peteb

Used to play this song a few years ago Great tune to play live but unfortunately we ended up dropping it as only a few punters seemed to know it (did Green Tinted Sixties Mind instead)!

[url="http://www.youtube.com/watch?v=uMFHs5-22kM"]http://www.youtube.com/watch?v=uMFHs5-22kM[/url]

[quote name='51m0n' timestamp='1317128148' post='1387063'] There are plenty of bands and only a few venues though..... [/quote] But there are only a limited number of bands that will bring in punters and help to establish a pub as a successful music venue In my experience, there are very few complaints about noise from landlords who have a pub packed full of thirsty customers who have come to see the band!

[quote name='51m0n' timestamp='1317127338' post='1387039'] Who exactly do you think is really losing out if you dont get asked back? [/quote] If you are good quality band who can get a significant number of people to drink in his pub who otherwise would not go there (and potentially return to see other bands if they had a good time), then obviously it is the landlord who is losing out the most! Tha band (if any good) can always go and play at a more suitable venue, again taking trade away from the original pub.....

[quote name='skankdelvar' timestamp='1317125966' post='1387000'] I think you're confusing 'simplistic' with 'simple'. As for the widely-held animus against pub managers who don't understand the 'Entertainment' industry, that's probably because they're in the 'Leisure' industry. It may seem like a fine distinction but there is a world of variance. In a pub, one is a side-issue. In a music venue one is the focus. Learning to differentiate will benefit one's sense of place and - consequently - one's fragile self-esteem. A cursory examination of those foldy stand-up things that landlords leave outside their establishment reveals that 93% of them extend an offer of 'Live Music'. Just like landlord Bob Roseyring, landlord of the Cat & Bagpipes. He's got a foldy sign with 'Live Music' on it. To which end and to comply with advertising standards, he sets out to hire a 'band'. Something to keep the punters vaguely amused... At the other end of the phone, local man Wal Giggley (43) is beside himself with excitement. His covers band (The W. Giggley Band) finally has a gig. As he replaces the receiver on its rest, his pitifully few synapses are flooded with dreams of local stardom. Time to get the Marshall out of the garage. Elsewhere in town, plumber Gary Plumbob plans a night out with the object of his manly affections, Miss Renee Hedgehogge. A few pints, the famous Cat & Bagpipes 'Oxtail Soup in a basket' and he'll pop the question. Live Music? All the better to smooth the path. A fatal concatenation of circumstances has been set in play, whereby Bob will use excessive force to restrain Gary who is inserting a table leg in Wal's rectum. In due course, Miss Hedgehogge will weep as Gary lies paraplegically immobile, Bob will languish at Her Majesty's Pleasure and Wal will walk funny for the rest of his life. Lives will be shattered and the course of history shall be altered. It was all due to assumptions. The landlord assumed the band would assess the audience and tailor its act accordingly. The punters wanted a quiet drink and assumed the band would respect that. And the band assumed that a quiet family pub was an appropriate venue to unleash the mighty force of Rock And Roll and - let's face it - they haven't got anywhere else to do it (U T M F O R&R, that is). O tempora, O mores. We can all learn from this, I think [/quote] I think that the lesson we can learn from this tragic sequence of events is that Wal should not be so desperate to take every gig that is offered to him and that Bob should have done his homework about the suitability of certain types of live entertainment for his pub and booked that nice acoustic folk duo, the Good Ole Boys, from the next village instead Gary has only himself to blame, but then he did always have a problem with his temper Miss Hedgehogge is, of course, totally blameless in this whole sorry affair!

[quote name='skankdelvar' timestamp='1317123444' post='1386949'] I know many bands who can't play worth a sh*t. The louder they get, the sh*tt*r they're worth. But you are exactly right. There is nothing finer than a crushingly loud band in full flight and I'm sure your lot delivers the goods to universal satisfaction. The problem arises when some knob totters into the back room of the Cat and Bagpipes (Try our Sunday Lunch Special) with a JCM800 full-stack and proceeds to plaster bloody gobbets of innocent punter all over the rear wall. I have been that knob and I repent most wholeheartedly. [/quote] Surely the point is that the Cat and Bagpipes shouldn't be putting on rock bands in the first place!

