Jakester

The bassist in my band has just announced he is leaving and, as I introduced him to his new band, I feel a tad guilty. So - anyone in Bristol fancy joining a rock covers band? We don't play the obvious tunes and it's a decent bunch of fellas - we're all late 30's/early 40's. Line up is drums, guitar, keys/bvs and vox (plus bass of course!) We gig every couple of months though that's more down to work - we're all reasonably busy professionals - than any particular choice. You'd ideally be reasonably experienced, around the same age (so the 80's cultural references aren't wasted) and with own transport and decent ish gear (though if you're on Basschat I expect there'd be a surfeit of it...!) Let me know if you're interested by PM.

[quote name='blue' timestamp='1464043316' post='3056129'] In the states we don't have jam nights, we have Open Mic night. Strictly fow newbies and amateurs. . blue [/quote] How is that helpful? OP asked for details of specific events in particular locations in England. It's like someone asking "what strings for funk" and you answering by saying your favourite cuisine is Kazakhstani...

[quote name='chris_b' timestamp='1464011484' post='3055723'] I turned up late to a pub gig and found that the guitar, drums and keys had set up and left me precisely zero space!! During the whole process of load in and set up it hadn't occurred to them that a bit of room might be needed for a bass player with his gear. I tried to make a joke about it but in my head there was a megaphone shouting "you brainless d*ckheads." [/quote] Should have got there earlier then, shouldn't you?

[quote name='Zenitram' timestamp='1463996803' post='3055570'] I thought you meant the nice sound you get when laying the stick on the skin and tapping the beat on the rim. Used in quieter passages usually. Is that also a rimshot? I'm a drummer so I should know these things, but I don't. I don't think I've ever hit a rimshot as described in the original post. [/quote] A 'rimshot' is generally described as stick striking rim and skin at the same time. What you're describing is sometimes called a 'rim knock' (though my old man used to call it a rimshot).

[quote name='Lozz196' timestamp='1463977795' post='3055416'] Rimshots are very irritating, purely down to the volume. A drummer I know does them on every hit on the snare and is deafening as a result. [/quote] They don't *have* to be played at ear-splitting volume. It's not the technique that's the problem, it's the application of it, in just the same way that a bassist who refused to turn their amp down is also overbearing. Of course, it's probably down to the fact that everyone else in the band is amplified and turned up way too loud, and the drummer has to play hard to hear themselves...

I think this concept would be great at weddings etc where noise can be an issue. Use something like a Flyrig Bass, guitards use similar, PODs etc, drummer uses a (decent) e-kit, everything goes into the mixer and all the band use IEMs, then could either be straight to PA at more reasonable volumes, or as OP suggested, beamed to BT headphones. Might be a bit weird for the singer though, to be basically singing to themselves in a quiet room!

Ta very much like!

Ooh, could I have it as well? Looks great! I picked up Stingray style one that Mcnach had had done for his L2000, and whilst it breaks up the rather 80's look of the plain White finish, I'd much rather get one along those lines.

[quote name='EmmettC' timestamp='1457048737' post='2994930'] I assume everyone who is out gigging had public liability insurance, you get it free with MU membership, the insurance won't cover you if you're equipment isn't PAT tested. It's a big risk going out without insurance, there's such a large risk of someone getting injured because of your gear, particularly during get-outs. [/quote] Can I just point out that the comment about the MU insurance is unlikely to be right. ICOBS (the rules that govern how an insurer deals with its customers) require that for an insurer to decline a claim for a breach of a policy condition it has to be connected with the loss. So perhaps if your gear electrocuted someone, you'd never maintained it and could not show you'd ever thought about the risk then you might be in trouble, but just because you haven't PAT tested your amp (which as I said above is NOT a legal requirement) the MU's insurers could not decline cover where, for example, someone tripped over a cable.

PAT testing is only required on equipment provided by an employer to employees. It's part of the employer's duty of care to provide safe working equipment, but the actual testing is not legally mandated (but an accepted way of proving it is safe to use). There is no legal requirement for anyone to PAT test equipment they use themselves or no requirement (beyond it being a condition of entry) to ensure gear you use at a gig has been PAT tested. However, you owe the venue owners a duty to ensure your gear is safe, and a PAT test is arguably a way to show you've done that.

