casapete

Here you go. I'm guessing international postage shouldn't be a problem either. http://www.audioloudspeakers.co.uk/boultons.shtml http://www.wembleyloudspeaker.com/

[quote name='Phil Starr' timestamp='1489825603' post='3260083'] The guys here will work out the tuning for you, I'm going to take a slightly different tack. Buzzing from a speaker doesn't mean its terminal. possibly the most common cause is something loose in the cab. Check all the screws holding the speaker are tight, that there are no loose joints near the speaker or foreign objects loose inside. Check the speaker cables inside the cab aren't touching the cone. Now examine the speaker itself, any tears in the cone? examine the dust cap in the middle of the cone, has it come loose? Now work your way round the corrugated surround, has it come away from the speaker frame or from the cone itself. Just about all of these things are a very simple fix, just re-glue with a latex adhesive like Copydex. If you find anything let us know and we can give details of what to do. [/quote] +1 to all of this. Also, don't forget that if the speaker is at fault, you can probably get it reconed. Can't remember which thread on here recently mentioned a couple of places that do reconing, but think it worked out at around £45 plus postage for a 12" driver. If I find the details will add to this post.

One night with my country band, the dep drummer didn't turn up, due to a previous altercation with the landlord , something to do with their girlfriends... ( The guitarist was also a dep, leaving just 50% of the original band! ) I found this out just before leaving for the gig. A few attempts at getting a dep drummer drew a blank, so I had to break it to the rest of the band what had happened when I arrived. Anyway, after a quick discussion we decided to do the gig, and of course it turned out great. Without drums many of the songs took on a fresh identity, and even the more rocky stuff went down well, full dance floor etc. I think our regular audience admired us for having a go too. From my point of view it was challenging but also liberating at the same time, and made me realise it's not just the drums that people listen to when dancing.

I suffer from the same problem as the OP. Sound check over by 5 ish, then a bit of a mad dash to source/eat food before a 7.30 start. Our default setting is Wetherspoons, as pointed out by someone above. Their menu has a reasonable choice of small meals including salads etc, and bigger stuff / meal deals for the crew! The hardest bit for me is not getting a nice pint of their 'Devil's Backbone' with it though..... Some of our guys bring pasta / rice based dishes from home and use the theatre's microwave, I just like to get out for a while and have a look round wherever we're gigging and leaving it more to chance. Always end up having something, even if it's just a sarnie from Sainsbury's.

[quote name='ivansc' timestamp='1489667548' post='3258774'] Also listen to the PIANO on Chucks stuff and more importantly on ANY of Fats Domino's records. We all assume it was guitar-led music but so much of the feel actually stems from the piano parts. An absolutely classic example of this is Teenage Wedding. Check it out. OOPS SORRY! Just noticed someone earlier had commented on the piano led nature of a lot of the early stuff. [/quote] Apparently Chuck joined / took over the Johnnie Johnson Trio, which possibly explained how some of his songs were in un-guitar friendly/ piano keys? As in a previous post, he also was influenced by T-Bone Walker and also Nat King Cole,which maybe carries this theory on, with a lot of their songs being in 'flat' keys too. Agree with you about the piano on 'You never can tell ' (Teenage wedding), it's ace!

So are the Lidl ones cheaper than buying Duracells in tens off ebay? (This can work out from 80p to £1 each delivered)

[quote name='Bilbo' timestamp='1489565984' post='3257894'] Just focus on the pulse and make sure you understand the relationship between what you are playing and where it sits in the overall performance. I love playing without drums as it allows for more finesse in my own phrasing. [/quote] This. I love playing in my acoustic duo where the tempos & feel of the song are not overly governed by a drummer. Quieter too :-)

How do the Lidl ones compare to Duracells price wise?

Used to use Duracell Procells, but believe these were replaced by 'Industrial' range. Look on ebay, usually available in boxes of 10 for around £10 delivered, job done.

