). So we used to make our own clothes; me and Swamp hit on the idea of Sh!t/Fwck tshirts - black t from tesco, spatter bleach on it so it'd also go holey, then write the immortal words in big top and bottom. Then we made our own bum flaps - mine was from greenish curtain material and had "Slits" written in orange day-glo paint. My trews were an old pair of flared jeans I made into drain pipes, then spattered a bit of bleach and paint on 'em, dyed them puke green and cut some slashes in to insert flourescent zips. Jacket was an old RAF blouson with more paint, and shoes Major Domo doc martens rip-offs held together with orange string. Hair was spiked with soap and sugar water, dyed with cochineal. We looked a proper state!3 points
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Tonight (13/8/21) at 7pm on Sky Arts there’s a programme called ‘Mick Ronson by Gary Kemp’. Not sure if it’s been aired before but could be interesting.3 points
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First gig back for me in a couple of weeks. My band Soldato opening things up on this.3 points
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Another part of my clearout. This is a unique one. I had Chris McIntyre (https://www.mcintyreguitars.com/), my local luthier (and formerly of Sei Basses in London), make me a neck for a parts bass back in 2013. Over time, I have learned that I do not like the sound of rosewood necks as much as I do maple ones, and after about a year of deliberating, I am finally putting this up for sale. It lived on my Precision from 2013 up until now. It's a wonderful slim Jazz neck. I had Chris give me all the fancy options when I had it made, including figured birdseye maple, a Brazilian Rosewood fretboard, MOP inlays, carbon stiffening rods, Hipshot Ultralite tuners (changed to the Licensed elephant ears ones a few years back after I initially went with Y shape ones), bone nut, an overhang to give me 21 frets, and inserts so the neck can be super securely bolted on to the body, much like my Celinders, as opposed to screwed on. The neck is in great condition. It is straight. It has aged beautifully and has a lovely grain. I tweak it about once or twice a year when the weather changes. The truss rod has plenty of play in it. The nut is 1.5". The board has a fairly flat 12" radius. The truss rod is operated by 5mm allen key and located at the heel - the photo shows a bit of chattering on it, but it works fine. Weight is 1.1kg (2 lbs 6 3/4 oz on my kitchen scales). I make the heel width to be 63.47mm, which fits Fender bodies (I had it attached to a Fender USA Precision body, though I cannot recall if Chris trimmed the heel of the body to allow a bit of extra depth of the neck at the heel). The heel depth is about 19.69 - 19.70 mm as far as I can determine. The frets have some light wear but it takes a good low setup without buzzing. Price wise, it would be very expensive to make or buy a similar neck, and Brazilian rosewood is obviously difficult to come by. A check on eBay/Reverb reveals Jazz bass necks with Brazilian rosewood to be up around £1-2k depending on the vintage. This is obviously not vintage, or Fender. A brand new Fender Jazz rosewood neck from Fender is £680 (Brazilian is not an option). I've priced it at £500 posted in the UK. I would ship to Europe but not outside Europe, PM me to check shipping prices outside the UK. I'll ship it well packed and it will also come with the Philips-headed bolts to fit the inserts in the neck heel. Pete2 points -
Sale fell through. Final Price drop to £475. I've has this for a few years but, as it doesn't get played much now, I'm reluctantly letting it go. Never been gigged. It's got some fairly new Ernie Ball roundwounds on it, and comes in a plush lined soft case. Plays beautifully, and as you might expect from these basses, the tone can be thunderous! It's in very good overall condition with a couple of minor dings below the controls, which I've shown in one of the photos. My bathroom scales indicate a weight of around 10 pounds. You're welcome to come round and try it if you're in the area (near M1 Junction 29 in Derbyshire). I'd prefer collection or meet up, but would ship at buyer's expense (estimate at £35 including insurance).2 points -
