icastle

[quote name='charic' timestamp='1331078839' post='1567478'] On the other end of the scale I've owned both a line6 studio110 and 300pro. Both were fantastic bits of kit for quality, construction and sound. The 300 was deafeningly loud to boot! So instead I think the lesson should be: Don't trust a box before you try it yourself [/quote] Hehe - all we need is for someone to say they think they might be a little bit pooey, but mostly OK and we'll have a complete set...

I think you're making it more complex than it actually is. There weren't really any subtle effects back when that was recorded - so no effects. Amps were pretty much of a muchness back then as well - they were either 'American sounding' or 'British sounding'. That has a nice clean American sound to my ear. It really just sounds like a Precision bass with a healthy click of a plectrum - a few of the promo shots from around that time clearly feature a Precision so I must admit I'm not really sticking my neck out too much by saying that... I don't think the tone is particularly unusual for the time but it sounds kinda odd today as the trend towards superdupermegaoutput pickups, nuclear powered active circuits, compression, chorus, distortion and the ability to fine tune amps and cabs to attract particular types of insect whilst taking into account relative humidity and temperature have somewhat become the 'norm'. Sometimes you just need to take a step back and see what you can do with basics.

I owned an HD750 (the bigger brother of the 400) for about a day. It was cheaply constructed with silver painted plastic pretending to be metal.. The output was a huge letdown, presumably the output power was measured downhill. The octaver was rubbish (so pretty much the same as most built in ones fro other manufacturers IMHO). The amp modelling feature was horrid and kept resetting itself no matter how hard you tried to use the thing in manual. It got returned and a salutory lesson was learned - never trust a box that thinks it's smarter than you are.

[quote name='leftyhook' timestamp='1331061325' post='1567090'] I have to hold my hand up and say that I get into character. I adopt a mental stance that I am up there, and the crowd aren't. They are there to see ME, eve if they aren't. I definitely have a quirky approach to the visual side of things, but in a subtle way. I am being myself, but it is a facet of myself that detaches from the 'normal' me. [/quote] Well that's your coping mechanism - you get into character to play a role. [quote name='leftyhook' timestamp='1331061325' post='1567090'] Hmm...self analysis is making me nervous... [/quote] Sorry mate, that was never the intention I promise. I've always found the way people react under given circumstances absolutely fascinating and the only way I can do that is understand why I react to different things in certain ways. In my enthusiasm I do sometimes forget that drawing people into self analysis can be a bit disconcerting.

Chances of there not being a trussrod are very small. It'll probably be disguised - they often just look like a hole in a piece of wooden bracing at the neck end of the soundhole. However, if you're sure that the neck is reasonably straight and you're only getting fret buzz on the upper part of the neck, it would perhaps indicate that the neck has somehow managed to get a 'twist' to it instead of the usual 'bow'.

[quote name='clarkpegasus4001' timestamp='1331052375' post='1566905'] Strangly enough, I own an old Rick and Jazz. Don't look too hot welded together though do they? There seems to be a lot of Rick haters on this site, I can't understand why? [/quote] I find them 'visually disturbing' and don't really have a practical use for the typical sound they produce. I certainly don't hate them, it's just not something I can ever see myself owing.

[quote name='charic' timestamp='1331048490' post='1566829'] So what you're saying is you'd rather have a "fuddy" than a one night stand? [/quote] That's not quite what I was saying but... it's near enough...

I've never really liked the Ricky style so aesthetically this does nothing for me. Plenty of people do though.

[quote name='4000' timestamp='1331021746' post='1566261'] Not entirely true; see post above! [/quote] Damn those backfiring analogies...

[quote name='Maverick' timestamp='1330993397' post='1566158'] "Hail satan, lord of darkness.... sorry, what do you mean I haven't got the job?" [/quote] Giving a lost Amazonian tribe a Stratocaster and demanding they play Purple Haze would have a much higher chance of success - my family moved away from Christianity four generations ago and I've never been into a church.

I think my oddest audition 'failure' was down to me not doing my homework before I went to meet them. Musically everything was just fine, they could all play, the genre suited me down to the ground and, knowing who else they'd seen beforehand, I knew the job was mine. What could possibly go wrong..? I had the first inkling that I'd missed an important snippet of information when, before playing, I was asked if I would like to lead the prayer... I may have picked up a bit of a reputation for being able to improvise over the years, but there are limits and I couldn't have been more out of my depth if I tried...

[quote name='silddx' timestamp='1330986305' post='1566006'] I was wondering if the amount of 'expertise' on here correlated to the types of players on here [/quote] Could be... but then you'd hit me and discover that I'll screw your statistics up no matter which way round you try to look at them...

We just used to make sure the room was tidy before the band arrived and booked out any equipment or peripherals to that band (it was signed for). At the end of the session we'd be there to collect up the gear listed on the sheet, make sure the room was still in a good state of repair and collect the money. We ran a strict 'closed door policy' - you couldn't just walk in and out as you pleased.[list] [*]Bands could leave their kit laying about in their rehearsal studio while they popped out for a break (we had a little enclosed courtyard) and know it would still be there when they got back. [*]The rooms were always clean, tidy, non smoking and well equipped - significantly better than other venues and at a much cheaper hourly rate. [*]We had a selection of strings, sticks, leads and straps - the usual bits and pieces that get lost, forgotten or broken. [/list]

None for me. I don't even like painted woodwork in my house let alone on guitars.

