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borisbrain

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Posts posted by borisbrain

  1. I have a surplus Trace Elliot 2103x cab. This is a 1990's, pre-Gibson beauty that pumps out 300W at 8 ohms. Needless to say, it's a 2x10, but also has 2x5 speakers also to provide a great range of tones, with an attenuator dial on the rear. It's a 13" deep model - very compact, but it should be said - not particularly light. It is the uppermost cab in the pics below (other stuff not included...). More pics can be provided on request.

    Despite being regularly gigged, the cab is in great condition with remarkably few marks on the tolex. It's never given me any problems whatsoever. The same cannot be said for the cab cover, which is now a bit tatty and has been repaired with gaffer tape on the inside.

    This is a relatively rare cab in excellent condition, so the price is £200 or nearest sensible offer. I'll throw in an XLR-XLR speaker cable.

    Sorry, no trades at the moment - (unless you have an interesting lefty), and I'd prefer collection since it's pretty heavy.

    I'm based in the West Mids, and inspections are welcome.

    Stay groovy,

    Boris

  2. Bought a Trace Elliot cab today from Geoff. An absolute gent to deal with - gave me plenty of time to plug in the rest of my rig and my bass. Nice fella to talk to.

    Or, in FleaBay parlance: +++++rekamend++++AAAAA++++groovy+++++

    I should think that covers it. Thanks again Geoff!

    BB

  3. If memory serves - and I could well be wrong - even though Lennon/McCartney were the principal songwriters, they had an agreement with the rest of the band that all songwriting royalties be split, which is why Starr/Harrison were as phenomenally wealthy as the other two. Other bands have done this, while a stack more haven't, leading to some disgruntled musos or acrimonious court hearings. If there's no sharing agreement for songwriting, then of course the songwriter gets all of the songwriting royalty (the biggest royalty), while the band only gets a share of the performance royalty, which is lower. But the songwriter also gets a slice of this too if he happens to be the singer too.

    There are no rules to force the songwriter to share the songwriting royalty. It's intellectual property - he's entitled. However, it's gets a bit grey over the music/lyric split. If the writer just contributes lyrics, while the band develops the tune, then the band would have a strong claim. Think about the great lyricist/composer partnerships - whether you like them or not - Bacharach & David, John/Taupin or Lloyd-Webber & Rice. Both partners get a stack of money every time someone covers their songs.

    Stay groovy

    BB

  4. Nowt wrong with the advice floating around here, all I would add is this:

    If you play boring stuff early, and leave your best songs till last, then chances are people won't get too excited or start dancing until the end of your gig. Why not lob in some dancing toons a little earlier? It reduces the chance of people clearing off early.

    Better still, avoid play anything boring...

    Bestaluck

    BB

    *Edit* - on re-reading the thread, I've noticed that someone has said almost exactly this. Apologies.

  5. Hi all,

    My trusty Samson AP1 wireless (with pedal-style receiver) seems to have died after years of trusty service. Here's what happened:

    At a gig this weekend I powered it up as normal but it didn't work. The (generic) mains adapter was quite hot, but no operating lights were on - either on the adapter or the wireless pedal. I tried a 9V battery, and this didn't work either. I ended up playing the gig with a normal lead.

    I dug the stuff out today and noticed that the wiring coming out of the mains adapter was frayed and possibly short-circuiting, which explains why it was hot. I've just bought a new adapter from Maplins and the operational lights on the pedal now come on, but there's just no output signal.

    I've tried opening up the pedal to see if there's any obvious sign of a burnt-out component, but I can only see the underside. Needless to say, the batteries in the transmitter are fine.

    Any ideas?

    Many thanks,

    BB
    [attachment=79496:photo.JPG]

  6. I play in a 70s punk covers band, and believe me some of the venues (management and punters) just love the fact that we don't play MS. They hear it every other day and are sick of it. We now have an FAQ section on our website that makes it absolutely clear to potential bookers that we absolutely do not play MS/Knock Three Times/Suspicious Minds. However, we do play 'Jilted John' to great demand, and are absolutely sick of it...

    We did 40 gigs last year and have about 30 lined up for this year so far. We're certainly not the busiest or richest band on the covers circuit, but it's better than MS/Knock Three Times/Suspicious Minds...

    Stay groovy,

    BB

  7. Not too bad in the West Mids and beyond for our punk covers band. We did 39 gigs last year and have 30 lined up this year already. We wont go out for less than £200, and average about £300

    Not much happening in Birmingham, strangely, where many venues insist on door deals, and expect a Wembley-sized crowd.

    Stay groovy,

    BB

  8. [quote name='Kinder' post='1114036' date='Feb 3 2011, 03:56 PM']Jeez BB, I knew lefties were a bit weird but a leather bass is plain kinky!

    Would you go through the hassle again?[/quote]

    Yup, we're weird.

    TBH, I probably *would* do it again, but be better prepared and do a better job. It's not the sort of thing you generally get much chance to practice...

    Mr Fudge - if only I'd thought of that first!!

    Stay groovy all,

    BB

  9. Hi Kinder,

    I recently stripped down a Mexican Jazz to put a leather skin on it:

    [url="http://basschat.co.uk/index.php?showtopic=116468"]http://basschat.co.uk/index.php?showtopic=116468[/url]

    This was a b*tch of a job to be honest, on just about every level. Sanding down the original was a horrific job, and took an eternity to just get past the varnish, let alone the paint. I can't begin to describe the feeling of misery that I had when I was halfway through the process, thinking that I'd completely bollocksed up a perfectly good guitar. However, now it's done, I'm pretty chuffed that I have something unique, although I still have to squint to overlook some of the imperfections...

    So, first piece of advice is: be absolutely sure you want to do it. Your guitar will be in pieces for a fair old while with exposed wiring, removed bridge, etc. Maybe a roadworn appearance isn't such a bad thing. Or maybe you could pay someone to do it...
    Second: consider chemicals before sanding. This is something I wish I had done, although how to practically achieve this would be a challenge. Or Lawrence H's idea sounds good.

    None of this has probably been very helpful to you, but I thought you'd like to hear of my experience. Whichever way you go, I hope you get the results you want.

    Stay groovy,

    BB

  10. Just clutching at straws here, but...

    Is input set to 'passive'? There's a 15dB difference...

    Is output speaker cable of sufficient quality? (ie not a guitar cable...)

    Do you have any in-line effects before the amp input where there could be a problem?

    You could also try bridging the effects loop with a patch lead...

    If you've already tried all this stuff, forgive me. Just trying a few wild ideas. Hope you get it fixed.

    BB

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