Was asked at start of week if i'd be interested in joining our drummers other band as their current bassist has decided to leave. My main band is a 70's Glam Rock covers band but they can only manage to gig 6-8 times a year due to work commitments. 2nd band is a blues/rock based 8 piece band incl 2 singers, bass, drums, 2 guitars, keys and sax player. The material is more Paul Carrack, Flletwood Mac to Peter Green amd Clapton. They only want to play their local pubs around the borders towns near Galasheils Kelso etc I'm 40 miles away from where the band are based and rehearse. The new band is a classic Punk covers band who gigged fairly regularly before Covid and have had 3 requests in the past week alone to play various types of gigs in next few months and they haven't started looking for gigs yet. I agreed to give it a try altho i do still have long hair and dont look like a typical punk but i can see a ponytail coming on. 42 songs to learn for their first gig on 18th Sept but they are all quite short. Total of 2.5hrs worth. The singer with them is our backing vocalist in the Glam Rock band too. I've never played punk songs before but have to say i'm really quite enjoying learning them. I normally wouldn't play in more than one band at a time but having spent a lot of money on my new Mesa rig i want to get as much use out of it as i can plus i enjoy gigging. Dave2 points
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Mikey Craig is a great player, i met George many times throughout the 80s2 points
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Well that was a tease.2 points -
So, I've just acquired a used R-400 off here. Based on first impressions at home and subject to tomorrow night's gig, I have the feeling that I'll be giving wateroftyne a big virtual pat on the back for spreading the word about HandBox on here. My main amp is a Mesa Subway TT-800 and I'm pleasantly surprised by how close the relatively simple R-400 gets me to the satisfying sounds I've dialled in to the highly-sophisticated TT-800. Leaving control of the mids to the 'Contour' pot works unexpectedly well and having the 'Crunch' at the top end of the gain control plus the 'Drive' and 'Bright' buttons comes close to achieving the different voicings that the TT-800 relies on 2 channels to deliver. The only thing I can find to criticise is the absence of 4 rubber feet on the side of the box opposite the carry handle, but that's an easy fix. The added nice touch for me is that, being half Polish, supporting Leszek's stuff - albeit indirectly so far - gives me extra satisfaction 🙂2 points
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Absolutely correct. Here's a list of the plug-ins that come bundled with Reaper. They don't have beautiful GUI's and they're fairly neutral in flavour but the one's I've used have performed basic tasks to a satisfactory degree of adequacy. Apart from the bundled VST's listed below there is also a wealth of community scripts lurking in the so-called Reaper Stash including a nice little EQ matcher and a track alignment tool that scans tracks, inserts time markers into phrases and pulls them into line with a 'master'. Very useful and free. Cockos ReaComp - Compressor plugin ReaDelay - A Delay ReaEQ - Fast, configurable unlimited band EQ plugin ReaFIR - Equalizer/analyzer plugin ReaGate - Gate plugin ReaInsert - Bring hardware into a track as a plugin ReaMidi - Midi tool ReaPitch - Alter the pitch of audio ReaTune - Tuner plugin ReaVerb - Reverb plugin ReaVerbate - Reverb plugin ReaVocode - A Vocoder ReaVoice - MIDI Controlled, Multi-voice pitch shifter ReaSamplomatic 5000 - Sample machine plugin ReaSurround - new v4 ReaStream - ReaSynth - Simple VSTi synthesizer ReaSynDr - Simple VSTi drum machine ReaXcomp - Compressor plugin Effects written by various people and implemented using the Jesusonic, or JS system. Analysis JS: Analysis/compscope JS: Analysis/compscope_src JS: Analysis/fft_noise_generator JS: Analysis/gfxanalyzer JS: Analysis/gfxscope JS: Analysis/gfxspectrograph JS: Analysis/spectropaint JS: Analysis/zoomanalyzer Delays JS: Delay/delay JS: Delay/delay_chfun JS: