Muzz

While we're talking festive gigs, we've been asked for our (pub) NYE gig to play 5 x 30 min sets, starting at 8pm, and with half an hour in between each...never encountered this before, and I'm inclined to think it'll make the evening very staccato between live music and DJ'd tunes...apparently the landlord's idea... Anyone done this setup before?

That'd be the Helix Stomp, then...there's a lot of good stuff in a big thread hereabouts about the Stomp, but the short version is I use mine every gig, more often than not without any backline at all. I've got some great tones out of it. The new update has an Orange AD200 amp model in it, and it's very, very good...

Played there a few years ago, spent most of my time looking up at the wings and rivets and stuff...probably my favourite venue of all...

He wasn't up in Padiham last Friday night, was he? 😐 Hope he's on the mend quickly...

Rio. With a pick. 🙁

Have a look at the Babicz three-pointer while you're considering bridges: I took the Old Skool Gibbo one off a Thunderbird when I was fettling it, and put a Supertone like yours on, but was never completely happy with the look; it was a bit too modern. The Babicz is, too, but seems to look less like a big cast thing...and it's a great bridge. Edit: IIRC, some of the Rippers had a BBOT on them (tho yours obviously has the posts for the 3-pointer), that could be a consideration, tho it might involve drilling...

Yeah, it's a truncheon of a thing, takes a bit of sorting out with where to latch it best, but it's definitely the best value for money IEM wireless solution out there; never had an issue with mine (BL/output tweaker notwithstanding) in a couple of dozen gigs now...

In a lairy environment I put the Stomp near/under the kit meccano, not out in the open - I don't have to, erm, stomp on it much during songs (only a couple), so access doesn't have to be all that free all the time. Talking of lairy environments, last Satdy's gig was in a new (to us) venue Burnley way; big pub, been successfully re-launched by a newish landlord - it was rammed when we got there, because the football was on (tho what interest Arsenal and Villa have up that way was debatable), luckily it wasn't a late kick-off, so by the time we were setting up most of the footy types had buggered off and, like last week, been replaced with a more regular pub-going crowd. It all went well, we have several dates for next year, including NYE at a grand for a trio gig, but the landlord was extraordinary: he was all over the place, the life and soul (it's no surprise the place is doing well, he really put a shift in), and he even mucked in carrying the PA and gear out to the cars - I can't recall that ever happening in all the pub gigs I've done... Best part tho, was when he was apologising for the quietness of the place (as I said, I thought it was busy) and then followed up with: 'You should have been here last night, it were proper bouncing...mind you, there was a bit of trouble...see this?' - he pointed to a long mark just above his eyebrows - 'Two proper vicious lesbians kicked off...got a pool cue broken across me head...' I burst out laughing, and he looked a little hurt, so I had to backtrack quickly... So, in conclusion, if you're gigging in Padiham, keep an eye out for those proper vicious lesbians...

I have exactly the same setup and experienced exactly the same thing (and did the same thing with the XLR subbing): turned out the BL/mixer owner had farted around with the aux channels. Output down on the mixer, volume up on the P2. Sorted.

Jazz basses (and copies thereof), rosewood boards (unless so dark it's basically ebony), thicker-than-Jazz necks. Anything with pickups in the wrong place (i.e. without at least one in the P-spot, or very close to it).

It applies to both, but the pic of the short scale emphasises it: I wouldn't want to pay £23k for something otherwise beautifully made that had such OCD-tweakingly random control placement...c'mon, guys: would it have hurt to space them regularly? Were they just dropped onto the bass and drilled where they fell?

Firstly, I'd just like to say StingRayBoy42 wins the weekend with 'Depping on Sousaphone'... 🙂 Lively gig in a rammed pub (new venue for us, we'll be back) Satdy, despite not much room and a 10pm start once the footy had finished; luckily the crowds of blokes trooping out dejectedly were replaced by a lot of ladies in spangly tops sashaying in, so it was a good gig all round. Nice to see some pubs still thriving... On the timings, we generally play a 45 minute 1st set, break for ten or fifteen, and then play through an hour or so (usually a bit longer, depending on the audience) plus encores...seems to work OK...

