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Three gigs for me this week. Tuesday was the acoustic duo's monthly gig at a local pub. Very humid night but we got some great requests, most of which we managed, although had to admit to not doing 'Rosanna' by Toto! Thursday was at Mansfield Palace Theatre, a great venue and sold out too. Our first band gig back after a summer break so we were all a bit worried but actually went okay. Some monitoring issues fortunately didn't manage to spoil it for us, and happy faces all around. I got a bit of an ache in my left hand, but think it's because I've not played 2 x1 hour sets for a while. Then last night we were at one of my favourite venues, Buxton Opera House. Played here many times and always loved it. Again, had some monitoring issues with the in ears ( not for me as still use a wedge - caveman etc.) but our great crew managed to get it sorted. Also some issues with the guitar and bass emitting a HF noise, which was eventually tracked down to the air con! Once turned off it was problem solved. Unfortunately for the capacity crowd it made for a rather sweaty evening, but went down a storm so all seemed fine. The venue staff are a pleasure to work with here, and we'll hopefully be back again in 2023. Tomorrow (Sunday) we are playing the Fields of Gold Festival at Ashton-Under-Lyne, Manchester. Hoping the weather is kind to us, as it's a long day - setting off at 8am. Plenty of bands on so should be a nice change for us.

Last night was the debut of my new pub rock band. We do songs we like, rather than all the old cliches*, so it’s a bit of an experiment, but we went down well and had a blast. *we had to throw a few cliches in of course but mostly we are doing new bands, or less well-known songs by well known bands. Two weeks ago our drummist broke his leg, so our second guitarist, the sickeningly talented git that he is, moved across to drums. Meant one guitar only but I managed to fill the sound out because my rig is stupidly loud and fat. Sorry everyone in Reigate, if you’re deaf this morning that was my fault 😳

I often wonder just how Sainsburys manage to get the wooden ball inside an avocado

Finally got myself a Pre Ernie Ball and I love it.

Stolen from the Facebook hence the dodgy formatting: HOW TO REQUEST A SONG FROM THE BAND When requesting a song from the band, just say “Play my song.” We have chips implanted in our heads with an unlimited database of the favorite tunes of every patron who ever walked into a bar and all songs ever recorded so feel free to be vague, we love the challenge. If we say we really don’t remember that tune you want, we’re only kidding. Bands do know every song ever recorded, so keep humming. Hum harder if need be… it helps jog the memory, or just repeat your request over and over again. If a band tells you they do not know a song you want to hear, they either forgot they know the tune or they are just putting you on. Try singing a few words for the band, any words will do. It also helps to scream your request from across the room several times per set followed by the phrases, “AW, COME ON!” and “YOU SUCK!” Exaggerated hand gestures expressing disapproval from the dance floor are a big help as well, such as the thumbs down or your middle finger up. Put- downs are the best way to jog a band’s memory. This instantly promotes you to the status of “Personal Friend of the Band.” You can bet your request will be the next song we play. Entertainers are notorious fakers and jokesters and never really prepared for their shows. We simply walk on stage with no prior thought to what we will do once we arrive. We don’t actually make set lists or rehearse songs, we mostly just wait for you to yell something out, then fake it. An entertainer’s job is easy, even a monkey could do it, so don’t let them off the hook easily. Your request is all that matters. Once you’ve figured out what genre of music the band plays, please make your requests from a totally different genre, the more exaggerated the better. If it’s a blues band playing, yell for some Metallica, Black Sabbath or Motley Crue. If it’s a death-speed metal band be sure to request Brown Eyed Girl or some Grateful Dead. We musicians constantly need to broaden our horizons and it’s your job to see that it happens… immediately. TALKING WITH THE BAND The best time to discuss anything with the band in any meaningful way is at the middle of a song when all band members are singing at the same time. Our hearing is so advanced that we can pick out your tiny voice from the megawatt wall of sound blasting all around us. And we can converse with you in sign language while singing the song, so don’t worry that we’re in the middle of the chorus. Musicians are expert lip-readers too. If a musician does not reply to your question or comment during a tune, it’s because they didn’t get a good look at your mouth in order to read your lips. Simply continue to scream out your request and be sure to over emphasize the words with your lips. This helps immensely. Don’t be fooled. Singers have the innate ability to answer questions and sing at the same time. If the singer doesn’t answer your questions immediately, regardless of how stupid the question may seem, it’s because they are purposely ignoring you. If this happens, immediately cop an attitude. We love this. IMPORTANT TIP When an entertainer leans over to hear you better, grab his or her head in both hands and yell directly into their ear, while holding their head securely so they can’t pull away. This will be taken as an invitation to a friendly game of tug of war between their head and your hands. Don’t give up, hang on until the singer or guitar player submits. Drummers are often unavailable for this fun game since they usually sit at the back, protected by their drum kits. Keyboard players are protected by their instrument and only play the game when tricked into coming out from behind their instruments. Though difficult to get them to play, it’s not impossible, so keep trying. They’re especially vulnerable during the break between songs. HELPING THE BAND If you inform the band that you are a singer, the band will appreciate your help with the next few tunes, or however long you can remain standing on stage. If you’re too drunk to stand unassisted, simply lean on one of the band members or the most expensive piece of equipment you see. Just pretend you’re in a karaoke bar. Simply feel free to walk up on stage and join in the fun. By the way, the drunker you are, the better you sound, and the louder you should sing. If by chance you fall off the stage, be sure to crawl back up and attempt to sing harmony. Keep in mind that nothing assists the band more than outrageous dancing, fifth and sixth part harmonies or a tambourine played on one and three and out of tempo. Try the cowbell, they love the challenge. The band always needs the help and will take this as a compliment. Finally, the microphone and PA system are merely props, they don’t really amplify your voice, so when you grab the mic out of the singer’s hand, be sure to scream into it at the top of your lungs, otherwise nobody will hear what a great singer you are. Hearing is over-rated anyhow. The crowd and the sound tech will love you for it. BONUS TIP As a last resort, wait until the band takes a break and then get on stage and start playing their instruments. They love this. Even if you are ejected from the club, you can rest assured in the knowledge you have successfully completed your audition. The band will call you the following day to offer you a position

