spacey

But I have bought a large bag of popcorn now, hope it stays on, I'm front row, seat.

Fake Rick copy on as well, have John halls E-mail if you want to contact him to report it.

[quote name='Marc S' timestamp='1427893470' post='2735521'] The difference is quite obvious.... Limelights are custom made, and though they have a Fender logo, [/quote] Then they are a counterfeit product, you can have one or the other, not both.

Once went on a coach trip to see a mates rock band get its big chance in Camden. Turned out it was in Kentish near a market , back room, concrete floor, dog muck all over that the owner just scooped leaving the pizz on the floor, it walks in he said. 4 bands, they "headlined" which meant once the other bands beggared off it was the band and ten people from the coach, house PA with bust bass drivers and one horn, no "agents" no record companies and the stink of dog muck all night. Quietist coach trip home ever....

Once had a cracking 80's band, synth player, good vocalist, agents throwing work at us, outbidding each other and then someone recorded a gig and noticed a few things were not as good as they should have been, more attention to detail stuff, drum fills, odd bass lick, guitar solos, backing vox and we had a huge meeting that ended in a funeral for the band as accusations started, blame, people dont like how he speaks. Left em to it and went to the chip shop. Came back from the chip shop and there was no band. Only bonus was the keyboard players special Cod with Scampi bits needed eating, he had stormed and the singer was off as well From this I learnt a golden rule. No tapes and no funerals for gigs, just re-visit old songs and tighten up what you do as a band by agreeing to re-learn those dragging tracks onr ones you half finished. Bad gig ? no funeral, move on, keep going forward.

I have seen some very odd stuff sell for odd prices. Squire JV basses fetch more than the actual Fender JV they were based on ?? Old instruments that were wardrobe door stops selling daft money because they are old. I am sure people must collect junk like this and are willing to pay for it.

Just do not break the secret bass players rule ! SHHHHH ! Remember, no matter what happens, what goes wrong the rule is always. [s][b]"It was not MY fault" [/b][/s]

Here is one, sure to be ignored. Get the band to rehearse "the gig". Not the songs, the GIG ! Set up, face outwards with monitor levels for vocals, not PA stacks facing the band, correct backline volumes, set lists. Sit down 5 Minutes, get up play the first set. Sit down have drink, get back up and play the second set. All in gig fashion, noting change overs, problems, songs that clash and make notes and change it or sort it before you get to the gig. After this, you have already done the first gig, a few times if you have time and it is just the same routine but with a crowd. All major bands have real gig scenario rehearsals, for a very good reason, so anything that can go wrong is worked out and worked around. Things like getting monitoring and stage levels right can be the end all of the first gig. Set up, line up like a gig and play the sets in order. The best advice I can give from 30+ years of gigging.

Was anybody else Drinking ? as a bass player you often have to swing it a bit to keep it in the lines, if the drummer is blowing in the wind a bit, you end up over swinging and missing on the overlaps. Either that or playing with the bass on fire behind your head has to stop.

Were you drinking ? Not as disrespect but a couple of pints gives the impression of getting your grove, but when listening back to the recording, you often realise it just gives you a false reading on the gauges.

Personally I would let them buy it, they might know what they are doing, it is a vintage Italian copy bass from a bygone era, someone might be looking to restore it. If a Limelight with fake Logo is acceptable then whats the difference. I am quite sure even the most stupid buyer knows its not a Fender, but given what other copies sell for who are we to estimate its value. How much is a 40 YR old + copy worth to a collector of such things, just look at some of the other daft prices paid for similar stuff.

Tale of two pubs, one established music venue but refuses to pay over £150 usually £120 and on a weekend has "wet rock covers" same songs, week in week out, just the faces change, now down to about ten punters if that. New venue opened, out of town, off beaten track but pays the money £350-£500 league and has only the best of the best , been open six months, it is literally get your backside in and stay in at 7 O-clock before the bouncers shut the main doors, 8 would be pushing it to get in, 8 bar staff, till rings every gig, full friday, Saturday and Sunday Lunch . It can be done, you just need a good Business head and know to pay for a good product.