For a given value of 'decent'...I just need a live covers band approximation with the kit I've got...

Thanks for the suggestions, I started with Ian A, I guess I just lost confidence in my own judgement of the sounds I was getting (see 'two hours of indecisive hell' above), I was hoping someone might say 'I've got a decent Moog sound which works live'...back to the Stomp...

Apologies if I've doubled up on anything, but 89 pages is a lot to hoick through - has anyone got any tried and tested synth patches for the Stomp? 80s stuff for covers, mainly, things like The Way You Make Me Feel, etc... I spent a couple of hours recently having a go at making my own (octaver, some distortion and some chorus), and was reasonably close after about 15 minutes, but then that thing happened when you used to go into a record shop*, and two hours later I'd disappeared up my own derriere and at one point caught a glimpse of the back of my own head, and I didn't know what was good or bad or useable or not any more... * You strode in decisively with enough money for one album, and a good idea of what you wanted, but an hour's browsing later you couldn't decide what to buy...

The bassist from Cadillac Three would disagree: last time I saw them his (extended) lap steel was plugged into two Orange heads with 810s...it sounded glorious...

The new one is 'Alexa! Next!'... 🙁

I've been known to noodle the bass intro to Tool's Schism, and no-one's ever recognised it... 🙁 Even worse, because it's 5/8 and 7/8 (ish), everyone thinks I'm playing something wrong... 🙁🙂

A return to gigging after being laid low for a couple/three weeks (and missing three gigs! Eeeeek!) with a horrible fluey thing that was worse than pretty much all of the 4 lots of Covid I've had*, a new venue 10 minutes down the road from me, which was a nice change...I knew the pub of old as a rough one, but a new landlord's trying to turn the place round, and tho it's early days he seems to be doing well...8:45 start, 10:45 finish - agency gig, so 2 x 45, but we did an hour second set as he was a nice bloke and people were enjoying it, I even stayed till everything was packed up, and home before midnight. We've got three or four dates for the new year off the back of it. That'll do. * Yeah, I know, but I live with a Nurse who worked on Covid wards exclusively, and even now works in a mask (she's on a Geriatric/EOL ward)...ironically, she's only had it twice, I've started calling her Typhoid Mary...

I'd have to go for a 64 Thunderbird as a YOB bass, and YISPB bass would be...a 76 Thunderbird... 🙂 Not that I've any real GAS for either, given the prices...tho a chunky Lottery win would change that... 😁

We've only got two gigs in Dec before Xmas (so far), so it's only been a token Last Christmas to chuck in (four chords all the way through), which is a relief...

I've played a couple of Combustions and liked them, but my Canadian ABZ is night and day better...

Good call on the bridge; I had a Hipshot on my Shukerbird for a good while, but it just didn't look the part - swapped it for a Babicz and I'm very happy with it...

I took my 414 (which did a tour of duty as Jam Night Open Use Bass for most of this year) to Matt Ryan up my neck of the woods, and he did a great job on it, he also did a more comprehensive job bringing my headless 1985 Westone Quantum back to life...I use the 414 and the Quantum for 90% of gigs these days, tho that's as much influenced by the gigs (unknown pubs/denizens, usually very tight spaces) as anything.

Just on the precious PA owners being bass-shy, the busiest of my gigging bands uses two RCF 2-way 15s (745s, IIRC), no subs, and absolutely everything goes through them: vocals, guitar, me, drums (5 mics on the kit), bongos/congas (don't ask), the lot, without backline, and we're always, always too loud for even big pubs - the BL/Singist/Geetard/PA Owner is of the 'If it doesn't sound right turn something up' school of mixing, and possibly thinks attenuation is something soldiers stand to: I'm constantly telling him to turn the mains down, while I'm looking at wincing punters*.... Anyhoo, point being those 2 x 2-way RCF 15s of ours can absolutely deafen even a large pub, so they'll handle the bass without breaking a sweat... * I have my inears in, and the volume control set to 'Ohhhhh, that's nice and clear and not very loud'...