lozkerr

Indeed, but lighting software isn't cheap. All the packages I've looked at use a subscription model, which can cost £££££. I'd also need the ability to stop the moving heads without the stage going to DBO between songs and if anything went wrong on stage. A separate controller with pause and DBO controlled by a footswitch would be essential without a lighting person present. Experiments will continue.

Agreed. Without a lighting crew, there's only so much that's possible without making things look daft. I'm thinking about making wooden mounts to sit on top of the PA cabs, each holding three moving heads. Have them adjustable to compensate for the stacks being in different positions from the stage. Program some dynamic effects either along with the PAR cans chase or use a separate controller with a chase controlled by a footswitch. The latter might be a better option as it keeps the moving heads in a separate DMX universe. I'm still experimenting at the moment and it's possible I'll decide it's too much hassle.

Very much so. They also make the lighting bridge sway when all six of them are moving together. I'm thinking about putting them in two groups of three and mounting them on top of the speakers. That should at least keep the light off the dancefloor if they're programmed correctly.

I do the lights for my bands, and we have the same problem, even though the rig's pretty basic - Behringer LC2412 driving eight LED PAR cans. Chases are programmed into the controller and I just set one going when we go on stage. If we had a dedicated lighting person, there's a lot more we could do - I've been experimenting with adding moving heads and thinking about whether I could do anything with MIDI - but it's not practical to play bass, sing BVs and work the lights. Stomping on a footswitch is about my limit.

Well, that's Tier 2 oot the windae - just bought a set of drum mics from @EBS_freak. Might as well get the rest of the bits I need to complete the PA now...

Just bought a set of drum mics from Russ. Arrived very quickly and in great condition. I'm a happy gal today.

I'd describe it as full, warm and vintage, especially with an all-valve head. This might convey a bit of it - WTP600 head and 210 cab by Eden, song by Joy Division, mistakes by me:

It sounds like it. All the Eden stuff on the Gear4Music site is being sold cheap too. There's nothing there that I need, though. It's a real shame. I love the Eden sound.

"Eden are one of the most recognized brands in the bass guitar world..." Which I guess is why Marshall effectively let them go bust before flogging off the remains to Gear4Music.

My five-string Fender weighs 4.5 kg and does feel heavy when I pick it up. A wide padded strap makes all the difference when playing, though - I only notice the weight when I take it off afterwards.

Aaaaarrghh... some sadist has put a Sei J5 on the marketplace. Must... resist... must... resist...

I know they are, but I've never really liked Standing In The Rain. Though if the OP had said four, I've have included it.

From ELO's Out Of The Blue: Big Wheels Summer and Lightning Mr Blue Sky I like how it starts with one of the saddest songs Jeff Lynne ever wrote and gets increasingly upbeat to finish on a high.

THIS 👆👆👆 Never, ever, click or tap on a link in a text, email or WhatsApp message, even if you think the sender is genuine. Instead, do the boring old-school thing of opening a new browser window and logging in as normal. It can seem a bit of a faff, but it does give you a defence against accusations of not taking proper security precautions if the worst does happen.

OK, I'm in, if only because we're planning on moving house this year and any spare cash will have to go towards that. Hopefully I'll manage a bit longer than I did last year (out before the end of January).

Same here. I use checklists to tick off all the bass, PA and lighting gear I take to gigs. It has STEINBERGER at the top and bottom, so I hopefully won't forget it. I've never needed it yet. But I'm certain that the one time I do forget it is the one time I will need it.

Having PMSL at Wanchor when adding it to my silent disco killer track, that is a brilliant solution.

I really struggled to crack the octave jumps because of the fast tempo - it took longer to do that than it did to get the bass solo right. Lots of practice was the only answer.

That sounds great! I'm making s l o w progress with it - the verse riff is needing a lot of metronome work - but I'm determined to crack it. Might suggest it for the 80s band if we get a gig close to Christmas next year, as it's so nice and upbeat.

Thanks for posting this. I leeched the transcription on Sunday and had a go at it tonight. Let's just say it won't be ready by the weekend... OTOH, it's now well and truly on my to-learn list. It's irritatingly catchy and will be a lot of fun to play once I've got it under my fingers!

Asking if something is good for metal.

It's this beastie. The depth knob gives quite a wide range of sounds. I'm not sure what you mean by thick or wide, but you can get a lot of different effects from it. I spent ages happily noodling away through it in Scayles before buying it. Plus, although it uses Eden's 15 volt power supply, it runs OK at 9 volts from a Voodoo Lab unit. As they're now out of production, along with every other Eden product - thanks for all the investment and support, Marshall - you could probably pick up one dead cheap on fleabay.

Best things I've bought have been individual pedals to replace my multi-effects unit. Tuner, compressor, Boss synth and overdrive pedals, plus an Eden chorus pedal that I bought on a whim but which is getting a fair bit of use, especially in the punk band.

Definitely not, if they want to get anywhere. I sympathise - I wouldn't last long in a band like that. Bringing someone else along and expecting them to be allowed to play without asking beforehand is downright rude. We use phones in both bands I'm in, but only for recording the sessions and playing back cover songs through the PA that we're having difficulty getting right. The Ultimate Guitar thing sounds bizarre, too. I'd be embarrassed at having to do that - I normally learn songs by making a paper chart and getting to the stage where I only need it as an aide-memoire rather than reading to the exclusion of everything else. It's easier to annotate a paper chart, too. But don't be disheartened - you came into the band with the right attitude and if you keep looking, you'll find the right people eventually.

At the age of 59, I can still lug most things about and play a full evening with my five-string Fender Jazz, but I do have to be careful moving things like Hughes & Kettner PA cabs and my Eden Metro. I tried to move a Trace combo in a rehearsal studio some months back and felt strain in my back. I took that as a warning to take it a bit easier.