Jump to content

Welcome to the new site. We hope you enjoy it. We also hope you like this little sticky note. You can send them to each other or to yourself for reminders. 

Have a read of this thread (click) where I describe some new functions.

Take some time to try the new content search, maybe set up your own custom search and make it your bookmark.

A note about PMs - please read the note in the link above about PMs from the old site.

Thanks for visiting, and enjoy.

(you can dismiss this note so you won’t see it again)

HengistPod

Members
  • Content count

    158
  • Joined

  • Last visited

Total Watts

0 Neutral

About HengistPod

  • Birthday 26/02/66
  1. How To Start Your Own Band

    I agree with bassjim - ask for youtube clips, or sound files that highlight your potential band member. If they can't produce anything, be slightly (but not completely) wary. Also ensure that they have appropriate gear for the level of gigs you're planning. Many singers have no PA gear, and others don't even own a microphone. Guitarists without a decent amp aren't much use to anyone. And transport. They need to be able to get to rehearsals, and - depending on whether there's a band van - to gigs. For us older folk, make sure their Mrs doesn't mind! We recently had to pass up on a great singer because he'd gone behind his wife's back to audition and she simply wasn't having it. Some ladies still seem to think that being in a band means you have flocks of girlies flying at you legs akimbo.
  2. How To Start Your Own Band

    I did this a couple of years ago, after having not been in a band for 10 years or so. Started when my old drummer (who plays in a wedding band too) suggested the possibility of getting back in the saddle. So I advertised on Gumtree for a guitarist and singer. A guitarist appeared fairly quickly, with tastes very similar to ours, so that was a bonus. A singer, who I half knew, and who also plays in another local band, offered his services as a singer because he fancied singing without having to also play guitar. Rehearsed up an hour's worth of stuff over a couple of months, once a week, and played at a local barn dance / mini festival thing. It then became apparent that the singer liked his beer a little too much, and he didn't turn up for our first "proper" gig, claiming illness. We got a bloke in at short notice to do the gig, which was consequently a minor disaster. We've not been booked back there ... An ad on Facebook produced a singer who'd done the rounds in lots of local bands. He soon turned out to be unreliable, hence the number of bands he's been in. So, back to Facebook and Gumtree. Facebook produced a lady singer, who's been with us since. this despite her throwing a strop recently which led to us cancelling a few gigs and looking for someone else. Auditions were utterly horrendous, with no-one suitable turning up. In the meantime, our singer decided she'd actually like to be in the band again. So she is. I'd think that identifying your market is pretty easy for most pub bands. Are there pubs that put on live music in your area? Are the bands vaguely similar to what you plan to do? Market research complete. The first serious step is finding others with a similar level of commitment, and a similar vision of what they want to play and how often they want to gig. Never overestimate someone who says they already know the songs you mention to them. They may sing along, or play along, with the record and not have a Scooby how to play them in a band situation.
  3. Is the UK Top 40 broken?

    I have recently taken vague notice of the "charts", because my 10-year-old suddenly wants to listen to Radio 1 in the car all the time now. Most of the stuff that's in there is fairly inoffensive. I can let it play and kind of ignore it - it really is that bland. I have no idea what the "artists'" names are, but there does appear to be a Top 40 rundown still. It's even done with a straight face. As for the Sheeran fellow, I understand he's getting to do something in the upcoming series of Game of Thrones. Perhaps he'll play a minstrel, and be slaughtered in an interesting way for being offensive. He strikes me as the kind of bloke that would go along with that for a laugh.
  4. Now..Your First Gig Rig Rundowns

    [quote name='Roger2611' timestamp='1488400519' post='3248706'] Where have all the Carlsboro amps gone?[/quote] Good question. I've no idea where my Carlsbro head went. I must've sold it when I got my Trace gear back in the mid-90s. I do know that my 2x15 eventually just fell apart. I gigged with it for a while with gaffa tape holding one of the sides on, until it literally collapsed and died. My Carlsbro was a nifty little grey-covered thing like this one: https://www.gumtree.com/p/other-studio-equipment/carlsbro-150w-bass-amp-with-1x15-and-1x10-cab/1183186250
  5. My first Gibson Thunderbird was bought for me by my girlfriend at the time (nice). She said the guy in the shop told her it had been custom-built for Floyd London of Glasgow band The Almighty. It's stamped on the back of the headstock "For Promotional Use". Gibson USA confirmed it was from their custom shop, but didn't have a record of who it was made for. About 15 years later I came across Mr London's email address, and wrote to ask him if this could be true. After a bit of describing it turned out that it had been his - and he sent me a pic of himself rocking it up at Manchester Arena with the bass, supporting Alice Cooper.
  6. Thunderbirds!

    Can't be helped. Accidents happen.
  7. Now..Your First Gig Rig Rundowns

    1992 - Platform 9 in Aberdeen (since closed down). We were supporting a mate's band, and from what I remember I used his Laney stack, playing my Arbiter Ric copy. I seem to remember my own gear at the time was some kind of grey Carlsbro head, about 150W, with a no-name 2x15 cabinet. Also had an excellent little HH 60W combo with a single 15 in it. (edit): ah, clothing. Tight black canvas jeans and a cut-off Waysted T-shirt.
  8. Who's your no 1 bass player and why?