[quote name='BottomE' timestamp='1317038354' post='1385705']I'd just say to them - and i have said this - "Don't book bands - get yourself a disco, duo or have a quiz" but not something WITH ACOUSTIC DRUMS. I just don't get why they would book a full band if noise is an issue. Its like a vegetarian ordering a bacon sandwhich then complaining its got meat in. Derrr - hello. There is a limit to how low you can go on drums and believe me our poor drummer was using spaghetti sticks and was using the lightest touch on his bass pedal. It wasn't good enough for the venue. We had a quick chat in the break and decided we didn't need the gig or the money or the hassle so we packed up and left.[/quote] Totally agree! As far as I'm concerned my job is to entertain punters who have come to see a powerful rock band and to get them to come back to see us again and again I'm prepared to be reasonable but we will not play below a certain level as we're not prepared to put on a half assed performance just to keep an idiot landlord happy. If I was the OP, I would have maybe turned down once and if that didn't satisfy the landlord I would have told him to lay us off and not book bands any more! BTW - I gig pretty much every weekend

I picked up an all white (no scratchplate) passive jabba about a year ago and installed an East j-retro deluxe active circuit (see avatar <<) A very striking looking bass if a touch on the heavy side (about 9.5 lbs); it’s very well put together bass and plays very well indeed. It sounded good in its original passive state, but the East pre-amp really brings it to life (have to be careful with the settings thru)! It has been gigged a lot in the past year and it seems to have made a good impression and I’m very happy with it. As I said in the Sandberg thread, I was after a ‘super jazz’ and couldn’t afford the £2k plus for a Sadowsky or a Nordstrand and the Mayones was a good alternative. I played a Fodera jazz a while ago and actually preferred the Jabba, which is saying something!!

To be fair, when I rang Bass Direct and said that I was really after a ‘super jazz’ but was considering a Sandberg (which he stocks), he could have tried to sell me one over the phone. However, he said ‘I think you can do better than that’ and went thru what he thought were the alternatives that he could offer me. Mark is rather opinionated and I don’t agree with everything that he says, but he does get to compare lots of different gear and he is always very honest (to the extent of advising me to buy from someone else when he couldn’t match an offer I had been given), so it is always worth giving what he says some serious consideration!

Does it run off a standard 9V dc power supply? Can anyone give me an opinion on how it compares to an Aguilar TLC pedal?

[quote name='silddx' timestamp='1316365880' post='1376991'] I had a chat with Mark at Bass Direct and I am going to try a Mayones Jabba on his recommendation, it ticks more of my boxes than the Sandys. Got to shift my Status Vintage first though! [/quote] Exactly what I happened when I was interested in a Sandberg! I did get the Mayones and it has been great – a real ‘super jazz’ for a fraction of the cost of many of the alternatives……

I was interested in a Sandberg but tried the Mayones after being advised that it was probably a better take on a modern version of a traditional Fender I fear that the OP, after his triumphant return to this forum, may be falling back into bad habits! Regardless of the merits of Sandberg basses, he is unlikely to find one appreciably better than the rather nice bass that he has just acquired. If I may I would suggest that should consider spending a bit more time playing and getting used to that before setting off on a never-ending quest for the mythical ideal bass!!

If you are looking for an alternative have you considered a Mayones (hand built in Poland – [url="http://www.mayones.com/en/dokumenty/basses)?"]http://www.mayones.com/en/dokumenty/basses)?[/url]? I got a passive jazz from Mark at Bass Direct and put an East active circuit in it. It’s a great bass – really well put together with a great feel and sounds really nice!

I would say if he's a good drummer and a decent guy then keep him - it sounds as if the other guys are reasonably happy about the situation and you may risk marginalising your own position in the band. It is not as if his points are particularly unreasonable. Thirty gigs a year and rehearsing once a week is about right for a good classic rock covers band and playing fewer but better gigs for more money (and travelling further afield) isn't a bad idea IF you can get the right bookings! If you want to gig more, why not look for a side project or dep for another band!

[quote name='JTUK' post='1368518' date='Sep 10 2011, 01:19 PM']I agree.... I think it is pure profiteering by the accountants that drive production cost to the cheapest place..maybe understandably from their POV. This tech isn't the youngest so I guess the weight is an issue for him as well...but he'll say the same thing about Booigies as well...although I agree he'll see more gtr amps that basses from that maker. I can only report what he said.... FWIW, he also said the design stage of the pre amp of my bass amp was wrong or rather not as he would design it, so he seems pretty confident of his stuff. and I do actually know of his pedigree. I just think he has no axe to grind....he calls it as he sees it and having been in the biz for so long, I would imagine he's seen a lot.[/quote] A mate of mine is a tech who says exactly the same about ampegs & boogies, although he will admit that once you sort out any problems then a boogie sounds great!

