Lozz196

I think this puts them under too much pressure, which ultimately costs the employer in the long run. I had an item claimed to have been delivered through my letter box this week. It wasn’t. Contacted Amazon who were incredibly good, just arranged for a replacement to be sent, which I received the next day. 2 days after that a knock on the door, my item had been delivered to The British Legion, which is nearby and the same postcode - note, nothing like the same door number. I think the driver pulled up at the postcode, couldn’t immediately see where I live, which is a bit obscured, and just delivered it to wherever they could see/wherever was nearest. Which has cost Amazon, though I will try to return the original, after all I don’t need two of the same book and I don’t want to cheat them out of it. But to me it’s the pressure of the volume of items that drives this behaviour - that or the need for better spectacles.

So my pedalboard is: TC Polytune Tuner (9v) TC Spark Booster (9v) Aguilar Tonehammer (18v) Is there an easy way to just have one PSU cable going to the board or am I going to have to accept it’s two, one for the Aggie and one for the two TCs? Wondering if one of these would do the job: https://www.guitar.co.uk/ernie-ball-volt-power-supply?gclid=CjwKCAiA_omPBhBBEiwAcg7smTcq6I86_FmDUM1yEjDSzndYVC5D4JSPLpgu9c0iLvPlD4gmOx-dMBoCFZgQAvD_BwE

Good call, I use the rubber strap locks too, though I’ve got the Fender ones.

Well I’m really not getting the hang of this, as in another Precision is on its way - but I did sell a Gibson SG for the same value so in actual terms my pocket and instrument total remain the same.

In my last band we had to do it legit, mainly due to the amount of merch we sold. We never took anything out, preferring to reinvest it all in the company, which in turn enabled us to take up opportunities that had we taken £50 or so at the end of the night wouldn’t have been available to us, such as a 4 night stopover when we played in Athens. Which was nice.

So some 10+ years later and another transaction with Graham, this time me purchasing an Aguilar Tonehammer DI. Good comms throughout, item arrived very quickly and very well packaged.

Sorted for amps & cabs says new bass to me. If in a gigging band whatever bass you get imo needs to either cover a tonal aspect the current one can’t (useful in a covers band) or if always keeping to the same sound be able to replicate it quickly in case of string breakage/electrics issue.

I’ve had one of the original CV Precisions, and a Tony Butler Sig V4. If I had to say which felt more substantial I’d go for the V4, it just had a more “reassuring” feel about it, but then that may be due to being modelled on a 70s Precision, they were quite chunky! That’s not to put down the CV though. Both basses sounded great, and played great too. I’d say the best way to choose between them is go for the colour you like most as aside from the “which would I choose to hit someone with” factor there really wasn’t enough between them to recommend one over the other.

Hartke XL cabs can produce a bit of hiss if the treble is boosted but as yours isn’t it would seem an issue, especially as it’s with all of your instruments.

Have to admit I’ve looked at that one a few times, very nice indeed

Yeah, should be a graphic designer….

If doing larger venues and wanting thump in the back on the bigger stages I wouldn’t think that two 2x8 cabs would be the solution. I think as above, another Epifani 210 would be where I’d start.

Yep as @peteb says, similar happened in a local pub here, change of landladies, previous used to pay £250 for rock/punk covers bands, packed every Fri/Sat night. New one would only pay £120 so all she got were folk duos, playing to 3 or 4 people.

In a previous band, about 10 years ago we would get £250 - £300. One band member was always saying we were worth more, at least £400/£450, so we said fine, get us a gig paying that. Still waiting.

£200 - £400 depending on how many extra punters attend/extra pints the venue sells.

From my limited experience, and even more limited knowledge of compression I didn’t really find much difference to the tone, maybe it removed excess “flub” but it did make me play better as the notes were more precise.

I found that to tame the highs a tad and give it a bit of warmth that Elixir Nickel Rounds worked really well on my Jazzes.

Yeah but they sound so good, still undecided as to whether I want any pedals at all though.

Yep I’m not a fan of the onboard compression, but have been considering a pedal compressor, and the one I like the look and sound of is the Aguilar DB 599, the clips of it with a Precision really work imo.

I’d like another Gibson Les Paul bass, had one about 15 years ago and loved it. But being a confirmed Precision player now it’s unlikely I would use it in a band and Les Pauls I find awkward to play sitting down due to the shape and edge. So would be pointless. But I still want one.

That’s a good anology, Viz put to music. I’m surprised at the air of menace tho, on the gigs we played with them there was more an air of fun & giggles. Sadly there will always be one (or more) that thinks they’re hard, but I’d bet money on that happening more in regular town centre pubs with ‘regular’ guys than the skins. The only time I ever saw real bother at any of the Oi gigs was when the crowd ‘moved on’ idiot nazi types who - wrongly - thought they were amongst likeminded friends.

That’s a smart looking rig

I found Markbass to sound fairly “meh” isolated but in the mix they sound great. I bought my old set up as every time I heard a covers band in pubs where the bassist had a good tone it seemed to be a Markbass rig. So when I got it and set it all up at home I was a bit disappointed, but once I got to rehearsal I realised where its strengths were. I generally had the VPF on full though.

I’d forgotten about Skidmarks and Spencer’s by Trigger McPoopshute, brings back fond memories of gigging with them

One of the best tracks from that period of the 80s, or indeed the whole of the 80s.