Trueno

I always consider the pain/pleasure ratio. Once it becomes 51% pain and 49% pleasure I’m gone. 

12 minutes ago, Boodang said:

Was thinking recently that in this day and age it might be worth having a calibrated sound level meter so as a band you have an independent means of proving db levels during a gig. This incident shows that time might have arrived. 

Excellent… I can just imagine pointing a meter at the geetarist’s monster stack and telling him it’s too loud…

Played a large birthday party in a hotel. Granny is sitting right at the front and doesn’t like all that loud “bump bump” music. We just pretended to keep turning it down until granny left the building.

Bass#1 - main bass

Bass#2- backup bass

Bass#3- too many

EDIT: 

Bass#1- MIM Fender

Bass#2- Squier

Bass#3- Indulge your wildest dreams coz you won’t be buying it anyway.

If I don’t get in first and recommend Designacable someone else will.

Don’t know about the price, probably middling.

Two boxes, one drawer, one bag. Plus one box of computer leads, interfaces and stuff.

4 minutes ago, SICbass said:

 

 

In which case I have unwittingly revealed facts about my own physical state which I had hitherto put down to ageing. Bit of a worry really…

… Basically I would like the option to switch to dry… just for a change.

26 minutes ago, SICbass said:

Clearly you are under 50

Nope.

???

I love the wet/dry switch. Mine would be set-and-forget on dry, I think.

I hate the look of BBOT bridges. I always replace them with a drop-in Gotoh bridge… they look great. I’ve never heard any difference in tone.

We had a prima donna vocalist once… always complaining about his gear. The industry standard SM57 mic wasn’t enough… he went through a whole range of mics. Then he couldn’t hear himself and ended up with in-ears… I swear the only reason he got these was so he could pull them out and have them draped around his neck… like when Tom Jones undid his bow tie.

His best complaint was when we were playing the annual farmers’ ball. He claimed that some rum-looking agricultural type jumped onto the stage and threatened to punch his pretty-boy face in… he complained that none of us leapt to his defence. It was hard not to laugh.

I wish I’d get kicked out of my band. I don’t want to be the one that calls time on the whole sorry mess, but I’m afraid I’ll have to.

EDIT: I’ve had a lie down with a cold flannel on my head and feeling much better now…

Do what Mr Lownote says and you won’t go far wrong. Nothing to add.

Another endorsement for Phil. Just sold him my Rumble 100… trade with confidence.

Steve J

I tried varnishing a pickguard once… I won’t do that again… don’t recommend.

I wouldn’t change them.

1 minute ago, Doctor J said:

Does anybody even listen to radio activity these days? The young people are all about the streaming.

Do you mean the wireless? The valve’s gone in mine.

17 minutes ago, Hellzero said:

 

I don't know, but it's good for fusion, for sure...

I wish I’d said that.

Are they any good for Metal?

2 hours ago, Bunion said:

You think you have problems with your sax, the other day I turned up to a blues session but the whole band were playing a quarter tone out of tune and the drummer couldn’t keep a rhythm, I think I was the only working musician in the room… 

Are you sure it wasn’t a jazz session… maybe you took a turning into the wrong room.

1 hour ago, lownote said:

Well taken 10 weeks of face 2 face lessons, hundreds of hours of online lessons and been practicing several hours a day for three years. Suppose I could ratchet it up a bit... 

Coltrane used to practise 12 hours a day.

(don’t take that comment too seriously… you sound ok to me)

2 hours ago, Dan Dare said:

If, by your own admission, you are crap, the sound guy may be keeping you low in the mix, so as not to have it sound too bad out front. He will likely not want to  tell you this for fear of hurting your feelings. I've been in a similar position when mixing. It's a difficult situation. Yes, the idea of a jam is that everyone (within reason) gets a chance to pitch in, but you still want to keep things sounding as decent as possible. 

The trumpet player I played with had a serious drink problem. When he was on the wagon it was great… when he was drinking it was awful. The sound guy had a quiet word with me and told me that he would take him completely out of the FOH mix… so it was just me and the occasional cornet/keyboards player

Plus one on the clip-on mic. Ensures consistency of tone and volume… and you have the freedom to leap about (in case… as a bass player… you’re bored with being the quiet guy at the back).

Mine is a Sennheiser summat-or-other.

I played tenor sax in a large functions band for years. When we used our own PA I barely heard a single note I played. When we played larger gigs the soundguy brought his own PA in (about 20 KWatts) with enormous monitors… and I heard myself.

Wearing earplugs helped… a bit like finger-in-ear folkies… but the only real answer is a monitoring system that’s up to the job.  Never tried IEMs but I imagine they would work very well.

If I played sax in a band again I’d get my own monster powered speaker and rig it it up myself… but… if you’re in a section I’ve found it’s much better to get a monitor mix of the entire section… then you can hear all the beautious harmonies and make sure your timing and phrasing is spot on.

Parcelforce has just picked up the two amps I’m selling… on time. So far so good…