Glad it worked out Nice one!

[quote name='Pete Academy' post='1359159' date='Sep 1 2011, 07:52 PM']I'm exactly the same. Nothing more to add. Wish I'd learned more theory skills, but I was busy having fun instead. I have lost gigs through not being able to read, but what the hell. I can compose my own stuff by ear.[/quote] In more than 30 years of gigging, generally with good quality players (some who have been in bands with decent record deals, some who have toured the world as sidemen with household names) I have never lost a gig thru not being able to read! I have however lost gigs thru not being able to sing very well.......

I'm sure that I've seen a UK site that sells Warwick parts Does anyone know who the UK distributor is these days? [quote name='TheGreek' post='1344615' date='Aug 18 2011, 05:19 PM']JOOI what parts are you after??[/quote] Just a couple of screws for a bridge saddle for a Stage 1

I vaguely remember that someone here once posted a link for a site that supplies genuine parts for Warwick basses I don’t suppose that anyone still has the link??

[quote name='Doddy' post='1343735' date='Aug 17 2011, 09:54 PM']I do have a Roscoe. My most used instrument over the last 18 months or so has been my Fender Deluxe Jazz V (Mexican) and my favourite instrument is a mid '90's Japanese Fender Jazz. Every instrument I own has been used on gigs,I don't care how much it is.If I wouldn't gig it,I won't buy it. If someone wouldn't take their cheaper bass out on a gig I think it says more about them than anything else.[/quote] I hope that it doesn’t sound like I’m having a go or anything because I’m not at all, and obviously it works for you, who earns a living as a professional musician. But I am interested that you will take out a MIM Fender when you have a Roscoe, especially as I have never rated any MIM Fenders that I have ever played (or indeed many American ones) and that you could pick up a secondhand Warwick or EBMM relatively cheaper (say £600 to £700)! The guys I’m talking about bought the cheaper basses for a particular purpose, i.e. teaching and use the nicer basses for gigging & recording. They tend not to have too many expensive basses hanging around as (unlike me and many others here) they have to use their earnings from music to pay the mortgage!

[quote name='TheGreek' post='1343739' date='Aug 17 2011, 09:57 PM']If the majority of people are voting under £800, how come there are so many MM stingray/bongo/Big Al, MIA J/P, Status, Wal, Jaydee, Goodfellow owners on this site?? Are they not voting or are they getting their gear extremely cheap from somewhere??If it's the latter can I have the address please??[/quote] Buy secondhand! I got a Warwick Stage 1 from ebay for £435 and a EBMM stingray in a deal worth about £700. Someone has got a great looking bongo up in the for sale section here for less than £800!

[quote name='Doddy' post='1342614' date='Aug 17 2011, 12:52 AM']A Tokai SG that cost me £100 (edit....this was at the Italian Grand Prix last year) For what it's worth,the only instrument I own that cost me over a grand (and not by much) is my electric upright.[/quote] I thought that you had a Roscoe?? For what it’s worth, most of the guys I know who play the same sort of gigs that you do tend to have: a workhorse bass, nearly always a 5 string, often expensive but certainly not cheap; a secondary bass, often a 4 string, something like a stingray or a MIA Fender; and a cheap but cheerful MIM Fender to be used for teaching or the occasional free for all jam session, but you never see them gigging the cheap bass!

[quote name='Doddy' post='1341383' date='Aug 16 2011, 12:29 AM']No....Rock stars get given them. Back to the OP....I really don't know what you are getting at. It doesn't matter how much money you spend on an instrument-it's what you play on it that is important. Spending a fortune doesn't make you pro-all it means is you spent a fortune.Likewise,spending a couple of hundred pounds doesn't make you any less of a pro. Take a player like Paul Westwood,who has played with so many people both live and on record...his main bass is a Hohner Steinberger copy. I find the whole concept of 'pro-level' gear to be bogus and a pure marketing ploy to get people to spend more money.[/quote] A question for you mate.... what is the cheapest bass that you have used on a pro gig in the last few years?? Genuinely interested to know……

They may look as gay as a very gay thing but great band! Excellent stuff and a great bass player........

Well played sir!