Beedster

Lovely transaction with a lovely guy, good luck with those DB recordings Christopher, look forward to hearing them 👍

I think that about sums it up as far as my understanding and experience goes, great post @Phil Starr Phil, could you recommend one or more desks given the above?

Setting up an all-band PA for small gigs is a PITA, means more time and more work, and IME can piss off a few band members who are more used to plug and play. But it's worth it for the both consistency of sound and the control it gives you over overall volume. The test for me has always been punter's phone or similar crude recordings of gigs; in the old pre-PA days a phone recording would often give the impression that only one or two instruments were playing, at least it would never pick up a decent whole band sound. With all of us in the PA every recording sounds like a band (and the levels of certain players stay as they were in sound check) 👍

Have great night mate, they’re still pretty niche hence even London gig is small, but you wouldn’t want to see them in an arena after all! Bit gutted to miss them to be honest 😕

Damn, and in London tonight but sold out, hope you get to see them Lawrie, would love love to see Chris Wood playing upright in the flesh 👍

A soundguy a few years back said he generally has to tell guitarists to turn down and bassists to turn up. Think that says it all 🤔

hi mate, hope all's well, nice to have a new band, result to have a good singer! My tuppence worth. As is the case with amplification generally, it's a good time to buy the (tried & trusted) old, big and heavy PA gear, while in the used market the lightweight/smaller stuff can still be quite pricey. Unless you want to be doing this again in a year I'd also suggest getting more power than you think you need in case the bigger gigs do come in, or in case you find yourself playing in rowdy pubs (you can always turn a powerful PA down after all). Having said the abkve, we play through a relatively small and lightweight Bose setup which we picked up used for not much more than the budget above (albeit without a mixer) and I'm always amazed by just how much it can pump out.

Happy 70th @Bluewine, you’re doing bloody well to be gigging like you do my friend, hope you enjoy many more years of the same 👍

This is good advice. There's a lot you can do on a DB to reduce tension (well, a lot a decent tech can do if you don't feel comfortable doing it yourself). Absolute and relative positioning and length or bridge, after-length, tailpiece and tail-wire can all affect perceived tension and action. Crtainly loighter gauge strings will help but may introduce a new set of problems around tone, volume feel etc 👍

It’s potentially in the same space, although I was being entirely speculative above. But you don’t have to look far in life to see people keeping feuds alive long past the point at which any resolution is either possible or even the goal of that feud?

I’ll be a little more Freudian, consciously or unconsciously keeping this alive is rewarding the OP in some way, I’ve seen a lot of similar cases professionally although usually with more problematic and ostensibly harder to let go objects. Lawrie, your advice is the absolute bottom line here, he has to let it go, the distraction, the time, the stress, and the effects of all of these on his life will cost more than the (in reality) small amount of money involved. It will be the best outcome for him and his family. The luthier also needs to take a good long look at his life - ideally with professional help both in terms of business and behaviour - and have the courage to either right his wrongs properly with money not promises, and/or walk away from this ‘career’ and find an honest way of earning an income. It will be best for him and his family in the long run also.

It’s as if you want to keep it all going another 10 years?

Chris on his Hofner Good interview here https://bassmagazine.com/issues/issue-12/chris-wood-beautiful-danger/