JapanAxe

This has been an ongoing quest for me too. What has worked for me: - DI into my interface - has to have plenty of headroom, otherwise transients cause clipping; - Cali76 compressor; - Two Notes Torpedo CAB with IRs based on 6L6 power amp, speaker to taste; - Line out from Demeter head. What hasn’t worked for me: - Behringer BDI21; - Korg PX4B.

I maintain all my gigging kit myself and get it PAT tested annually. I keep the certificate with said kit. PLI comes from my MU membership. I wouldn’t want to be without either of these protections. As regards PRS, yes that’s down to the venue. A few weeks ago on a rock’n’roll covers gig a PRS rep came up and introduced himself and confirmed that very point. I let him take a photo of the set list and he sat at the front chowing down a pub meal whilst looking up songs on his laptop. This kept him busy because there were a lot of quite short songs! So don’t worry about that but if you play originals, make sure to register and you can claim a few extra bob per gig.

¡Vale! Tocaste esa canción muy bien.

I have a One 10 and a Super Twin and I do end up EQing them differently with the same head - for me the Super Twin needs more mids but less bass.

I have the same problem with a Les Paul Junior guitar (not bass) and I find it helps to have my right foot resting on a small stool about 10-15cm high off the floor.

Very sharp!

Tuner pedal for silent tuning (and changing over basses if necessary). Put a fork in me, I’m done.

This may help: https://www.electrosmash.com/mxr-phase90 I would be looking to increase the gain of the input buffer, or if that causes distortion, the output buffer.

A familiar story - welcome aboard!

I carry loads of spares of all types of cables. Each has a label on it stating its approximate length in metres, as well as a velcro cable tie. Yes I lend them to other band members, but I quickly retrieve them at the end of the gig because they are easy to identify. #controlfreak

One of us! One of us! And HNBD, you have bought well.

Whereabouts are you @Mickyk? I’d be happy to take a look at at it (foc).

I know, very disappointed in John Fogerty there.

I came to bass from guitar so I started out with a pick. It took me a long while to crack the standard two-finger approach, and a few years ago I moved over to fully floating thumb. Nowadays my preference is fingerstyle - I love the feeling of connectedness to the instrument. I still use a pick where either that particular sound is required, or I need to play fast repeated notes.

Best thing would be to drop a verse and a chorus, the intro, the solo, and the remaining verses and choruses. And the bridge. God I hate that song.

Wow - that is a cracking collection! And a fellow Swindonian to boot - will you be rocking these around local venues?

Barefaced One 10. Whether that is tiny enough is your call!

That headstock - is it the work of a certain purveyor of guitar conversions?

I practise my guitar fx changes along with the other aspects of the song. I rarely touch my amp between songs. Add me to the list of those who can’t stand between-song fiddlers!

Any good for metal? Does it play like butter? *fetches coat*

Some of my least favourite gigs have been where the band members have been spread out in a long line, backs to the wall, so that we all felt separated from one another. The sense of playing together was lost. This just takes it to another level.

No, but… I used to be Keef in a Stones tribute band, and bought a 1987 Les Paul Junior that looked and sounded great, although it was far from perfect in the playability department. I liked it a lot and ended up using it in another band in place of my CS sunburst LP. A couple of months later I went to World Guitars to try a fuzz box, and the proprietor Jeff (RIP) handed me a Gibson CS336 with P90s to play through it. The guitar was phenomenal, but I was nowhere near having the funds to buy it. I bought the fuzz and left with a lingering yearning - if only I hadn’t bought that Junior! Fast forward a year or two, I am browsing the WG website one evening, and there is the CS336 again, obviously traded back in. First thing next morning I phone WG. Yes they still had it, so I drove straight up there, confirmed the guitar was still awesome, and bought it. Happy ending! I took the CS336 to a function band rehearsal and the singer made me promise to bring it to the gig - that’s how good it is!