nilebodgers

Errrr, I shouldn't have looked. Musik Produktiv have the RM210s very cheap. A second one would be great to go with the one I already have. Of course I don't NEED another one.

Great band name.

Mine are mixed, but it is random chance, not planning. I've got a GK MB500 (s/h cheap), a TC RH450 (s/h free) and a Ashdown RM210T-evo cab (new ex-dem cheap, small and light). A selection of that will do if I ever find myself playing out again. (I also have my old Trace 4x10 SMX combo that is realistically too heavy for me to take anywhere these days.)

The gains don’t go to zero on channels with a fader. It’s not usually a problem unless your signal is so hot that you are clipping the channel on minimum gain. I had a quick look at the manual and there is no pad on the channels of that desk, you need to use the line (TRS jack) input for high-level signals.

They changed the terms of service a while back to allow them to insert ads anywhere, you have no choice in the matter. You don’t make anything yourself until you can monetise.

That is interesting, I lived round the corner to Leyton Midland Road in the mid-80s. I think the studios were still there then. I also bought a Peavey bass combo from Allan Gordon's shop in Walthamstow. Served me well that amp.

I agree, the production is too good for it to be genuinely bad. The muted quality of the backing track also reminds me of how a comedy song is mixed to make the vocals extra-prominent.

I think it's ok to slip a (very) small number of the best originals into a covers set, but only if they are getting a really good audience response. If the reaction is "polite" as in the OPs first post then those songs aren't good enough so shouldn't be played.

I haven’t tried it on anything but an iPad since the update, but when I look at a thread with a few replies that I have been following it goes to the first post despite appearing to know which was the last post I looked at (it shows a line with new replies below when I jump to the last page).

There was a really good edition of Mastertracks on Radio 4 a few years back with Brinsley Forde talking about the “New Chapter” album. Those early tracks were great.

In my experience a faint acoustic ticking sound is one of the symptoms of a switch-mode power supply failing to start up and periodically re-trying. Could be the power amp is dead, could be the power supply is dead, but either way it needs expert attention. Unless you are lucky I’d prepare yourself for a substantial bill to fix it.

Heavy Rock. I never liked the term “heavy metal” and DP certainly don’t fit that category.

I'm getting that too. Similarly - no thanks.

Highway to hell is easy to play the notes, but a lot harder to make really tight and solid. On songs like that I’d focus on making it sound as huge as possible by concentrating to get the drums and rhythm guitar ultra-tight.

I love the Roger Irrelevant description: “only the neck is for sale as I don’t play guitar or bass”. Only the wheels are for sale as I don’t drive a car?

Lol. I use my zoom b1-4 on a single patch I came up with that sounds nice through headphones for practicing.

I remember seeing them once, I think on their farewell tour. They were streets ahead of any other cover band playing pubs that I've ever seen.

That's interesting - there is a mistake/overdub at 2:26. I'd not spotted that before.

I hadn’t realised that was a cover! (Although I’ve only heard the version off the 1980s live album with the proper lineup, not the poodle-haired USA version)

I used to work in Corporate event production, so have had to deal with loads of artists/bands where we have had to slot them into a larger production (e.g. after conference party). Adding a separate technical info page would be very useful. This should have as a minimum a stage plan/layout (dimensioned), desk channel plan, a realistic technical rider and contact email/phone for the main sound engineer or production manager (whoever is the key technical person). This needs to be up to date (and dated/versioned - chasing out of date and incorrect riders was a constant problem). We would always finalise a spec based on personal conversations/emails and get the artist team to sign off on it, but clients always want to know what a rider will cost before booking an artist and that is always very urgent. We quite often were chasing tour managers for info and they just weren't interested in replying quickly since they were doing other shows and/or were out of the country completely. Having the latest info on a website is a huge time saver.

Definitely. The neck is much more critical to the playability of the instrument. I've bought quite a few cheap far eastern necks for practicing fretwork and none of them were as good as a bottom of the range Squier. Physically and finish-wise they were fine, but they all had uneven fretwork. Some had lifted fret ends, some had unseated frets with gaps between fret and board, some had fret slots not cut deep enough or cleaned out properly, most had badly trimmed fret ends with burrs (some of which couldn't be filed as it would have left the fret too short). Realistically all the necks needed re-fretting to make them play properly and then there is still no guarantee of stability in the wood. I have started to think that all the low-cost far east necks are QC fails that weren't good enough to be built into budget instruments, but could still be sold to the unsuspecting, especially if the distance/cost made them hard to return. I think if I were building an instrument to play for real I'd buy a Fender/Warmoth/Allparts neck, or something from a luthier where the QC is good.

I need to shift an old Indian Encore strat copy (the ones that are the same as a Marlin Sidewinder). I got it as a reclaim project off ebay and fixed it up. All working now, but just needs a drop of superglue to hold the new nut in place. Plays well, so would be great for a skint beginner or someone that wants to mess around at no cost. Comes with strap. Located in Cambridge (Cambridgeshire) and needs to go in the next couple of weeks as I am moving house. https://i.imgur.com/VEksBmk.jpg

I had a fail trying to buy a bound+blocks J-bass neck recently. Both the original and the replacement had unusably bad fretwork, so I took the refund and gave up. They did say it was a bad batch from their supplier, so I may just have been unlucky. I can't fault their service though, they were helpful and prompt at replacing then refunding.