Muzz

For any curmudgeons (and this is a particularly curmudgeonly thread) who don't rate The Smiths because they (for understandable reasons) can't get over Morrissey, check out Rick Astley and the Blossoms' set of Smiths songs at Glasto (still on t'th'iPlayer IIRC) - terrific pop...

Just realised, that's not Jon's neck, that was the old Lakland one that developed a backbow like something Robin Hood would have been familiar with...this is Jon's neck...

As I've said before: the worst upper fret access in Christendom, but I don't care: I seldom go up there, it gives me a nose bleed... 😐 It's definitely solid, tho... 😀

How's this for a daft arrangement? (not Jon's, obv - he just worked with it (and very very well); the heel of the neck is twice as long as a 'normal' heel...

I had Jon Shuker put a custom neck on my Shukerbird (definitely not standard - he profiled it to my spec (Jazz width, birdseye board, etc) and custom-made it to fit perfectly to The World's Longest 4-bolt Neck Pocket), but as above, he may be busy if you're in a rush. Worth a try, though. It was also cheaper (at the time, admittedly a while ago) than a Warmoth neck (which wouldn't have fitted the daft pocket anyway).

Along the lines of the HPF mentioned earlier, can you dial out the bottom end in your monitor mix? Lower down the tech chain from you, for small pubs (in fact for bigger stages, too) where IEMs are impractical, I use a 112 combo on an angled stand which lifts it about 18" and angles it like a monitor at my head, but I also dial all the bottom end out of the combo, because my DI to the FoH fills in back in again automagically - I mentioned somewhere else, but I played a festival on a biggish stage, and I was admittedly fairly close to the FoH stack on my side, but that little 112 combo sounded like an 810... 😀

Can I just say how much I'm enjoying this most British of Mod's Comment? You don't get that sort of thing over the Pond... 😁

My current gigging rig is a Rumble 100, which I use on an angled stand to point at my head, with the low bass dialled out, and I use the PA for the heavy lifting of the bottom end via the second out of my Stomp. Super light, great stage monitoring, will go far louder than I need; well into the 'hearing protection required' zone. On a midweek gig this week there was a problem with the desk, so I dialled the bass back in and it did well for a couple of songs till we sorted the desk problem. Not thunderous, but still there, even with a loud drummer. I should add I had replaced the speaker with a 'proper' Eminence 12 (about £60) which copes better at higher volumes. It's a common mod, and there's lots of detail about it on a site based over the pond...

'One of the highlights of a pub gig for me is listening to guitarists tune up; it's so disappointing at bigger gigs when they're muted; I miss that 'will they, won't they?' tension as they search for the pitch...' 'I may have had a few, but I'm certainly going to resist shouting 'Three! Four!' while they soundcheck the mics...'

This...exactly...

Richie Kotzen has a ridiculously good voice for such a fantastic guitarist, it's kind of unfair... 🙁🙂 And I was really positing it for the fact that he starts the song in completely the wrong key...luckily, he caught himself before the rest of the band came in... For the record, I love Billy's bass tone, always have: it's not for me, but it works for him (especially given he's a one-guitar band kinda player)...even if he's overplaying like a maniac on this particular song... 🙂

Happens to the very best, too...

Me too...I'm touching wood as I'm typing this, but I've never had to use it...set right and in a band context, it's indistinguishable from a Sansamp (I've had and used both)...it's the best £20 insurance policy there is... 😁

Or too much hair... What I forgot to stress was that if you buy two cabs, unless you've got more restraint that I have*, be prepared to take them both out all the time... 😐🙂 * Which is possible, just sayin...

Fantastic: at that point, I'd had all (most of) the usual suspects (MarkBass LMs (various), Aguilar TH, Genz Shuttle, Genz Streamliner, GK Fusion, etc, etc), and it was the warmest sounding of the lot (but it can do clean and quick, too), plus the two channels are very useful. And that new (at the time) 800w ICE power unit delivers much more thump than the older ones*. If I ever went back to a Class D, I'd buy another in a shot**. * Points claimed here for not using The H Word... ** That's also 'if I ever went back to using a head and cab', which at this point in my circumstances is unlikely...

Sadly not; they were younger than me...if I'm ever called into a police lineup, I'm bringing a bass with me: no-one'll ever pick me out...

I had a very nice couple standing outside the venue one evening after we'd finished tell me there had been a great band on that night. They'd been sitting five feet in front of me for nearly three hours... 😐

A while back, I was running a Magellan which could go down to 2.67 ohms (=3 x 4 ohm cabs), and I had a pair of Berg AE112s. One was good enough for a lot of gigs, two could cover them all, really. I bought a third, mostly because it looked better as a taller stack, but it also sounded much bigger. I told myself I had the ultimate modular setup, but found I took all three everywhere, and if I didn't, there'd be a nagging 'I should have brought all three'. Then I realised I was carting 96lbs of cabs (albeit in three lumps) around everywhere, more weight than I'd carted since my 810 went... I sold them all.

Oh my...that sounds...unusual.. 😐

This ^ Simples. 😁

In the Brave New World of the newer project with which I'm involved, there's a capacity for live autotune on the vocals: we're not going to use it for either of the main vocalists, who don't need it, but it opens up the possibility of me singing backing vocals (mixed low, obv...)...

You can do pretty much all of the above these days with the right drummer/clicker*; we've played extended sections where the drummer's paused the click/backing (e.g. when the dance floor's full of people in the middle of something with a groove, like Long Train Running, Play That Funky Music, etc) and brought us back in again together a little later...clicks can also speed up when needed...and improvising can always be done within the song itself**. I'm not sure I understand the 'extra instrumentation which we had in our ears but the audience didn't hear' thing, tho: what was it? Whenever I dep, I watch the drummer more closely than anyone else...if he's playing to a click, I don't need to: I play with him, we're the rhythm section... * Overly technical description? ** Which hopefully reduces the possibility of an impromptu 32-bar guitar solo...

Can we have Dead Battery, or does that fall under 'Electrical Fault'?

Two, always, in a dual Mono gigbag. I've been doing it so long (40 years) that the minute I take only one, it'll break, if only because the Laws of Narrative Causality are just waiting for me to pink torpedo up...

Yep, always go with the singist, for better or worse...the disciplinary beating can be handed out after the gig...