Doing Chuck Berry stuff properly is a damned sight harder than you may think. Getting the feel of the originals is notoriously difficult, with the drums and bass often not playing the same styles ( straight / shuffle etc. ) As Keith Richard once said, most bands can rock but few can roll..... Also it's easy for songs to descend into a Quo type thrash, and for the chord changes made the same. ( For example , in 'Johnny B. Goode' so many people insist on playing the IV chord towards the end of each verse when it stays on the V etc.) Good luck, hope you enjoy the gig!

Never a UK hit, until the dreadful UB40 version (itself a cover of a cover by Tony Tribe) in 1983. Great song though. * Beaten to it ^^^^^^

Great stuff, thanks for posting.

Did this when I couldn't play bass guitar after an injury. Really weird at first, wondering what to do with the other hand and also being unable to wander around the stage whilst playing. Nice not having to wear the instrument though, and not needing to keep checking the tuning. Enjoy, you'll be fine.

Well I don't care -MUSIC STAND!! I use one as my eyesight doesn't allow the use of one of the iPad mic stand jobbies, they're just the wrong angle / too close for me. The music stand (there, I've done it again...) allows perfect positioning for a myopic old bugger like me. Never once had anyone comment on it being there either. With my Country band we have probably 300+ songs in the pad, so none of us can remember music/words to all of them. Before using the iPad, massive folders of parts did look a bit naff, so it's now a lot better.

I use forScore on gigs where I need access to parts / lyrics etc. Don't know how it compares to others TBH, but works fine for what I need.

Few years ago I did some corporate gigs in Majorca, everything hired in. After giving them our requirements, we waited to see what we got. My 'wants' were a Fender Precision / Jazz and an Ampeg / Hartke rig. Left it deliberately loose , figuring there wouldn't be much choice. I got - a Fender 'style' bass, a Peavey head and an unnamed cab. And do you know what? Nobody died......

Whilst more of a Knopfler than a DS fan, I love 'Why worry', great song.

Rotosound Rotos seem to be still available for around £12/£13 a set in some places. Also Legacy Nickel Roundwounds (which I believe may be re-branded Rotos?) for around £22 for a twin pack.

[quote name='kodiakblair' timestamp='1488629539' post='3250583'] Going from this everything was an improvment. [attachment=239608:Kay EB100.JPG][attachment=239609:Sound Fashion.jpg] Round our way we were jealous of lads with Satellite guitars. One fella had a CSL Les Paul copy, that was top notch stuff for us. I dreamed about getting a Westone like Henry Thomas. [/quote] Can't believe the prices these go for on ebay recently. Must be a lot of nostalgic people out there who will be very disappointed when they realise how naff they are.

[quote name='dmccombe7' timestamp='1488492779' post='3249520'] One of my best amps was a Peavey Mk4 twin channel with graphic EQ and 400W. Had an old Columbas bass that i thought was poor quality but having more experience now it wasn't as bad as some i've tried since. My mate still has that bass and his daughter learned on it. Had a Carlsbro Stingray amp and it seemed ok at the time but i guess in comparison to modern amps it was a bit poor for the money but that's just progress. After that early start with Columbas and Carlsbro i was fortunate to progress on to good quality gear with Peavey Mk4 and custom cabs and either Shergold twin neck, Aria, Fender, WAL. Dave Dave [/quote] I had one of the Peavey bass amp heads, Mk IV I think. Wonderful thing, twin channel, graphic, switchable compressor etc. These gave out a very loud 210 watts @ 4 ohms, 300w @ 2 ohms. Ran it into a 2x15 EV cab and it owned the stage anywhere! Eventually sold it to a good friend with a PA company. It is still being hired out to this day, never missed a beat.

Hearing 'Motown Chartbusters Vol.3' coming down the corridor out of my brother's room. Didn't fully realise at the time, but that pretty much sealed my fate with bass.

Great thread, enjoying reading them all. What has surprised me though is how many BC ers use pedals, especially overdrives to get their sound. I've always stuck to just a lead between bass and amp, only using my Sansamp set flat for DI purposes. Maybe I need to start investigating some stomp boxes.