casapete

Just noticed there's a black one for sale on here at the moment, £450.

Fabulous, and with the great David Lindley in the band too.

I had that for a while - brilliant!! 😱

I didn't mean to imply that a good onstage sound will adversely affect the FOH - what I was trying to say was that you can have a great onstage sound and make the gig/entertaining the crowd good too I.e doesn't need to be just one or the other. It works for me if the quality of the onstage sound is good/what I'm used to > makes me play better > will probably go to making the performance of the band better > improve the audience's enjoyment etc. Apologies if it read otherwise. 🙂

Tune!

Hard to say without a pic, but they seem to fetch around £350 to £400 if in good order. As stated previously, the metallic finishes did seem to be easily marked but so long as they’re not too bad it shouldn’t be a problem. Sounds like yours may be either what I think Fender termed ‘Charcoal’ finish, which is like a very dark grey, or the more likely ‘Montego black’ which was like a black finish with gold sparkle bits added! They didn’t do a Lyte in straight black, the only non metallic finish being sunburst IIRC. If the serial number is T plus six digits it will be from around 1994/5. Is the hardware gold or chrome? Regarding the amp, it will depend on which version (the later V3 ones with a silver grille cloth being more highly regarded) and which model / output. Hope that helps.

Apologies - the video clip I saw showed The Shadows performing Apache in 1964 in Belgium for some reason! It’s now changed to ‘Telstar’ with Heinz on bass. The Wiki page says it was the 2nd UK record to reach the number 1 slot on the Billboard chart, with Acker Bilk’s ‘Stranger on the shore’ being the first.

Do you mean Heinz Burt? I always thought he had dyed blond hair. Think it’s John Rostill on bass .

This. Used mine for a while now, no 'clunk' on the switch and good solid (although basic) design.

Unfortunately I think the clue is that it's a poll by listeners of Planet ROCK, so anything funk / r'n'b etc was unlikely to get a look in I think. 😒

Absolutely agree with you about the audience being the primary priority, but that is surely linked to you being able to your job well, with being able to hear yourself and sounding good a big help? The two aren't mutually exclusive, it being possible for both you and the audience to have a good time. I've done countless gigs where I've used other rigs and had to make the best of it when they've been a bit naff in order to ensure the gig goes well, so am not overly precious when needs must - just prefer things to be right as much as possible.

Fair play, although not worrying about the stage sound often leads to not the best performance IMHO. It's that compromise between space/transportation/set up easiness and getting things bang on for the gig for you. In a perfect world monitors and engineers would be spot on or you'd have a road crew carrying in your SVT rig. My world unfortunately isn't anywhere near perfect, so I'll stick with a portable/loud (if needs be) and reliable amp & cab. Transport for me isn't a massive issue, though I fully appreciate if I was based in London then I would probably need to have a rethink.

I’ve done quite a few gigs with monitors as my main sound source, some okay and some dreadful. Whilst I agree on the proximity of them to you, the change to your usual sound is hard to accommodate. Unless you’re fortunate enough to be playing somewhere with separate eq for each item, I found the global eq in the monitor wasn’t always great for my bass sound. Give me my own amp/ sound behind me every time. ( Disclosure - I am quite old....)

Again, IIRC it seemed that there were some reliability issues with the mosfet models (which contradicts my earlier comments about reliability...😅 )so the design was changed in the late 90's for the current one.

Good question - IIRC the older models were a Mosfet design, unlike the more recent versions?

More love for Hartke here. Had an LH500, and while I liked it a lot I still preferred the HA3500. Classic amp, reliable and lots of tonal variation available. Like the LH, also not underpowered! They seemed to go alongside Peavey - mid price amps that are well built and offer a lot of bang for the buck. Would have another in a heartbeat.

Little Steven and the Disciples of Soul - last night at the 02 Ritz in Manchester. Full on show, over 2 hours of high energy soulful brass laden stuff. Amazing 3 ladies on vocals and groovy dancing, 5 piece horn section and a great sounding room. Heaven.

I think calling these 'flight cases' might be stretching it a bit. Don't get me wrong, if you just need a hard case to protect your amp in a car etc then they're fine ( I have a similar one which I house my GK MB800 in ). However, they aren't up to the rigours of being stacked in vans etc, and honestly don't think they'd actually survive many flights!

I have a Crown XLS, but not sure it's 'Yankee' - think mine's made in China...😄

Some possibles from Facebook you could try. https://www.facebook.com/groups/depsuk/ https://www.facebook.com/LastMinuteMusiciansUK/?eid=ARALP0vZ0qyz5DwdsT9u1jD-YLG5nzSTmrrRFrEXn7FNFavoTts59XCty9pR7VQKs4lXL1ObHldGyd08 https://www.facebook.com/groups/musiciansavailableuk/ https://www.facebook.com/groups/1459261904358095/ https://www.facebook.com/groups/1464698153822774/ https://www.facebook.com/groups/292495814176877/

Ha ha, used to do that all the time! Now I use a clip on tuner (don't start...) and guess what? Forget to turn the bass volume back on sometimes 🤣

My utter lack of being able to play anything remotely interesting if made to play a solo. One of the reasons I like bass is that (in my world at least) I don’t have a ‘feature’ on any songs / gigs. Was always attracted to the bass as an accompanying instrument, ditto drums. Still can’t stand either doing solos when I go to see a band, probably a result of being a 70’s teenager when such things were commonplace. And relax.....

I was once in a band where the singer would try the keys out at home, then say they needed dropping a tone or so. Of course at a rehearsal / gig he could actually reach the notes in the original key, so these came to be known as ‘front room’ efforts. Same goes for sitting / standing keys too....😄

I loved some of REM's stuff, mainly the older ones I have to admit. Whether I like a band or not, I'm always in awe of those who you can instantly recognise though, which certainly was the case with REM. Same goes for instrumentalists too, particularly guitarists. In a world of over distorted sounds with no originality, to hear someone play with a unique tone and touch still gets me every time.

Great song with a brilliant bassline. Mick Ralphs on guitar shows how effective a massive tone and not going crazy 'widdly widdly' can be too. The album version has the long solo at the end, wonderful stuff.