bassintheface

I hate them as they're weighted typically for simple compressed music and at an SPL level way below that of a simple unamplifed drum for example, then any form of dynamic live 'input' to the meter mic trips them. I dislike them and try to avoid them, but have played many gigs with them and managed to keep under the ones set a realistic levels. Some are set so low that audience applause trips them - the band cannot be held liable for that! I have on a few occasions managed to strike a deal with venues where we have unwittingly taken a booking not knowing there's a meter..... I agree that we'll plug some LED lights into the meter circuit, that way, we know if we're 'too loud' by the lights switching off, but won't risk buggering valve amps etc. Then run a couple of long extension leads from circuits not connected to the meter circuit. The 'mid week daytime soundcheck' sounds like a flipping shambles and I'd rather bin the booking off than do that - that's unreasonable. Do they get outsider caterers in the week before to cook them a meal to make sure they can use an oven??!!!

cheers all...... had a good think over the weekend. I'm going to give it a month, see if anything changes, then if not you MAY see a Limelight 'Pino style' P bass and a 1973 Fender Jazz for sale.........

Haha!!

Hey guys, so, it's been a crazy couple of years as we all know and some of us have fared better than others..... the world has changed and priorities have and continue to do so..... I'm a bandless bassist, but not really wanting to join a band right now due to other commitments. I sold my gigging Aguilar rig just before covid as it was wasted not being used and bought a decent combo for not much money which is perfect for any gigs which may come in. I'm now considering properly 'thinning the herd' of basses - I only have 4 mind. They're sat in my office in cases and haven't seen the light of day in months. I have minimal motivation to play them (mainly as I'm just really busy - started my own company last year amongst other things, so that needs my time). I'm mainly just doing the odd bit of depping now then then, but not playing regularly at all and can't see that changing anytime soon..... I'm thinking of moving at least a couple of basses on (for space and to get a bit of cash in as they're now not earning me money gigging), but unsure if it's the right thing to do...... I have a 2002 Musicman Stingray 3 band - had it off my folks for my 21st so that's a keeper.... 2014 Limelight 'Pino Palledino' style Precision - great bass, but would likely let go as it doesn't really hold any sentimental value and I can always get Mark to make another if I ever wanted one. then comes the conundrum - which one of these would I possibly look to sell with the Limelight?! 2002 MIJ 62 RI Black Jazz bass, now with US pickups etc - my absolute favourite bass to play (and look at) - I don't think I'd ever find another as good and with such a perfect neck.... not a massive amount of money in it either.......it's a beaut. OR 1973 Fender Jazz - 'burst, RW board, block and bound. In amazing condition for it's age and I'd never find one is this condition - worth quite a bit I imagine - would I regret selling it?!! Then also, I have kids - what if they want to take up bass as they get older, so do I just sit on it for a bit?!! Agghhh! What to do!!!!

Loads of times - usually when playing in London with local bands......... "Hey man, can our bassist use your bass and amp and stuff maaaan, he's got to get 3 tubes and a night bus so can't bring any gear...good vibes, good vibes......" "sorry maaan, we have a 5 hr trip back so we're leaving immediately........"

I recall playing a gig about 20 years ago with a band called MetABBAlism - they covered ABBA songs in a heavy metal style........

I think it depends on the specifics. There's a few scenarios to this as have already been discussed. If it's an already well established artist and you're being employed to be 'the bass player' and play what you're told to - with some artistic licence, but ultimately defer to the 'name' as singer, songwriter, arranger etc then I'd be ok to do that so long as I was being paid appropriately. I think really, that's my ideal role being honest.........in the background, just play, go home, get paid. If it's a new 'band', then it depends on your required input - if it's originals, are you contributing to the songwriting process, are you having a share of any of the writing credits - lots to consider. If it's a covers band playing the dog and dildo then again,I'd have to give it some thought - are you all getting an equal say / share in the responsibility, running the band, getting paid etc etc? Musicians eh...........🙃

When I was younger I spent a lot of time listening and playing along to 'Blood sugar sex magic'

Near, but from Chester area as a band. Think there's a link to Flint also, but not Wrexham specifically.

Wrexham: Neck Deep K Klass Andy Scott - guitarist from The Sweet Gallops @Wayne Firefly plays bass for Vice Squad and Owain Williams was the guitarist in Xerath I may have missed some more..........

He is very good to be fair

I can ask a 'friend' who will know.......