I have the same amp, and as mentioned above you can't add another cab as it's running at 4ohms already. Oh, and you'd have to use the DI out into the instrument in of the second combo - iirc they don't have an fx loop so your sound would be affected by the eq of the second amp.

I put one in a mex and a jap and they were both amazing. Just watch the depth of the rout as it didn't drop straight in into one of them.

[quote name='Beer of the Bass' timestamp='1454601926' post='2971259'] Then I glued the baffles in place using woodscrews to keep everything in place. When the glue is set I'll take these out and fill in all the holes with dowels. [/quote] At the risk of exposing my naivety, why would you remove the screws?

Grayn, I agree tort (or possibly parchment/mint) would work, but as a proof of concept I think it works well. Here's Mcnach's original thread : http://basschat.co.uk/topic/233062-designing-a-pickguard-for-my-gl-l2000-what-do-you-think/page__fromsearch__1

I've long been a G&L enthusiast - over my limited bass-playing career I've owned L2000 and L2500 tributes, and a USA L2500, but each time there's been a reason to part with the instrument - for the L2000, it was the neck, for the L2500T it was an inability to get to grips with 5 strings, and the USA was simply down to lack of use not justifying owning such a lovely guitar. Each time I've managed to sell it to someone on here and I recently snagged an M2000 Tribute at a great price, and the neck is absolutely amazing - exactly what I was looking for with the first L2000. Unfortunately although I love the playability, the looks are a little prosaic for my taste. It just looks a little 80's with the plain white finish, so I've been after a pickguard for it, but there's nothing off the shelf. Then I saw Jose (Mcnach) selling the custom scratchplate he had made for the L2000T I sold to him and it seemed like fate! It arrived, and it breaks up the all white body nicely, but because it was designed with the L2000 controls in mind, it slightly fouls the volume control - nothing a couple of minutes with a file won't sort. Still, looks good! I may stick with it for a while and then possibly use it to get a tort plate made down the line... *edit* sorry for the pics being at 90degrees - not sure how that happened!

How did it happen? The hi-hat is a pretty stable thing with a low centre of gravity. If he kicked it over I'd be inclined to take a chunk out of him (speaking as both a bassist and a drummer) but I struggle to see how it could just fall over?

Ooh ooh me too me too! I have an M2000 that'd look spiffing with a red tort guard on.

Bought a Glockenklang pre-amp off Lee for a great price, posted quickly and v well packed - thanks!

Bought a Hipshot BT1 off Dave - posted as soon as the Post Office opened and arrived the next day - thanks!

I have a Rockbag one and it seems fine, although the shoulder strap has a buckle right where it hangs on your shoulder. Bit of gaffa over it sorted any problems though.

[quote name='cheddatom' timestamp='1448378651' post='2914902'] I've had a couple of experiences like that in the past Jakester - one engineer refused to let me use my distortion pedal on bass! I was young and so just huffed and put up with it, but I should have walked out without paying the guy. [/quote] Again I think it just comes down to ensuring your expectations are matched by the sound guy. I can see that if you were an unknown quantity and rocked up expecting to use the studio's bass amp and cab for heavy distortion without having discussed it first then the studio might be justified in having qualms. So in answer to your question, what I'd be looking for is a good chain of communication so that all parties knew where they stood.

I've done a fair bit of recording for a weekend warrior. All of mine has been as drummer though, but I think the point is as valid for any instrument or ensemble - it's all about the sound. I've had two good experiences and the rest vary from mediocre to downright awful. The bad ones were because the engineer wasn't prepared to listen to us (and me in particular) about the type of sound we were looking for. I have pro gear, well maintained and tuned that sounds like drums. I wasn't prepared to cover it with tissue, tape etc just because the studio was more familiar with Pinstripe heads. At the places it went well, the tech was prepared to listen to me and accept that I was right about how my drums sounded. One in particular said it had been a learning experience for him too. It's galling to be paying money and then be told you don't know what you want. So for me it's a willingness to work with the band and not simply stick to what you think is right.