See what it sells for, its more fun... One born every minute.

[url="http://www.ebay.co.uk/itm/fender-precision-bass-guitar-/281645095038?pt=LH_DefaultDomain_3&hash=item41935b187e"]http://www.ebay.co.uk/itm/fender-precision-bass-guitar-/281645095038?pt=LH_DefaultDomain_3&hash=item41935b187e[/url]

Apologies, but some people need winding up a bit, turn the key, let them go, it is irresistible. Brings out the inner within them for us all to see.

Di on the bass never really helps unless you like the sound of your bass plugged straight in to a clean amp. Thats what's coming out front, your sound you created and spent years getting right stays on stage. Unless you fight your corner, hours sometimes on drums, play the bass mate, ten seconds for a level, right on to the guitar for twenty minutes. You have to sometimes collar them and say go get a ****ing Mic and mic the cab up and get the sound I have here out front. Often your sound is a mix of compression and slight overdrive creating sustain you realy on to play certain things. A dry DI, slight fiddle with the desk EQ and you are just a dull rumble with no sustain and there is nothing to put back in the mix to start with. Any sound engineer not willing to help, well not as if there is a shortage these days is it. A lot have forgotten that it is the artistes who are the important people in the room, the sound man has a job to do and that requires listening to the people he is supposed to be working for sometimes.

I just do, do I care what others think, nope. Go play something else.

The issue I find with Rickenbacker basses. They are like a set of precision wood carving tools. If you are a really good wood carver, with tools that are precision made you will excel at what it is you set out to do. If you are a hammer and screwdriver wood carver, then, they will just make things harder to do and you will end up blaming the tool for your failings. Where these instruments have been placed in the hands of experts, we have some of the most distinctive sounding most recognisable baselines in the world. Those that can benefit from them, do so, the others, well they need something that does not require such level of skill to master. Not everyone can do it unfortunate, no point getting angry about it, just keep practising, you might make the grade .

You have to remember the SM58 is a 50 year old design, they do the job, but microphone design has moved on since, to see what is regarded as best, look what those who can not afford to get it wrong or experiment use in film and TV and they switched from Sure, to Sony and now its seinnheiser across the board as industry standard.

Almost as annoying as when they stack all the broken chairs and tables up where they want you to set up and think you should move them.

Love them as basses and played them for years and years, but now I get finger pain playing the precision. can play the Rick all night and then again, but soon as I try the precision, half a dozen songs and my fingers start getting sensitive. Think it is more to do with Neck taper, moving hand and finger positions up and down the neck where the Rick is just a neck, virtually same profile up and down. Really pains me as well as I love precisions.

New basses always feel unloved to me. A bass thats been around the block a few times and picked up some "love marks" and I dont mean death by sander, a nice well played in bass just make no demands on you, its seen it before, its done it before and that played in wear reassures you it wont be leaving you for a better player...

At the moment its one a side in a lighting pole, just one aside fill the stage quite well, going to add two more and put two a side on a cut down T bar so they can angle back a bit to the drums 4 aside on a bar would be over kill in my opinion unless we are talking a huge stage . They are best paired at the side of the stage front, they DMX up faultlessly with one as master and others as slaves, put the master sound to light and just use the little remote you can buy to black out or fire them up on stage light colour is uniform anyway on DMX. You could not really put them right on front of the band, they would snow blind you, they do chuck out some serious light for the size of the unit. Stage side lights the band real nice.

Dont know, but with our LEDJ 7q5 put one on sound to light, set the fade speed to about 3 and slave the others up and they seem to do a good job, never leave you in the dark and default to slow colour fade when not playing. No point putting the other party bar leds on, as with just two led J cans you can not see them, the ledj 7q5 just over power them. going to get two more and two cans a side will more than light the stage with good clear light.

Take some beer, gets easier after the 4th tin.