Dan Dare

I agree with some of what you say, but I don't regard gigging as a "privilege". I'm experienced/good enough to be worthy of my place on the stage. Whether people like what I do is another matter, of course, but that's their choice. It doesn't alter the fact that I do what I do competently. For much of my life, music has been a sideline that earns me extra money, although I have had a few periods during which it was my sole source of income. However, I wanted to be able to pay a mortgage, have a family, etc, so I kept a day job for the majority of the time. I also made it clear above that I'm not opposed to turning out for charity, so it's not a case of saying no to charities and focusing on paid gigs. I make monthly donations to a few charities and am happy, provided the cause is one I have sympathy for, to turn out and play for free on occasion. However, the fact that my band may be willing to give our time and effort does not entitle people to treat us without respect. Covering basic expenses (we're not talking 5 star hotel stays and expensive dinners) is part of that respect.

You obviously don't do the sort of gigs I sometimes do... I'd never refer to playing any gig as a "privilege". I'm not bad at this playing lark, having done it for the best part of 60 years, during which time I've done many thousands of gigs, ranging from great through to "Beam me up, Scotty/kill me now".

That seems to imply that we should feel guilty that we are not paid minimum wage and feel obliged to play for nothing. I am reasonably comfortably off and I don't object to playing the occasional charity gig, but, as I point out, I will not actually lose money. I could afford to throw in the cost of a few gallons of petrol, but I won't, because I am already giving my time and effort for nothing. I fell it's disrespectful to expect me to actually pay for the privilege of playing for free. That's just me, of course and YMMV.

Just been offered yet another charity (i.e. everyone bar the musicians gets paid) gig. Support a good cause, "exposure", etc, etc. As we're not completely heartless bar stewards and the good cause in question was a reasonable one, we suggested we might be paid expenses, so that, whilst we give our time and effort for free, we don't actually make a loss on the evening. Petrol still needs to be paid for, we'll need a drink or two plus something to eat and so on. Cue pearl clutching on the part of the organiser, "but it's for charity, etc". "We realise that", we replied. "We don't expect to profit. We just don't want to lose money". They were not happy, so we said we'd pass, thanks. What is wrong with these people? Are they wealthy dilettantes who don't have to worry about where the next penny comes from? Do the think everyone else is in the same privileged position as them?

A light, affordable and decent powered cab is not common. Why not get a combo and dial back the input sensitivity (or use the line input or effects return if it has one - many do). Failing that, an active PA cab would to the job for not too much money.

Gunsnot.

Good shout. If you want to amplify a fiddle, you have to avoid the classic mid-lifted guitar amp sound at all costs. It can strip paint. A PA amp, with eq that is more suited to the voice, is far preferable.

Sort of I am Spartacus in reverse. "I am not Jaco". "No. I am not Jaco". Etc

Keys players, especially inexperienced ones, forget (or choose to ignore) the fact that there is a massive difference between playing a piece solo and as part of a band. A solo keyboard can do the lot - melody, chordal accompaniment/harmony plus bass part - because you can play up to 10 notes simultaneously. Put that kind of everything but the kitchen sink keyboard part into a band context and you'll have clashes - rhythmic and harmonic - all over the place. Not just with the bass, but with any other chordal instrument and even the vocal. Some KB players are less than amenable to being told to trim/thin down what they play. The previous guy in my band was one such. He was a nightmare and would even sulk when told to thin it out. Fortunately, he decided to take his ball home recently. His replacement is great and gets it, but then, he's very experienced and knows his stuff. I'm mightily relieved, to put it mildly.

Be aware that there is no "standard" LP12. Depending on age and spec', they come with different electronics, different arms and carts, etc, etc. £1500 will get you a fairly basic model - LP12s hold value and the name ensures prices remain high. The LP12 is very upgradeable, but you can quickly get into spending serious amounts. It's your money, but do compare the one you're thinking about buying with similarly priced offerings from other manufacturers.

Very much a subjective opinion. 700 and 770 use the same drivers. I prefer (and own) the 770, especially if you want fuller bass, but that's just my choice. YMMV.

Good old Beyer DT770s (or 990s for more money) do fat bass very well. Closed back cans will tend to give fuller bass, whereas open backs are more airy.

These days, production costs in Japan are as high as any in the world. That's why production has shifted to lower wage economies like Indonesia and China. Japan does high quality engineering and mass production better than most and they know their worth.

As someone who plays the fiddle (it was my first instrument, prior to the bass), I doubt you'll find a compact, portable amp that will do both equally well that doesn't cost money. You're asking for something that will do the job at both extremes and for it to be battery powered. A big ask and I doubt such a thing exists. Perhaps a powered PA speaker might work, but battery powered? I doubt it. If you get a power bank, you can run a regular amp or PA speaker off it, which will widen your choice. Either way, I don't think you'll find a quality solution that's cheap.

Phil's right. A banjo is not an instrument that sustains. Its construction - effectively a small drum/large tambourine with strings stretched across it - ensures notes decay swiftly. You could try different heads (an old style, thick head will deaden notes more), a heavier bridge as Phil suggests, experiment with string types and add a resonator if it doesn't have one fitted, but the nature of the beast will mean it won't sustain like, say, an acoustic guitar.