Lozz196

In every band that I’ve been in which owned a PA it was bought by the band. No idea why this happens as as you say, we spend on our gear, drummists & geetars spend on theirs, then for some reason the singers get us to chip in on theirs. Additionally, and for another reason I’ve never understood said PA never resided with the singer.

At a gig I played earlier in the year our lead guitarist broke 2 strings (at separate times). No backup guitar. We had to have an on-stage discussion about what songs we could do with just one guitar. It was a real shame as we were playing & sounding great. Our 35min set really suffered because of it.

I’m not keen on them purely for the visuals, but for singists doing 40 plus songs in a night I can understand the need for them.

An update to this, as I now play short scale I have a Mono M80 Dual Guitar which fits 2 Fender Mustangs nice & snug. As both the Mustangs and the Mono are a fair bit lighter & smaller than the above I find it workable for gigging. Still wouldn’t want to be carting it about on a weekly basis tho.

From what I’ve heard of her playing though it’s not my thing she’s clearly talented. If she inspires anyone to pick up the bass (or any other instrument) then great.

I’m a mere amateur in comparison with that very impressive score

I remember her doing Someone Like You at The Brits. All the other acts had dancers and costume changes, she had a piano player and sang. She stole the show.

Only time I ever needed a backup was at a gig when I hadn’t taken one. It was a fault in the electrical parts. Fortunately the headliners lent me their spare, otherwise I would have been sat around like a spare. To make life easier I have a Mono M80 Dual which is only a bit bigger than the single, makes it a doddle to take 2 basses to gigs.

I suppose the below are my milestones: First bass - a Kay EB-O type short scale bass. Not the best instrument but the one I learned to play on. Second bass - my first decent instrument, a Yamaha BB1100s. It took me through my first proper band, first recording sessions, first video, first UK tour. I wish I still had it. First Fender Precision - a Mexican one, when I bought it I found the sound completely underwhelming, until I played it in my band, suddenly the sound I’d yearned for for years was there in my hands. First US made Fender Precision - it just took things to the next level, and I’ve been hooked ever since, for me the US Fender Precision is THE bass! Fender JMJ Mustang - increasing back issues made me go short scale, I thought I might resent them due to having to put the Precisions aside but to my amazement I love short scale, as well as being better on the back they’re more practical to cart about and sound great as well. I started on short scale in 1980, forty plus years later I’m back there & loving it.

Def worth checking out the Squier Classic Vibe Mustang Bass.

Yep a good few years ago we were gigging in The 12 Bar so I popped into Wunjos and tried out a Rickenbacker, they were quite happy for me to noodle away.

I must admit my preference in selling is people collect so I can demonstrate the item is working, likewise with buying I prefer a demo if at all possible. I’m not fussed with driving a few hours, makes for a day out and peace of mind.

I put the below on another similar thread, hope it can be of help Updating this for anyone interested, the dimensions of the Gator GC-Elec-XL seem to have shrunk as the one I ordered was too small for my JMJ Mustang to fit in. However going by a tip-off on Talkbass I ordered a Gator GW-JAG and this is fine.

That’s an impressive bunch to say the least

Looks like a drugs shipment on a 90s tv cop show

I do regular set ups on my basses but fret dressing, nut-reshaping & installation, and soldering I leave to those with the knowledge & tools.

In my last band because I both had a fairly specific sound and because I used so many gear shares/provided rigs I went with getting my sound from a preamp pedal. That way FOH always got what I wanted them to, and then stage set up I’d adjust to something I liked. This not always possible mind, but main thing was the sound to the audience.

Much better balanced sound across the strings imo. The one area where I’m sad to say Leo didn’t get it right.

Def with you there, always best to take a landlords advice re his establishment, especially where safety is concerned.

I get that, even though I’ve been part of that scene and never really seen any real bother I can appreciate that to someone on the outside looking in it can look a bit daunting, especially to those who grew up with skinheads running amok and kicking everyones heads in. And yes, they can definitely put the booze away.

Def agree with this. I`ve only played one place where I thought there might be problems and said afterwards to the band at the time I thought best to not play there again, fortunately they all agreed. I`m not that bothered by bother if that makes sense, but I don`t want my gear trashed, a punch on the chin no sweat, a broken bass would upset me.

Same experience here, punk/Oi/psychobilly and aside from every now & then someone landing on stage due to over-exuberant dancing there`s never been any actual issues from audience members, either with my band or with any of the bands on that scene that I`ve seen play.

Aside from the tour I mentioned above as far as I`m aware - I have to admit I didn`t take that much notice of things in my earlier bands - that I`ve never paid to play. As others have mentioned it was particularly prevalent in London in the late 80s and the venues I know that did it - Rock Garden, Mean Fiddler as a couple - I`ve never played so think the band leaders of the time did the same as @BigRedX and said no we`ll play somewhere else instead. And back then we would have filled the places anyway so their loss not ours.

Looking like a double headliner there Pete