peteb

What makes a successful gig can be one (or hopefully more) of a number of things: 1) A great reaction from the audience 2) If you know that the band has played really well 3) If it's a great hang and you meet cool people and make useful connections 4) You enjoy some gigs just because you know that you're making a decent amount of money (although personally, I would avoid too many gigs that you are doing just for the cash) I remember someone saying (but I can't remember who right now) that before he joins a band / project he looks at three factors: whether the music is great, whether the gig will advance his career & if he likes hanging with the people involved. If he can answer yes to two of those three questions, then he will take the gig! I would say that you can apply the same kind of criteria (but sort of in reverse as it is looking back after the show, if you know what I mean) to what makes a successful gig.

You forgot the money!

I've seen a few - they were around in music shops when I first started playing as a teenager in the late 70s. I didn't particularly like the colour then, but that one actually looks pretty cool...! Not a bad price either for a bass that may well be pretty collectable. edit: having had a closer look, it doesn't seem to be in the greatest condition. I've never thought of 'splitting of the wood' as being 'typical' of 70’s Fenders!

I've just ordered one as well... Thanks @jimmyb625

Because lots of people (with some justification) think that cables are inherently better than wireless. In this instance, I thought that it was valid for him to make that point.

I don’t see why you think his post was pointless. Lots of players don't trust wireless systems and prefer to use a cable for a variety of reasons.

I've had all sorts of issues with a variety of wireless systems over the years and despite the obvious advantages of going wireless, I always went back to using a cable. The Shure has changed that. It isn't cheap, but it just works and is worth the initial expense.

Fair enough. I've had many wireless systems before the GLXD16 and always went back to a cable. However, the GLXD16 is reliable and sounds / works great and is the first system that I've actually trusted. Hardly ever done a gig with a lead since I got it.

Same here, the one problem I have with my GLXD16. I don't suppose that you have a link for the cable you got from designacable? Cheers...

Like Dave, I'm not quite sure exactly what you don't trust?

If I as in the market, which I am unlikely to be for a few years, then that is a bass that I might have gone for! Good luck mate...

Looks great - nice weight and the price isn't ridiculous...

You've just ruled out the only decent bass shop in London...! It is better in person than online if that's any help...

Triple post!

Double post

I'm not sure if this is addressed to me, but if so... First of all, I've used a SVT3 a few times, but never actually owned one. I've used a SVT4 more often, as that is the standard hire-in house rig for most of the bigger multi-band festival gigs that I do from time to time. I believe that they have a similar EQ section and I have owned the Mesa Boogie equivalent for many years. I always have the gain just at the point where it starts to break up, usually at about one o'clock. This thickens the sound out with it just having a slight hint of overdrive, but not distorted. If you want to put more hair on the note then turn the gain up, or turn it down if you want a sweeter, more transparent top end. Then you set the master to determine the volume. Of course, there are some (mainly guitar) players who will do it the other way round, especially guitarists who want to get a SRV type sound...! Starting with all the tone controls to the left is just drastically cutting the volume of those frequency points (by 15db on the Boogie). I would suggest everything at 12 o'clock (flat) to start, although personally I will generally slightly boost the lo-mids and slightly notch the hi-mids. Remember that you want to hear the full range of the instrument and that a little goes a long way when boosting or cutting frequencies. it is possible to very quickly go beyond the realm of a balanced musical tone and blow holes in your sound if you excessively cut or boost frequencies.

Is that in the manual? That is certainly not how I have ever used an Ampeg or similar amp.

I've put electrical fault (once a battery and a couple of wiring / jack issues), but I have broken a string once (maybe twice). Over 45 years gigging, I've only needed a spare on four or five occasions - but it always seems to happen on big or important gigs! I take a spare whenever its feasible...

I thought that a Harley was the bike that guys get when they get to our age...!

I used to share a house with JV's son for a few years, back in the 90s . He was a fine bass player in his day.

To be fair, I am talking about gigs in the late 90s / early 00s. The biker crowd seems to have aged like everyone else. While there are some younger guys around to replace the older ones, certainly not enough to keep the numbers up to the same level.

I've played a few biker festivals where ladies tops suddenly seemed to be inadequate for their intended purpose, although I'm pretty sure that the reason for this was quite deliberate...!

Great little theatre in Wimborne, with the added benefit that the average age of the audience when we played there in February made the band feel young (and we're no spring chickens)! Good to see @King Tut playing bass in a band with my old housemate's dad...!

You do know that there is a knob on the right hand side that lets you control how loud they are? The volume was fine for an outdoor stage, but the eight speakers working together in one box just make them sound really thick and solid. As I said, great fun to play through...

Not sure where you're going with this mate. A SVT4 and an 810 is pretty much the standard house rig you get at most festival type gigs.