Downunderwonder

Reminds me of the autoharp things the teachers used to play in primary school.

I have gone straight in because I couldn't be arsed plugging all the stuff in. It makes my EUB sound like the big fretless bass that it is. I prefer the secret sauce that makes it sound more like a double bass.

The bar manager has to have a much better handle on his comings and goings than average costs per pint served. Otherwise they might miss out on opportunities to profit from spending on bands!

That's just more of what I was at pains to point out after that quote that all makes cost per pint served a lousy metric in the band v no band calculation.

The night of the week doesn't factor in the band value calculation. It goes something like this: (Sales - costs, with no band) vs (Sales - costs with band on). Monday sales have no influence on the sums for Friday. ''Keeping the lights on'' costs are fixed. Product costs are relative to sales. Band cost is ( usually) fixed. Staff costs really should go up with band, or they are paying too many staff the rest of the time and it's not a factor. Bar is quids in if they get the regular staff running when a band is on. For the sake of making the numbers easy let's assume staffing is always commensurate with the level of trade. The cost per pint is less when they are busy because the ''keep lights on'' costs are the same every night. 'TimR's Monday night' doesn't hold to the staff commensurate condition. The busy nights effectively have a portion of Monday night's staff and 'lights on' overhead attached to them. But those costs are fixed whether the band is there or not. Some places make a go of having a top notch band on Fri Sat and a fool on a stool or a quiz or poker or something the rest of the week. Those are the gigs every band wants but they only go to the ones that keep the punters happy. The bar expects to be busy. The band expects to be paid. More complicated is the bar that has occasional bands vs football and juke box barman. Costs per pint on a busy band night is then very much in the bar's favour, but it has to be, to ''keep the lights on''. So in a weird way Tim is wrong but also right.

I think on average you have to sell 3x the cost of the band to cover the band and the extra staff costs. Keep the place pumping for an extra hour and you know you're good value.

If very artfully applied there would be a very fine seam to a wrap. That would be next to invisible if the junction between front and back formed any sort of pattern. If you meant the dip film, not sure. I believe it is a very fine film and by the time a couple of clear coats were added the edge would probably disappear. The prepping would have to be the same standard as paint so the only advantage would be if doing something super funky.

A Prunes & Custard...Harmonic Generator Intermodulator. Lush with all the lows and attack.

Found it. Fuzz not distortion: https://www.woundedpawaudio.ca/fx/index.php?main_page=product_info&products_id=3

It is charcoal black with graphics in white. Sorta horror movie graphic of war bandaged goat hoof. ATTACK GOAT in pseudo Mars Attacks all caps style. Made by a Canadian outfit that isn't as well known among bassists as Broughton. More known for their multi channel blenders I think.

One time I almost convinced myself to try an Attack Goat distortion, when I have no real use for a full on distortion pedal. But how cool would it be to have an Attack Goat on standby!!!?!!!!!!?

Ba'dum-tisch!

I had a 9v one going gangbusters but when I put something else on the board the two conspired to make big pops when switching. Either one taken away cured it. The CC lost.

Fascist much? The better I get the less I need to twist knobs to get what what I am wanting. There is a helluva lot of tone just in the fingers fo' shizzle.

Is the art of gain staging dead in the UK?

Depends on the bass. I had a passive Yamaha BB that needed 9 to get solid green My Stagg active EUB sounded best when the input just flicked on the yellow and that took 7. Kala UBass passive piezo, green on 7. Go figure.

The method for least system noise is to work with the biggest signal you can at each stage without overloading the next stage. Accordingly you would turn up the preamp input and various gain controls to get a pleasing sound that only gets louder when you crank on the power stage volume to the required output level.

where are all the semi-decent musicians? Thanking their lucky stars to be in bands with other semi-decent musicians.

Heft is the word. I have used my 250 with all manner of cabs. Some handle more low end than others.

Punters being enthusiastic is out of our control. I know for an absolute fact that I am barely competent at playing my parts! One old guy told the drummer to hang onto the bassist as 'he makes the stick thing sound just like a real double bass'. Now I won't deny that is the ultimate compliment and my heart swelled with pride, but really???

I wouldn't bother myself. Wrap scratches a lot easier than plastic or paint.

I recommend you get something bigger that can run an extension cab. As soon as you get some chops together you'll be wanting to play with others and a 30w tiddler won't be much fun in most situations.

My adjustable 24dB / octave filter moves between 50hz and 80hz depending on room and genre and rig. Sometimes the bass EQ gets a bit of a boost along with the filter shifting up. It is great having the EQ liberated from mud control.

If I am not mistaken that is Behringer Veyron spelled backwards.

Jeez that's brave. I don't carry spare strings. If someone broke 2 I think I'd be hiding for fear my strings were next.