chris_b

We turned up to a gig and found the drummer pacing up and down outside. Apparently, when he arrived, someone had said, "I hope you're better than the band last week. The drummer got stabbed!" It was a dodgy pub full of oiks, retards and throwbacks, but we still did the gig. Thankfully they liked us.

I usually don't join in "hate" threads. . . . but after a long time resisting. . . . I'm going to have to mention Grandad by Clive Dunn. I understand why they made it, it was the day job, but I see no redeeming features in that record at all.

A good gig can be any of these in any combination but a great gig starts with. . . . a good band comprising good musicians, then. . . I played well, the band played well, the promoter and the audience loved it, there were no fights, the band are happy, I'm happy and the most important bit, we get rebooked and someone sees us and offers us a gig somewhere else. Oh yes, and we got paid. It's always a bonus when one of the other guys in the band ask me to join one of their side projects. Tick most of these boxes and it could be a great gig, tick them all and it definitely was a great gig.

Nice choice.

I reckon that north of 90% of the acts on Later have not been to my taste. That doesn't make Later a bad show. Later is a good show because it features live music. Why anyone would want to take it off the air just because they don't like the acts beats me. What these people should be moaning about is that lack of alternative music shows on TV. With more choice, maybe, people would stop bleating on about Later.

Not yet.

There are a lot of bands doing this. It was written as live music. Music you'd want to dance all night to, which is why it's still popular with audiences today. You need to keep the feel but sound different enough to stand out and get noticed. Hall and Oates I Can't Go For That. Otis's Hard To Handle and run it into Hush. The Stones Miss You. Aerosmith's Walk This Way with the feel of RUN DMC's version. Billie Jean, Jive Talking, Dancing In The Street, Word Up.

If I was the OP I wouldn't have any GAS for amps but I'd be looking at a couple of G3 Super Compacts or an SC and a Super Midget. Back on topic: I haven't heard a Quilter (or Genzler) but I owned both the Subway D800 and Aguilar TH500. The D800 was very good but I kept the TH500 which is now my backup to an AG700, which I think sounds even better with BF cabs.

The best strap for a bad shoulder is the one that is attached to a lighter bass.

Cheating? Don't be silly. Writing the answers up your arm when taking exams is cheating. Having the words etc to hand is being prepared.

I watch Later. Actually, I record it and ff through the stuff I don't like. I sometimes see a band that I like. I've no idea why people like the stuff I don't, but they seem to, so why should I call their music crap and slag off one of the only music programs on TV? I'm in favour of the TV companies filling their schedules with live music. We need more. Later is a good program and TV would be the poorer if it was cancelled.

You want to run a 10x10? Why???? Get the Ashdown if you think it does something useful that the 410 doesn't do. Just don't run them together.

I attempt to have gear that is a good match and sounds right when flat. Then I only need minor tweaks after that. Extreme EQing and many changes usually means I've bought the wrong gear.

I get that. It's usually my knees.

I've had the fingers up and down trick. I just tell them that it means nothing to me. Just tell me the key! I play with a guitarist who sticks 4 fingers up, meaning go to the 4. "Watch me" is a favourite. Then I know that absolutely anything can happen. I also love the guys who try to use ESP. They just stare at you!!

Checkout a Barefaced 112 for an even lighter cab.

Hey, Matt, If I were you I'd take the personal stuff out of this post and put it in a PM. I know were all good guys here but the whole world can see this stuff. Just sayin.

I assume they've heard you play before? And they still asked you? So they're expecting a bass player that sounds like you. Make them happy and do just that. I'd never try to play like someone else on any gig. It usually doesn't work and you're more likely to trip yourself up trying to play out of your style. Never mind if it's a big gig for them, it's a big gig for you. Focus on feeling comfortable with the material and you'll be fine. Get a set list with arrangements and keys. Learn the songs, who counts them in, who ends them, play in time, stop and start with the other guys. . . easy. Don't try to dazzle them with your best uniquely creative lines. Just support the song, the music and the band.

+1 Great little amps. . . . for their time. . . . but so many better options out there these days.

AWB did a brief residency at the Marquee just before the white album came out. With Robbie McIntosh on drums. That guy could make anything groove.

There are quite a few clubs around our area (30 mile radius) mainly featuring blues, funk and soul based bands. They'll take over a sports clubhouse or WMC for regular night(s) a month and put on gigs. They charge (£5-£10) to get in and are well attended with a knowledgeable audience who wants to be there. They are being run by music fans for music fans. These clubs have a great vibe, are a joy to play and are popular with every musician I know. One of the promoters said to me, I've got a list of 200 bands trying to get in here and we're booked up for 2 years.

Err. . . . Hamish Stuart is playing a Fender Mustang

I had 5 mins. . . . . I'm still waiting for the other10!!

Depends which part of the house I start from, but as I practice in the front room it isn't far. When a rehearsal is called for, which isn't often these days, as far as it takes.