Mykesbass

Can't imagine it on a sunburst, but could look cool on white IMO.

+1 for Mike Still, just fixed a valve amp for me. Great price and all done in a week.

[quote name='Dad3353' timestamp='1496662017' post='3313006'] The French rugby final was on, but we did zap to this during the half-time break, as it was broadcast 'live' on French Channel 2. We must have just been unlucky, then, as the few minutes we could stand (all the family, not just me...) were dire, to say the least. Whilst applauding with both hands the spirit of the thing, that Gallagher bloke can't sing for toffee, and his lyrics are sub-Dylan, too. Saw a couple of girls singing (they all look the same to me...), and was seriously underwhelmed, musically. The rugby second half quickly took our interest back. Well done for the event; pity I missed the good bits. [/quote] All lyrics are sub Dylan 😎

Hi Musicbassman and welcome. Whereabouts in West Sussex? I have a couple of horn players I know who may be able to hook you up with a big band / rehearsal band. Mike

[quote name='chris_b' timestamp='1496442418' post='3311556'] I find I mostly use both 112's because they sound so much better together. On the 5% of gigs where I only need 1 112 then that works too. [/quote] Me too. One of my Purple Chili cabs would easily be enough for my gigs but I do like the fullness (and yes, shallow I know, the look) of the two together.

[quote name='Monkey Steve' timestamp='1496407426' post='3311170'] they banned me from apologising on stage We finish the set, and i go for a chat with the sparse crowd and organiser, and mention how badly I messed up the solo. Nobody noticed anything wrong. And not a polite "don't worry about it, it's was OK *we did notice but we're being nice about it*" but rather "really,? when was that? which bit did you get wrong? sounded fine to us, just like the original" In summary, the audience are idiots and we deserve better. people who really notice when we f#ck up and hold us to account [/quote] [quote name='bassman7755' timestamp='1496420289' post='3311323'] And quite right too - audiences only ever notice the band noticing (frowns, reproachful looks etc), they never notice the actual mistakes. I had ban one singer from telling people stuff like "weve only practised this once so it might not go to well", not as bad as apologising for mistakes but the principal is the same: act like your totally confident and know what your doing all the time, never overtly react to things going wrong, look like your relaxed and enjoying it even if things are going to hell musically and 99% of people will not know any different. Now while people will say that this means audiences are thick/ignorant or whatever, I dont think its a simple as that - senses are related and are affected by what people are expecting. If people see a professional looking band who are enjoying themselves they will hear the song played properly even if is isnt. I know this is a powerful effect because I have on the odd occasion been in the audience for bands that I have previously played with or depped for and have never spotted the mistakes that they have moaned about afterwards - I could only tell that mistakes were being made because of the facial expressions. [/quote] ^This. Had a singer that used to do the - "oh, this is the first time we've performed this" NO! Just get on with it, play it confidently, ignore any mistakes, enjoy it and, unless they are completely the wrong audience for you, they'll enjoy it too.

[quote name='molan' timestamp='1496425836' post='3311386'] The Carvin combos deliver a lot of bang for the buck (as our American friends would say). However, build quality can be a bit patchy. Combos tend to be better than the heads but they aren't without issues. It's all a bit random as to what might go wrong with them. Some are great and never miss a beat, others get niggling faults that sometimes come back. In the end we discontinued them because we didn't feel we could reliably offer them for sale to regular gigging players. Shame really because the ones without faults were great value for money [/quote] Wow, that surprises me. The head I bought from you guys hasn't missed a beat. Must be 4 years by now, and although not massive amounts of use, it has been gigged at least once a month and rehearsed every week since then. Absolutely love it, so such a shame they aren't all as good

[quote name='eude' timestamp='1496392865' post='3310978'] Have they stopped making their little combos now? [/quote] Not sure, but I know they only had limited UK distribution with Bass Gear who stopped stocking them despite Phil using one himself.

Carvin if you can find one.

[quote name='Pow_22' timestamp='1496240752' post='3309835'] Cool, glad it got sorted and is back to pumping out that lovely valve tone! Did the tech say what the fault was? [/quote] Said was very rare, but one valve failed and burnt out the bias resistors.