Delay/delay_chorus JS: Delay/delay_lowres JS: Delay/delay_sustain JS: Delay/delay_tone JS: Delay/delay_varlen JS: Delay/fft-delay JS: Delay/scratchy JS: Delay/time_adjustment Filters JS: Filters/autopeakfilter JS: Filters/bandpass JS: Filters/dc_remove JS: Filters/ftf-filter JS: Filters/FIR_8 JS: Filters/lowpass JS: Filters/mdct-filter JS: Filters/mdct-volsweep JS: Filters/parametric_eq JS: Filters/spectro_filter_paint JS: Filters/sweeping_lowpass Guitar JS: Guitar/amp-model JS: Guitar/amp-model-dual JS: Guitar/chorus JS: Guitar/distort-fuzz JS: Guitar/distortion JS: Guitar/flanger JS: Guitar/phaser JS: Guitar/tremolo JS: Guitar/wah IX JS: IX/MIDI_CCRider JS: IX/MIDI_DuplicateFilter JS: IX/MIDI_KeyMap JS: IX/MIDI_KeySnap JS: IX/MIDI_Router JS: IX/MIDI_Tool JS: IX/MIDI_Tool II JS: IX/MIDI_Variant JS: IX/MIDI_Velocifier II JS: IX/MIDI_Wobulator JS: IX/Mixer_8xM-1xS JS: IX/Mixer_8xS-1xS JS: IX/PhaseAdjustingRouter JS: IX/StereoPhaseInvert JS: IX/Switcher JS: IX/Switcher2 JS: IX/SwixMitch Liteon JS: Liteon/3bandpeakfilter JS: Liteon/applefilter12db JS: Liteon/applefilter72db JS: Liteon/bassmanager JS: Liteon/butterworth24db JS: Liteon/cheby24db JS: Liteon/deesser JS: Liteon/lorenzattractor JS: Liteon/moog24db JS: Liteon/nonlinear JS: Liteon/np1136peaklimiter JS: Liteon/pinknoisegen JS: Liteon/presenceeq JS: Liteon/pseudostereo JS: Liteon/rbjstereofilter12db JS: Liteon/ringmodulator JS: Liteon/shelvingfilter JS: Liteon/simplelp6db JS: Liteon/statevariable JS: Liteon/tilteq JS: Liteon/vumetergfx JS: Liteon/vumetergfxsum JS: Liteon/waveshapermulti LoopSamplers JS: LoopSamplers/autoloop JS: LoopSamplers/loopsampler-granul JS: LoopSamplers/loopsampler-m2 LOSER JS: LOSER/3BandEQ JS: LOSER/3BandJoiner JS: LOSER/3BandSplitter JS: LOSER/4BandEQ JS: LOSER/4BandJoiner JS: LOSER/4BandSplitter JS: LOSER/50HzKicker JS: LOSER/5BandJoiner JS: LOSER/5BandSplitter JS: LOSER/amplitudeModulator JS: LOSER/CenterCanceler JS: LOSER/Compciter JS: LOSER/DDC JS: LOSER/DVC2JS JS: LOSER/DVCJS JS: LOSER/Exciter JS: LOSER/gfxGoniometer JS: LOSER/gmemReceive JS: LOSER/gmemSend JS: LOSER/masterLimiter JS: LOSER/MGA_JSLimiter JS: LOSER/MGA_JSLimiterST JS: LOSER/MIDI_EQ_Ducker JS: LOSER/phaseMeter JS: LOSER/ppp JS: LOSER/Saturation JS: LOSER/SP1LimiterJS JS: LOSER/stereo JS: LOSER/stereoEnhancer JS: LOSER/StereoField JS: LOSER/TimeDelayer JS: LOSER/timeDifferencePan JS: LOSER/transhape JS: LOSER/TransientController JS: LOSER/TransientKiller JS: LOSER/UpwardExpander JS: LOSER/waveShapingDstr JS: LOSER/WhiteNoise JS: LOSER/ZeroCrossingMaximizer Meters JS: Meters/dynamics_meter JS: Meters/tonemeter JS: Meters/tuner JS: Meters/vumeter MIDI JS: MIDI/drumtrigger JS: MIDI/midinoteondelay JS: MIDI/midi_arp JS: MIDI/midi_CC_mapper JS: MIDI/midi_chorderizer JS: MIDI/midi_chordkey JS: MIDI/midi_eater JS: MIDI/midi_logger JS: MIDI/midi_maptokey JS: MIDI/midi_note2channel JS: MIDI/midi_note_filter JS: MIDI/midi_note_repeater JS: MIDI/midi_transpose JS: MIDI/midi_velocitycontrol JS: MIDI/program_bank_onload JS: MIDI/sequencer_baby Pitch JS: Pitch/fft-ps JS: Pitch/mdct-shift JS: Pitch/octavedown JS: Pitch/octaveup JS: Pitch/pitch2 JS: Pitch/pitchdown JS: Pitch/superpitch remaincalm_org JS: remaincalm_org/avocado_glitch JS: remaincalm_org/floaty_delay JS: remaincalm_org/tonegate schwa JS: schwa/audio_statistics JS: schwa/fft_splitter JS: schwa/gaussian_noise_generator JS: schwa/midi_examine JS: schwa/midi_humanizer JS: schwa/midi_modal_randomness JS: schwa/soft_clipper SStillwell JS: SStillwell/1175 JS: SStillwell/3x3 JS: SStillwell/3x3_6dbSlope JS: SStillwell/4x4 JS: SStillwell/autoexpand JS: SStillwell/badbussmojo JS: SStillwell/badbussmojo_aa JS: SStillwell/chorus JS: SStillwell/chorus_stereo JS: SStillwell/delay_pong JS: SStillwell/delay_tempo JS: SStillwell/dirtsqueeze JS: SStillwell/drumtrigger JS: SStillwell/eventhorizon JS: SStillwell/eventhorizon2 JS: SStillwell/exciter JS: SStillwell/expander JS: SStillwell/expressbus JS: SStillwell/fairlychildish JS: SStillwell/fairlychildish2 JS: SStillwell/flangebaby JS: SStillwell/hpflpf JS: SStillwell/hugebooty JS: SStillwell/louderizer JS: SStillwell/louderizer_lpf JS: SStillwell/majortom JS: SStillwell/mastertom JS: SStillwell/ozzifier JS: SStillwell/randomizer