Monckyman

Seems to me the gigs are the fun part no? Rehearsing 70s rock songs for 8 months doesn't seem like any fun at all to me. I bet you do Alright now don't you? You have 4 reasons to leave. 1/you don't like the singer and think he's pompous and controlling and lazy. 2/you don't like the guitarist and think he's lazy and not interested in music after 1976 3/you don't like the set which is full of 40 year old dad rock songs. 4/you will never get an equal say in how the set and gig list develops because they will always insist their experience (20 years man and boy) means they get to do it their way. You don't have to waste another year with musical dead ends, there are absof***ing loads of bands looking for committed bassists. Good luck.

Just a crap joke, never mind.

What strings have you got on it?

I don't mind anyone playing it, it's up to them what they play. What I object to is people telling me I ought to play it, as it's a classic and the punters want it, and if I say no, I obviously have no idea what I'm doing. Nobody in a pub ever asked me for that song, it was always the singer who wanted it in the set. Newer pop or rock songs may not last as long in the public consciousness as some of the "classics", but who the hell wants them to? I was bored shitless playing johnny be good in 1980, and here I am seeing it as a must have on setlists today. Blimey.

Text from agent on way home from rough pub he was using us to soften up. "Just got a text from the landlord, saying "sh*t hot band this", and I thought, I've sent the wrong band"..."lol" Also "If you don't play Alright now, Mustang sally, and Johnny be good, I'm going to f***ing twat you, you little c**t" Nah, made that one up.

Update, if i HAD to play it, I would be texting Seashell during the verse.

[quote name='Hobbayne' timestamp='1422643723' post='2675147'] I have no problem playing this or Sweet Home Alabama or Mustang Sally or Brown-eyed Girl etc. If its what the crowd want then its our job to provide it. This is probably why there are musicians sitting at home noodling instead of gigging. "I,m not playing that! its beneath me!" they quoth. [/quote] I won't play it,not because it's beneath me or any crap like that, but because I think it's a sh*t song. my band gets plenty of gigs so the alternatives we play must be as valid or, dare I say it, even better. Some were even written this century. Let me posit the argument that the younger audience aren't drinking in pubs so much because all they ever hear is alright now, mustang Sally and Johnny b good, getting thraped. Time to move on. ; )

Good point.

Martin just bought my SUB bass and paid promptly and happily! Thanks for the brew Martin, hope you enjoy.

The "listening with their eyes" is a very interesting point, because I believe people will always do that, and are generally looking for the image they are most comfortable with and can reference most easily. I just know that however it sounds, some folk will always be happier seeing a big shiny thing in the middle of the stage. Same with a double bass, I take mine to some gigs and play about 5 songs, and the mere look of the thing adds massively to the perception of the audience to those songs. My current drummer did use the damped kit and triggers method 15 years ago before going fully electronic, I'm now persuading him to return to something similar. We are all, basically magpies, and we like shiny things to gaze at.

Ditto all above, no level problems, same sound every gig, means our backline is now reduced to pedalboards and pre amps, and we are all on in ears (nearly, the drummer is on click on phones and mix on a wedge, which is the loudest thing on stage). FOH sounds much much nicer with no direct amp sound, especially in small places and I think some landlords and barstaff really appreciate not having their ears destroyed every weekend. However.... : 0 They look a bit crap. scaffold rubber and cable isn't very sexy.(Yes Discreet,except you..) What I'm angling for now, is a hybrid kit, with basic kick snare rack floor, with a couple of mesh head pads, and a couple of triggers for the kick and snare. This would give you a full acoustic kit, with all the skin dynamics you get with that and enough pads and triggers for an electronic/urban kit. Bit more fiddly etc but it would only be used at weddings and parties where the cash and setup time was adequate.

I really like that Vox Cougar. I remember borrowing a Framus off someone for about a year (as you do), until the headstock fell off. I then bought a Vox Standard via a catalogue in 1982, which took me two years to pay off. When I stopped playing, about 20 years ago, it became the bass all my friends borrowed to record etc, and I never saw it year upon year until I resumed playing about 5 years ago, and rescued it from my daughter who had started playing. I used it last night and it played and sounded excellent.

Alternatively, you could find some newer younger bands to go see.

The SM58s dominance is not just because it's hard to destroy (despite many trying), and it's ability to sit in a mx, the price is massively important and most "standards' depend on being affordable by the masses. The Heils are nice, but with 4 singers in my wedding band, I won't be taking £1,000 worth of vocal mics alone out just so the "merry" guests can enjoy their enhanced ability to cut through a dense mix while providing warmth and presence. : ) And that's why you won't find PA hire companies carrying them either. The Sennheiser E range seem to be the ones replacing the 58s as an affordable vocal mic.

Good price..

I've used prem for a couple of years, hooked up via a netbook with a wireless keyboard and a Filo into the house stereo. It's great, the wife loves it and spends house browsing and listening to music. The covers band members all use it and we have a sharded list for songs to learn or suggested songs etc. For me and the wife, it's actually stimulated the time and money we spend on music massively including CDs and live concerts. We aare considring upping to the full service for access in the camper etc.