Fancied one of these for ages, so took a bit of a gamble and bought one with a known fault from Paul, Pow_22 on here. When I say known fault, it was known to be faulty, but the fault itself was unknown. Paul brought it down to Birmingham, where Harry Burke, also of this parish, babysat it until I could get up there. Got it home and off to a highly rated local amp tech, Mike Still in Lancing. All fixed, had it powered up, but not put anything through it yet so tomorrow at rehearsal is time to discover or dispel the joys of heft Will photograph and report back tomorrow.

[quote name='Barking Spiders' timestamp='1496153780' post='3309170'] Of course there are much better WP numbers than MS (IMO) like Land of a 1,000 Dances and 634-5789 but I've yet to see any band cover these! [/quote] Midnight Hour - cracking riff!

Just something to add to the mix, different batteries behave in different ways. Some are designed to lose power gradually, some designed to fall off a cliff. This may explain the different experiences you guys are getting.

[quote name='Woodinblack' timestamp='1496050896' post='3308340'] Well, thank god it was that rather than 'Everything I do' [/quote] Hard to see that one becoming a pub band classic (thankfully)!

[quote name='ezbass' timestamp='1496048568' post='3308297'] Yep, after the film it became ubiquitous. It's the same with any song that has been included in a film years after the original recording and the general public suddenly become aware of it. Let's be honest, how many folk, especially women, were or are into Lynyrd Skynyrd? Not many, compared to other bands, but watch the punters scream and go, "Woo, hoo," the moment the opening notes of Sweet Home Alabama are played. Unfortunately, hearing these tunes absolutely everywhere, often played badly, has ruined the originals for me. [/quote] Thanks ezbass. I wasn't really gigging or frequenting music pubs around that time, but I'm still surprised that a song that got to 63 on the charts, from a film that wasn't exactly huge at the time (Rocky 5 and Godfather 3 grossed more, not to mention Robin Hood Prince of Thieves and Silence of the Lambs) has had so much lasting impact.

When and why did Mustang Sally become so derided? After the Commitments?

[quote name='leschirons' timestamp='1495844740' post='3307083'] I reckon it's a whole lot of different things and any combination of those things. It's the science behind the magical 120 BPM which Stock, Aitken etc picked up on as the ultimate dance tempo in the 80s. [/quote] I remember during this period there was an amazing split of musical styles around the country (from personal experience of being in telesales for a whole bunch of record companies). In London, the South East and the South West, slower tempos dominated. I think it was Paul Oakenfold who hit upon 96 BPM as the magic number. Think of Soul II Soul, Princess and Beats International. Up North we couldn't get arrested with stuff that was slower than 130! Stock Aitken Waterman did manage to hit that sweet spot that ended up breaking down a lot of those very localised preferences.

[quote name='ixlramp' timestamp='1495834474' post='3307028'] It's odd how no-one mentioned the obvious, floppiness is due to low string tension, so just increase the gauge. [/quote] Not entirely true. Yes, if you are talking about upping the gauge of the b using the same brand, but gauge alone is not the main factor of tension. Construction and mass are also very important. D'addario have a massive chart of all their string tensions. Nickel half rounds have more tension in the same gauge as rounds, and flats even more. Also a round core will give more tension than a hex core.

[quote name='Mickeyboro' timestamp='1495712780' post='3306056'] Was it deliberate that the most recent episode was all-female fronted? [/quote] Curious, would you have noticed if it was all male?

[quote name='dood' timestamp='1495648463' post='3305623'] I *could* tell you that the GB74JJ is a [i]brilliant[/i] bass for the money, but then, you wouldn't wait until my full review coming up of it... I love what they have done over the old GB models. Some nice upgrades there. [/quote] Tell me they've made them slightly less complex? I loved my GB75 apart from it having way too many controls!

Seagull or any of Godin's other acoustic brands - Norman, Simon & Patrick or Art & Lutherie. Also have a look at some of the higher level Cort guitars. Look for these secondhand, as, with all lesser known brands, the resale value is terrible.