Delberthot

Try to get at least an idea of what you will be playing from the guy that is booking you as its not a very nice situation tobe asked to do a gig but not what you're going to be playing and put it onto MP3 or CD for the car and just keep listening to them constantly. Different story with weddings as most bands tend to do a lot of similar songs I did a dep gig 250 miles away with a band I'd never met before with 30 songs I'd never done before with 2 days notice a few weeks ago - sometimes the pressure can help you learn quicker as long as you take your time and don't panic. They're not going to expect someone who can play the songs note perfect, the audience won't notice if you don't play it exactly like the record anyway. Just learn the basic notes first.

[quote name='casapete' timestamp='1350491352' post='1839649'] +1 for GK RB series. Not that long ago these heads were considered small and lightweight (c.20lbs), which I believe for the sound you get they still are. (I'm getting on a bit and don't mind carrying them around!) [/quote] Especially since I found out that they fit into a Gator 2110 Keyboard bag meant for the Microkorg- - £20 from Amazon.

[quote name='chris_b' timestamp='1350296718' post='1836841'] Definitely the Eden. [/quote] Definitely the Gallien 700 or 1001RB II I've gigged the Terror Bass, Shuttle 6.0 and Gallien MB500 (in combo format) and they all seem to be lacking something but for me the full size Gallien heads can't be beat. I think the main reason there hasn't been a great deal said about these models in this thread is that most of the people who use them are doing exactly that. They are solid, reliable and really difficult to get a bad sound from them.

Yeah, the last group of people to leave are always the ones blocking your exit

I depped a few weeks ago - left the house at 3pm and got home at 3.30am. Over the years I have purposely made sure that my gear can be moved in the fewest trips possible. 2 with my current setup. I enjoy playing and I enjoy the money that you make from it so it would boil down to - would I want to give £xx to someone to do it for me when I've been used to doing it my whole adult playing career or keep all of the money for myself? I think it would have to be really big gigs with really big money or really terrible load ins with a lot of gear before I'd consider it. To me its part of the gig, its what gives me the initial adrenalin rush before the gig

We had a classic years ago in a social club where your typical Rab C wearing, I kid you not, a suit jacket with a white vest underneath wanted to sing "I can't help falling in love" by Elvis Well he did but he didn't leave any gaps between each line of lyrics so we were constantly trying to catch up. By the end of the song I was bent up double cos I was laughing so hard. Rab C turns round and say "F**kin' band dinnae ken it" Our guitarist a few years ago decided for safety to rig up a chain around the PA in case anyone bumped into it and knocked it over. Getting towards the end of a gig there was a really, really drunk bloke who wanted to get up and sing.He'd already tried to climb up on stage at my side and I'd resisted the temptation to kick him in the chest. He tries to climb up the other side and to help him up he held on to the pole that the top PA speaker was sitting on only to lose his balance, fall backwards onto the floor taking the sub & top speaker, lights and desk with him cos they'd all been chained together. He lay there for several minutes while we told the audience that, because of the drunk guy on the floor, we were having to end the night early which resulted in two women having a right cat fight outside the hotel. I had a couple who were being really annoying by running up to me then running back again while we were playing. They got so close that they were touching my bass and muting the strings.The singer said over the mic that if anyone did it again we would stop playing. Well they tried it again so I moved my bass out of the way and planted one right in the guy's bread basket. Went down like a sack of potatoes. They didn't do it again.

I had one of these when they first came out. Sound Control were doing them for £200 at the time. There were Precisions and Jazzes with maple or rosewood fretboards - I had one like the OP has bought Lovely basses - ended up swapping it for a Peavey 4x10" which seems silly now I think about it

Apparently the first runs of the new Geddy Mex necks were used for these [IMG]http://i927.photobucket.com/albums/ad111/Delberthot/Fender%20FSR%20Precision/DSC01484Large.jpg[/IMG]

[quote name='Valhalalf' timestamp='1350045644' post='1833947'] I use one of these heads and love the simplicity of it. I recommend swapping the pre amp valve out for a JJ ECC803S [/quote] That's what's in it now.

I found the standard one to be a pain to fit so I bought the one that has the screwholes and used a switchcraft jack and it fitted. I just drilled a couple of pilot holes before screwing the jack socket onto it so when I did come to put it together it was just a matter of screwing it in

I have an Ibanez Doug Wimbish that I rebuilt after buying it with part of the lower bout broken off. I really have a hankering for a fretless and since this bass which was probably around £900 new isn't going to be worth much now I had thought about defretting it. I know how to defret but will the fact that it has large inlays be a problem once the frets are gone and the strings are pressed right onto the board? [IMG]http://i927.photobucket.com/albums/ad111/Delberthot/dwb3to-05-1Large.jpg[/IMG]

Its because of Steve that I use Roto flats from three of my favourite tunes, The Trooper, Phantom of the Opera and Killers. I love his sound but the sig set are silly high tension so opted for a set of highish tension 45s. I've always played with a trebly sound but I found rounds too overbearing if that makes sense? With the flats I can play exactly how I want to and produce every type of sound that I want to, whereas if I tried it with rounds I'd sound like Billy Sheehan playing a solo whilst falling down a set of stairs. I find that there's more control with the Roto flats in that I can change sounds without touching my EQ. BTW the Steve Harris set sound amazing tuned down a semi tone

Having owned neither my thoughts are that the Eden is an amazing cab to play through but I've always wanted to own a Boogie cab, being such a Chilis fan

I've always been very sensitive to high frequencies so the expensive ones would be no good to me as they tend to drop the levels evenly across the frequency spectrum. That's why I always go for [url="http://www.ebay.co.uk/itm/er20-musicians-high-fi-earplugs-case-er-20-ER20-/220974361677?pt=UK_MusicalInstr_Access_RL&var=&hash=item3373192c4d"]these[/url] I use them when going to clubs, attending gigs, playing gigs myself and the cinema (why do they have to have it so bloody loud in there?) I can't bare loud noise anymore since I started wearing them

I think what I'm selling might fit the bill. I'm selling my Hartke LH500 and have an Ashdown 4x10" that I can add to the deal for well within your budget. At the weekend I depped with a band that only had a vocal PA in a huge marquee and there was loads of volume to spare. I have 2 4x10"s but the reason I'm selling one is because I'm never going to need it.

Shockwave used to own the ESP so you could try asking him or find the for sale thread. Best 6er I had was an Ibanez SR1016. Similar to the SR506 but made in Japan and I think a forerunner to the Prestige series.