Here you go- And the original frilly Austin powers trim for comparison-

Ex HB100 owner/user input. I purchased a 'new' unit from Leszek/HB about 3 years ago which arrived and I initially had an issue with what appeared to be the drive button dropping power/volume down. It was suggested by Leszek (who responded pretty quickly) that I was using the incorrect output connection to an inappropriate load. As it happens I wasn't (40 years experience of amps/cabs) and the amp went 'pop' the 2nd time it was powered up due to a fractured/broken power valve. Long story / short, I ended up with a full refund and the amp was (iirc) repaired and rehomed. No slight on Leszek for the full refund but I did find it odd that I was immediately on the back foot as it was intimated that it was my lack of knowledge re ohmage that was the issue, when in fact the amp had a totally separate issue. Fast forward a year or so and I ended up purchasing another used WB100 (gawd knows it might have been my original one ), which operated 100% as it should. By that I mean that I could back the master (output volume) down and turn the gain (input control) up and get some classic overdriven sounds at house volumes, which I think is what is being debated. That isn't however, the way I ran the amp at gig levels as I wanted a clean tone; I then ran the master output full (possibly backed off a smidgen) and adjusted the input to get my desired volume. Just my £0.02

Not last night but the night before. We had a gig in a local pub and I decided to take my old P Bass that I've had for 30-odd years as I'd not gigged it in a while and I really miss gigging with a simple P Bass. No names and no pack drill, but when we arrived the bar staff and most of the clientele were already one past the eight. We were told where to set up and that all windows and doors needed to be kept closed while we were playing. It was a bit stuffy but okay, we'd cope (I had my Beyoncé fan with me so I didn't mind too much). Sadly I drew the short straw and had to set up by the door to the beer garden which was in heavy use with smokers etc. all night. As a result I decided that I'd probably play without my pedalboard to keep the gangway clear. No major issues as apart from a bit of compression and maybe a bit of Octave I'd cope. It was a good gig and I played the P Bass all night, alternating with my Five String and it was just great fun, although all the time the P Bass was on its stand when I was playing the Fiver, and also when we took a break I was internally panicking in case anyone stole it. It was completely irrational but because it was close to the door I just couldn't relax and every time I've used it in similar circumstances I've been really worried about it (not that it's a vintage one or worth a great deal of money). It actually spoilt a good night for me and I don't think I'll use it again other than for recording or for functions when we have a stage and/or more space. Anyway, it was a good gig and I bought a kebab on the way home and ate it on a bench.

You can watch the concert for free here. Starts in a few min:

I couldn’t resist. Got asked if I wanted to buy it, and almost said no, since I already have six Vantage VP-710B's. Then I saw that it was in better shape than any of my previous... so say hallo to "lucky number seven"!