[quote name='BigAlonBass' timestamp='1330977831' post='1565760'] (Edit-beaten to it. Damn my slow typing!) [/quote] You're all thumbs?

[quote name='LemonCello' timestamp='1330973992' post='1565689'] I don't think it matters how long you've spent in music, I believe that some people suffer more than others. I've known professional musicians who have been in music all their lives who suffer with debilitating stage fright. I would have thought it's treatable - hypnotherapy already mentioned, it's a mind thing after all. [/quote] I think the longer you spend in music the more chance you have of rationalising and coping with stage fright. There are some personality types who, for whatever reason, don't manage to work through the numerous 'coping strategies' and unfortunately feel they have no choice but to leave the performance aspect of the music business. It's fair to surmise that those who remain in this part of the music business must have found strategies that make the exercise bearable or find that the rewards offset the disadvantages.

[quote name='rOB' timestamp='1330973178' post='1565664'] Correct. Still get nervous but now I have a way of managing it. [/quote] And that background nervousness will become less and less noticeable over the years. It's just like being scared of heights - the first six rungs of a ladder are the hardest, once you've cracked those then rungs seven and eight are pretty much inconsequential.

[quote name='leftyhook' timestamp='1330972549' post='1565643'] Naaaah!!!! Years and years of playing. Self-cofidence Being in control of your instrument. [/quote] Those years and years of playing and being in control of your instrument are what's given you the self confidence. If I knew you as a person outside of playing and then saw you just prior to going on, I bet I'd be able to spot the subconcious coping mechanism you were using.

[quote name='rOB' timestamp='1330972331' post='1565640'] Well put. For me it took a while to learn that I need to keep busy before a gig. Talk to people in the audience, check gear, go for a walk, warm up etc. Not stage fright but nerves to the point of shaking hands in the early stages of performing. [/quote] Yep, and I bet it took a lot of failed attempts before you hit on the formula that works for you.

[quote name='4000' timestamp='1330969714' post='1565576'] You know what worries me the most? IIRC only one person in this thread (who now doesn't gig) has admitted to suffering from it. And here was I thinking it was pretty common and people just had better coping mechanisms then me! [/quote] I find 'people' interesting. I've watched people I've worked with over the years just prior to gigs - some go quiet, others get loud, some can't sit still, some have 'lucky' guitar straps and others flop back in a chair in a semi comatose state. Those actions are all 'coping mechanisms' kicking in and, in experienced musicians, are all pretty much unconcious reflexes. The thing is though, those reflexes are a result of numerous failed attempts. It really is just a case of 'keep doing it' and give your subconcious a chance to sort out the wheat from the chaff.

[quote name='jezzaboy' timestamp='1330968226' post='1565542'] Remember also, you are auditioning them as much as they are auditioning you. [/quote] +1 Just out of interest, has anyone here actually gone to an audition and told the band they've failed?

[quote name='REDLAWMAN' timestamp='1330969645' post='1565575'] It was covers; rock mainly. Good time had though: a real baptism of fire, but actually quite exciting. [/quote] Well even if you didn't get the job, you've come away from the experience with more positives than negatives by the sound of it. Definately a worthwhile exercise IMO.

[quote name='Mr. Foxen' timestamp='1330955006' post='1565249'] Threatening places you still want to use isn't the way. [/quote] +1 You'll gain far more by rising above the situation than you would by 'milking it' in the short term. My experience with studios is that, once you're on the 'good guy' list, they'll move heaven and earth to accomodate you. To put it really bluntly, I'd much rather have the long term benefits of someone feeling guilty about the situation than the short term benefit of having £20 knocked off my studio bill.

[quote name='REDLAWMAN' timestamp='1330953019' post='1565183'] Is this how these things generally go and am I simply not at the stage yet where I'm sufficiently accomplished a player to even consider joining a band? [/quote] It really depends on what level of musical proficiency the band are looking for. Some bands will be quite happy to spend a little time working towards making the audition a comfortable exercise, other bands will want to see your interpretation of a song without giving you any preconceptions. It sounds to me that you'd have been absolutely fine if you'd been given adequate information.

Nah - the batteries last for ages unless you leave the bass plugged in, the socket has a defect or the electronics are screwed. I've managed to track down some possibly useful diagrams - I can't grab the images off of the Gibson forum, but the first post in the thread below shows the wiring as it is (or should be!) from the factory. The third post has a diagram showing how to fit a push pull switch to defeat the active electronics should you decide to go down that route anyway. [url="http://forum.gibson.com/index.php?/topic/62347-thunderbird-pro-wiring-diagram/"]http://forum.gibson.com/index.php?/topic/62347-thunderbird-pro-wiring-diagram/[/url]