JS: SStillwell/rbj1073 JS: SStillwell/rbj4eq JS: SStillwell/rbj7eq JS: SStillwell/realoud JS: SStillwell/realoud_lpf JS: SStillwell/stereowidth JS: SStillwell/thunderkick JS: SStillwell/volscale JS: SStillwell/width Synthesis JS: Synthesis/midi_drumseq JS: Synthesis/sine_sweep JS: Synthesis/tonegenerator Teej JS: Teej/rbj12eq-teej JS: Teej/rbj4eq-teej JS: Teej/rbj4notch-teej Till JS: Till/Auto-Wideness v1.0 JS: Till/Transient-driven Auto-Pan v1.0 (Master) JS: Till/Transient-driven Auto-Pan v1.0 (Slave) JS: Till/Transient-driven Auto-Pan v1.1 (Master) JS: Till/Transient-driven Auto-Pan v1.1 (Slave) Utility JS: Utility/bufsave JS: Utility/chanmix2 JS: Utility/channelmixer JS: Utility/dither_psycho JS: Utility/KanakaMS5 JS: Utility/KanakaMSEncoder1 JS: Utility/limiter JS: Utility/phase_adjust JS: Utility/smpte_ltc_reader JS: Utility/vca_master JS: Utility/vca_slave JS: Utility/volume JS: Utility/volume_pan waveshapers JS: waveshapers/graphdist JS: waveshapers/graphdist-dyn2 points
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Some might argue this proves the point.2 points
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I’ve got a vague memory of that one, but I remember this one2 points
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Friday night at the Palais ?2 points
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Some rebuttals: David Bowie, turned 30 in Jan 1977, with Low, Heroes, Lodger, Scary Monsters and Let's Dance ahead of him Bon Scott turned 30 in July 1976, before Powerage, Let There Be Rock and Highway To Hell Back on point: Be Here Now was released 3 months after Noel Gallagher's 30th birthday2 points
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I was terrified of turning thirty as I was convinced that I had no chance of making it in the music industry past that age. Nothing that has happened in the 27 years since has made a dent in that opinion. 😂2 points
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This. These discussions always go the same way - “the audience won’t notice” It all comes down to what you enjoy about playing, I suppose. We’re all right! MARCUS MILLER2 points
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Looks familiar:.....2 points
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Absolutely stunning @Dunk I’ve something like this in the works myself!2 points
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Boss SY-1 £120 + £5 P&P SOLD MXR Bass Overdrive £60 + £5 P&P SOLD Digitech Bass Driver £40 + £5 P&P Roland EV-5 £35 + £5 P&P SOLD Pedaltrain Classic JR w/softcase £55 + £5 P&P - SOLD!! All as new condish Cheers! Sam2 points -
Mike has been back on it for me after informing me of a few issues with the finish having to strip it back and start again he is making progress on the body and it is looking amazing.2 points
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Yeah, something's not right, you shouldn't need any more gear.2 points
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Rehearsing is really just to fine tune, and make sure everyone is together. Learning the songs is done beforehand individually.2 points
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It rains a lot.2 points
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The silver front ones take me right back to rehearsal studios in Leytonstone circa '78 The HH stuff had cool green "lighty up" bits...2 points -
Def, I “grew up” on these in rehearsal rooms in the late 80s, great amps and plenty of power2 points
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Red Barcheddar ～ Rush2 points
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G&L SB-1 sounds best to my ears, even if the other two are richer in the highs they're getting on top of the sticky guitar groove too much for my taste, if the bass level was lowered / EQ'd a little in those frequencies I think it would lose a lot of the bite. Flats win for my ears in that mix, and the P-like mids are hard to argue against. Nice.2 points
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I once slept with my teenage cousin. Sorry. I may have misunderstood the question.2 points
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