la bam

I think gallien krueger are on with that idea as well, combining class a/b into class d size boxes.

Firstly, accept mistakes happen. Its live. You're human. Even people who have been playing for 40 years make mistakes. Secondly, as long as you've put the practice in, and have everything nailed at practice, dont worry if anything goes wrong. Laughing it off helps you get over it quickly - having it play on your mind whilst you're still playing can affect the rest of the set. Thirdly, try and learn how to 'ride out' memory blanks or errors. By this I mean let a note ring out, play nothing, or do a slide back into where you know to come back in. If you give it the confidence face and the illusion that was what you meant to do, you'll fool 99% of the people in there. And most of all enjoy it. Everyone on here has made loads of mistakes and changers. Even brian may messed up the solo on Bohemian rhapsody a few years back. It happens. Enjoy the night!

I also think theres too much contact nowadays with smartphones. Pre 2005, when you just used to meet on a wednesday night or at a gig once or twice a month, everything ran smoothly and you looked forward to it. No distractions, no arguing. Nowadays, with texts, whatsapp, facebook, you cant get away from it and its every day dealings with pointless things that run everyone up the wrong way. Sometimes to breaking point. Hence they leave.

I have 2 bass collections: 1. John Entwistle - superbly built. Everything is flawless. The sound is superb. Very punchy and aggressive. 2. Standard power bass. Again, very well built, but not as substantial feeling as the john entwistle. Slimmer neck and feels lighter, and the pick ups sound thinner, but there is more range on them - ie using the tone control actually works and gives you full sweep of usuable tones. Both great basses, but the entwistle is the better one in my opinion.

It's been and gone. It was up for £100.

Is the head a 300w valve amp or solid state?

The pick ups on this bass are awesome. I've since bought a standard power bass and they pick ups are definitely different, much more powerful and growly in this bass and this bass definitely feels more substantial.

Yeh, stick to the 80s. Be confident in what you do. A mixed up set is fine, as long as it's really mixed up. Ie something of everything throughout the full set. A set of 90% 80s and some random 3 new songs, doesnt make any sense. Itll also attract the people who like the random 3 new songs asking for more new stuff.

I did the sound and a pa for a festival for about 5 good bands years ago. For a nice evening out. No money in it - just giving back to the venue and its causes. I had to supply everything: PA Monitors Lighting Backline Desk Cabling Mics Stands DI etc etc Spent a fortune getting everything great for them. First band comes on, very polite, but not that experienced. Didnt really know what they were doing with the amps, but no hassle. Second band comes on. Utter bell *nds. Singer immediately starts jumping around like rage against the machine and swearing. Then after the first song, he goes on some political rant and starts doing mic drops with the new sm58s I'd bought. Denting one badly, and guitarists purposely drops the other.... I went on stage, took the mics off them, and give all the band cheap £3 mics for he rest of the gig. Third band - good well known band. No problem. Ever since I never lent anyone anything at a gig.

Why would you put yourself in this (the OP) position? Organisers should provide most or a shell backline, just bring your own amp and cab and plug in. All this - you can headline, but must provide the backline - is pretty much a low trick. They give you the gravitas of 'headlining' then make you work, risk gear, and foot the cost for doing so. Just tell them you'll play, but want to go on second to last - see what the reaction is.

Not specifically bass guitar related, but when I was djing I went through a wide range of amps, cabs and speaker arrangements. By far the nicest warmest articulate sound I ever had was a big 18 sub and x2 8" tops. It sounded so nice. Better than any high end 12s or 15+12s etc I had. That was for the full PA for recorded music though. I'd imagine for a single instrument youd be fighting with a single 18 if you wanted a full range sound, or to clearly hear what you were playing. Plus it could cause havoc with controlling the foh sound. Anyway, if you like it, and it feels good to you then keep on using it. Theres no right or wrongs.

The lb100 is a great bass. So well made and put together. Light it isnt, and the neck is quite thick, but it's easy to play. It's a very good sounding and good looking bass at a great price.

If it can break - it will. Maybe not this week, maybe not next, but it will. It really isnt a hard ship to take a spare just in case. Even a cheapo £50 bass.

When I first saw them a few years ago I thought it was absolutely awful, but maybe its a bit of lockdown madness, but now I love it!

I'd recommend one with wheels on. Even if it's slightly larger. My barefaced super twelve is lightweight (about 18kg) but the wheels are such a welcome bonus.

Very chuffed this week! I've wanted one of these for over a year. They allegedly only did 200 in this colour as a special run then discontinued them. So, when this came up I was very lucky. Took a chance and it arrived in unused immaculate condition, still with the plastic coverings on. The colour is stunning. Not obnoxious green, but not subtle! I have a fender player in sunburst so I knew what to expect, but the maple neck is lovely and bright and the whole bass is fantastically balanced and plays superb.

Yeh, loosen the screw - that helps free them up a bit. They are rubber (compared to the jazz versions plastic) due to issues on design. Unfortunately that means they're more prone to sticking together, but can be sorted with a bit of time.