If you have Netflix, you may like to know that they've just added a bunch of new material including a 70-minute film about a gig at The Rainbow just shy of 50 years ago. The band is a bunch of proggers called Yes and the film is, of course, Yessongs. Apart from the sheer joy of seeing (and hearing) this after all these years, the film is well worth watching because the triple live album (which I wore out at the time) was a 'best of' from three consecutive nights at The Rainbow whereas the film is the recording of a single concert. At least half the songs in the film are therefore versions that I've never heard before - not wildly different, but enough so that it feels like getting into a time machine and going to one of their gigs. Sublime.

Most Fender Custom Shop basses are a farce, there are a few gems but the majority as simply of the quality you'd expect a standard factory run bass to be given the ludicrous prices. You can build a bass of equal if not better quality using off the shelf parts from Allparts, Warmoth and sometimes even their lower priced competitors and in doing so you not only get a much cheaper instrument of the same quality but you get to choose your own spec re wood, finish, hardware, electrics etc. I've picked up a few used CS models over the years, I have no idea why anyone would ever buy one new given the prices and the apparent lottery regarding good bass/bad bass

You know what man, I'm really not concerned with that.

Here’s a graphic I found. I’m sure it’s not 100% true to scale and angle but you can see what I mean. Btw I’m not sure the ‘66 is accurate as they didn’t come in blue and the earliest ones have a more offset shape like the bass in the middle. I might be wrong but it also seems that the new Squier mustangs with the competition stripes have less rounded body edges than the CV Squiers without the stripes?

Pub gig last night where we had played earlier this year. Only a small audience but were appreciative so not a bad night overall.

Their first album is sublime. Raw, great songs, great delivery. All the good things in one place.

Sorry folks, I was quoting from memory without checking, so just let that be a lesson to me! 🙂 Top marks once again to Agedhorse with his all-seeing eye. I know this is a HandBox thread but the following comparison may be interesting. My main gig amp is the Mesa TT-800. Once I got my brain calibrated to what the twin-channel Mesa does, I quickly set it up to my liking and it has become the 'gold standard' amp for me. However, the much cheaper and simpler HandBox succeeds in coming so incredibly close in terms of delivering 'my sounds' that I have massive respect for what Leszek has done. Also, as already posted, he was very helpful in liaising with my amp tech to fix a small issue even though I bought mine used off here. In practice, I tend to use the TT-800 at larger/'safer' gigs and the R-400 for playing the smaller/tighter venues and 'wild west saloons' ("Suddenly, the doors flung open revealing a mean, scar-faced dude dressed in black. The customers dived under the tables, the bar-tender hastily turned the mirror round, but the band played on.") Last but not least, I can report that my R-400 recently survived a 3-foot drop virtually unscathed, despite landing on one corner in the street. I'm not recommending you try it but it's comforting to know that this is one robust piece of kit - especially the famous 'hand-box' wooden case.

I too much prefer the older stuff but they won me over in London this year. The tickets were a present and I was prepared to be a little disappointed by them. Live they can be a bit shaky, especially Anthony. I've not seen them since the One Hot Minute tour with Dave Navarro, so a long time. They were fantastic. Yes it was a big stadium with all the bad bits that go along with that but they were on top form for a bunch of old fellas. Full of energy and Anthony's voice was sounding great. They had huge screens with some really good effects going on while they were playing which added to the whole stadium performance. The whole stage was a screen that started above them, curved in and down behind them, then flowed out and down over the front, with screens either side. Favorite moment was Nobody Wierd Like Me, and they performed it with all the energy and vigor that they ever did. I'd love them to be more like their 80's selves, but would we then be moaning how they churn out the same old high energy punk funk album every couple of years? They've evolved, grown up, grown old. Lots of folks like their older stuff (pre 2000),but I reckon many more like their newer stuff (post 2000). I didn't watch the gig through a phone lens but I did snatch a little bit just to show my bandmates the screens. Yes it's echoey, it's a stadium, but they've still got it!

The Chili's are all pushing 60, still not going gentle into that good night and having fun while playing what they like. Long may they be fit enough to do so - Lakers hats off to them! Life's too short to not do what we love while we can.

This is, of course, the wonderful ELO Experience. Once seen, never forgotten. Folks, it’s always worth giving the name of the band so newcomers or people with little memory (like me) can investigate further. Don't be shy!