    There are many bass players I love to listen to. Only one of them - in a live performance which was an epiphany for me and totally re-wired my brain - made me actively want to play bass, and spend 15 years pining for a Thunderbird. October 19th 1980, I was just a young lad. October 20th I was a bass player (even if I'd no idea how to play one ). I give you ... Pete Way. UFO is but a shadow without him - Schenker or not. You fellows who mention Steve Harris and Nikki Sixx need to go back to their direct inspiration.
  9. Thunderbirds!

    "is", not "was". Technically correct, though.
  10. Currently playing my white Epi Thunderbird Classic Pro with a black pickguard, more because it's the same colour as the guitarist's Jackson than anything else. Gibson T-birds (one with chrome Chinese eBay pickups) and Epi Blackbird on the subs bench. All on-board controls to max. Rotosound Rotobass 45-105s, mainly because they don't have silks and therefore I get metal contact on the string saddles. Boss Compressor-Sustainer. Green 0.88 turtle picks. Mid-90s Trace 350W GP7 4x10 combo, with Trace 1x15 extension cab. Got a wireless system, not plucked up the courage to use it live yet ... (My rehearsal rig is a Trace 150W GP7 head going through a Trace 1048 and a Peavey 4x10 thing. Also got a Trace AH600-12, which I actually don't like that much.)
  11. Thunderbirds!

    Aye, the Epi Blackbird has a bolt-on neck. However, it has the same 1.5" nut width as a proper Bird and - like the Gibsons - possesses a more lightweight "slinkiness" than other Epis (including the Classic Pro). I've not tried a Goth, but I'd certainly be interested to give one a go. NJ - I might well try one when the urge for something a little different gets to me. But I've found that the 3-point suits me fine. If only the saddles didn't fly off and disappear into the darkness when you bust a string ...
  12. Thunderbirds!

    You won't find anyone at Epiphone or Gibson that will admit to having anything to do with the July Vintage Pro alluded to by that picture (which only appeared once on Facebook and made its way round from there). Fingers crossed, though. Apparently, it's based on the Classic Pro with different hardware. That would make sense. If it exists. As for neck dive, get a strap that doesn't slide around on your shoulder and that'll sort that out. I find that if I use a polyester style strap then, yes, the headstock dives. A cloth-based strap (I use a Seymour Duncan which you can get off eBay USA, and which is super-long. Neck-dive *is* a problem. If you need both hands free between songs to fight off all those girlies, for example, or to hold a glass of water whilst tweaking your sound at the amp or whatever. Strap material is the single biggest help, I've found. That and having the strap button at the neck "joint" rather than on the upper bout (which is just silly). Choice of machine head makes a difference. I recently replaced the Grovers on one of my Gs with lighter Wilkinsons, and that helped a lot. All the Epiphones have a thicker body than Gibsons, by at least several millimetres. That includes the Classic Pro, and so it's consequently heavier than a Gibson. It is, however, very well built and eminently giggable. In fact, I've been gigging mine ahead of the Gibsons recently. Very reliable. There is no way on Dog's earth that it approaches the Gibson (mine are 1990 and 1991) for quality and playability, though. The Gibson is more slinky, lighter to the touch and more responsive. The Tokai TB48 is a totally different bass which shares only the basic body shape. The neck and nut-width are much more like a Precision than a Thunderbird. Mine lives in the attic. The Pro-IV is also a different animal, being active with a different bridge and weighing a ton. I don't like mine at all, and it also lives in the attic. The cheap Epiphone also has a wider nut (apparently some have 1.5" though). Because of this, and the jack on the front of the body ... yep, attic. The TV silver limited edition is a nice bass, with a much more T-bird-like neck and a good strong sound. The finish is a bit dodgy, though. Way too patchy. And the Epi Blackbird is splendid. I often gig mine. A lot lighter than other Epis, and no fannying about with knobs. On/off switch is all you get. Grand. As a final note, I like the 3-point bridge. It's part of what a Thunderbird is all about. I tried the Hipshot bridge but found it to be an enormous slab of metal which made very little difference to my sound. So it lives in a box now. I like to feel the 3-pointer under the edge of my hand, which is now suitably calloused on the fleshy bit at the base of my pinky.
  13. Limelight, by Rush. Not because it's particularly difficult, but the change in rhythm when it gets to the solo and then when the vocal comes back in, stumped us when played in a band situation. We could all play it fine individually, but when we did it together it fell apart every time. There seems to be an extra bar in there that doesn't seem natural when you're playing the song. But when you look at the music, there's no extra bar at all. Gah!
  14. [... my original love was the 80s sleaze scene.] (Sorry, proper quoting thingy not working) I lived in Nottingham in the late 80s. There was a semi-legendary local band called "Sleeze Patrol" on the go at the time, with a singer named Punky Wayne. The band were fairly atrocious, a triumph of image over substance. Wayne was often to be seen strutting and sleazing around town with his paunch leaking out of a rising sun T shirt, back-combed jet black hair and eyeliner inexpertly applied, affecting a reasonable impression of excess Jack Daniels intake. A proper character, and utterly hopeless musician.
  15. Screaming Jets (Aussie band. Their tune "Better" was a big hit in Oz - works every time for us, though no-one here's ever heard it before) Saigon Kick The Grip King's X (of course, we all know how fab they and Doug Pinnick were and are, but Joe Punter hasn't a clue.) Engine (should reform immediately and remind the world how pub rock is done properly.)
×