For me there is a very important distinction between albums that are great when listened to as a whole from start to finish, and albums where you can listen to each song individually and out of context and think every one of them is a brilliant song. This has been very much brought home to me when I do my annual compilation of my favourite songs of the year. Many times there are albums that I have really enjoyed when listening to them as albums, but when I come to pick an individual song from any of them, there are none that stand out enough to warrant inclusion on my "best of" compilation. Often the songs that make it through are those from albums that that I rarely enjoy listening to from start to finish, but once removed from the surrounding filler are recognisable as great tracks. Therefore, for me, the "perfect" album is one which is not only brilliant when listened to as an album, but also one where you can pick out any track at random and think it is great on it own. Very few albums meet this criteria.

For balance!

You’re certainly correct that he doesn’t need to worry about the police. Maybe if we can get footage of him using his hose…

Sink Aretha Franklin

Have we just seen Foos new drummer? 😁 She's pretty damn good... and enjoying every second.

Also, this is the best Geddy's voice has sounded since the Snakes & Arrows tour

The great Joe Walsh, superb guitarist, been a member of the Eagles since 1975.

Chris Chaney? yeah, he gets around a bit https://en.wikipedia.org/wiki/Chris_Chaney

Final pre recording update to my board. Been after a chorus and took a flyer on the TC 3rd dimension. I like it a lot and think it works pretty well, so chucked it on. Pretty out of space now so need to stop again but really happy with the sounds I'm getting

Doug Wilkes Jazz fretless... flame maple body front, swamp ash back ( heavy) rock maple neck with indian ebony board. slim 62 jazz neck, truss rod adjust at body end so the slim neck at the nut is not is not weak'nd by having a truss rod hole taking away half the wood there. schaller tuners from "dyerseve" on here ( cheers chris ) john east pre warwick Mec gold active pups, from a thumb bass loads of sustain, you could go on holliday come back and it will still be going 🙂 collected yesterday Doug Wilkes site.. http://wilkesguitars.co.uk/

My Realist and Apt-Flex pickups are still going strong 2 years after 3below repaired them. Totally worth giving this a go. Continued thanks to 3below for his talents and help. Legend.

Geoff Gould pioneered monocoque design for Alembic in 1976. This is a different mode of construction, known as wrapping. Status used this in the body wings for their Series 2000 and Stealth 1 models. Their necks were still monocoque. This was the approach the Status took in their Stealth II model. They used epoxy foam injected into the hollow space left over after monocoque construction.

Do over-long saddle height screws bug anyone else? I appreciate the initial need for a range of adjustment for setup. but once everything is dialled in then any tweaks should be minor. So... measured and ordered some different lengths. These are for metric saddles (M3 grub/set screws, cup point, stainless) with 1.5mm allen adjustment. As fitted were 12mm and 15mm long; replaced with 10mm and 12mm long - perfect. That's the Jazz done, now for the Mustang and PJ.

Bless you Mick, my bad! Thanks.

You what?😈

Solid Air - John Martyn

Oops, almost forgot. Autumn and everything after by Counting Crows

Your chance to grab his bass at auction next week https://www.musicalinstrument-auctions.co.uk/sale/35/635/Jah-Wobble-Public-Image-Ltd--1979-Ovation-Magnum-1-bass-guitar-made-in-USA-ser-no-B4124-owned-and-used-by-bassist-Jah-Wobble-within-a-fitted-oblong-hard-case-with-JW-gaffer-tape-to-the-top-and-blue-tape-inscribed-Jah-Wobble-to-the-side-the-case-pocket-enclosing-a-guitar-strap--Sold-with-an-authentication-certificate-from-Andy-Baxter-Vintage-Bass

Seems like a few BCers there then! I was there courtesy of @upside downer …. Thanks again for the spare ticket! It was a fantastic gig…. Very good trip down JW’s musical and verbal flights of fancy👍. And a great (and loud) bass sound to boot!

Also

I've had a few fretless basses over the years haven't really got on with any of them, till I got this Yamaha TRB 5IIF. Gorgeous tones, lovely neck and so, so playable. Get one!!

Last week, I got this lovely 1991 Stingray 4 H. Killer bass and with 4kg not too heavy either. Really like the sound of the 2EQ. At least to my ears, it sounds ballsier than my previous 3EQ SRs. Don't miss the mids knob. My new amp has high and low mids, so sorted 😉 Big shout-out to @Dov65 who found it for me on the UK Bass Marketplace on Facebook. Thanks, buddy 👍

Another to the ever growing family.