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I played a gig yesterday afternoon at an old people’s home. We mostly played jazz standards along with few Glenn Miller songs. There are some fantastic songs with really beautiful melodies in the standard repertoire. I never get tired of playing them. The best bit of the event for me was the one little old lady’s reaction after we played autumn leaves - a song I absolutely love playing anyway, it really lends itself to playing how I like to play bass, melodically as well as playing walking lines. You could tell it took her back to another time, bringing back memories. She was smiling and laughing, I heard her saying to someone how she had always loved that particular song. It made all the hassle of the two Covid tests prior to going in worth it.

This was my rig at our first gig since lockdown a few weeks ago. Since then though a CTM300 has been added to the collection so I've included a couple of pictures of the amps and cabs I have to choose from (which could in theory all be combined into one big, slightly ridiculous super rig). The CTM300 will get its first outing at a biker get together on Thursday.

People are talking about their bad experiences with other people at gigs. I went to The Ritz in Manchester to watch Chas And Dave. I don't own their records, but I thought they are one of those bands you should see before you die. I got there when the doors opened and went centre front. I staked my place and got it and didn't move for anything. Great view. The support band were interminable. I forget their name. Chas & Dave and their drummer came on and played a set of bazzing rock and roll stuff, some corny hits that I'd forgotten about before the gig and soon after. A few songs in, this woman came up behind me, started elbowing me in the back, and loudly demanding to go in front of me. She shouted in my ear that she'd come all the way from Cockneyland and was their #1 fan and HAD to be front centre. She was entitled to be where i was standing, so I should move. I said she should have got on the train earlier to get to the front before me, then. She wasn't impressed by my Northern logic and started sticking her elbows in me again. After about a minute of this, I shouted at her to eff right off, or I would hit her back. She got the picture and moved to the right and started on another couple. They basically said the same thing and didn't wait so long to loudly tell her to eff off. Dave Peacock on bass was watching what was going on and looked very disturbed (either by the sight of this daft woman bashing their audience, or by all of the front row of the said audience telling her to eff off - and we were not quiet about it). After failing miserably to get people to move, she came back and started on me yet again. Other people around me started joining in telling her to eff off too. After about half an hour or so, I was pretty much bored stiff with Chas and Dave and felt like getting on the train and going home. but was I going to give that loudmouthed woman my place? No. I stuck it out to the bitter end. Never have I ever wanted a group to not do a third encore before.

Tweaked my main board a bit. Full strip and re-cable using squareplugs and van damme. The Boss dd200 is new, as is the Source Audio dual expression. Battery power arrangement has been revised so I'm now running a 268000mah battery into the mission 529 adapter via usb-c power delivery, then all pedals get an isolated supply via the Gigrig isolators. Beta now runs at 18v for a bit less compression. There are some cool but non-obvious features: DD200 is a midi controller for the Source Audio Spectrum. It sends midi clock to control LFO rate, and toggles presets. This is done via a home made midi TRS to USB host on the underside (the silver box). There is also an always-on Bluetooth dongle connected to the SA Spectrum so that I can try/change/edit presets wirelessly using my phone. The expression pedal is on a pressure pad. When I step on it, it brings in the xerograph for LPF sweeps. It is also gives expression functionality to the SA Spectrum (when the xerograph is turned off). Inside the exp pedal I have added a load of components so that I can tweak the shape of the sweep to my liking. The blue box in the corner is a home made "mission control box". It does a few practical things: 1. Click-less true bypass loop with the whole board inside, so that I can set up a patch and then toggle it on/off quickly. 2. Gig saver bypass, so if there's a power failure I just go straight into the amp with no interruption. 3. Toggle between battery power and a one spot as "backup", if connected to the top right jack. If it's not connected, then kicking the missile switch cover down shuts off the whole board, and I have true bypass. This is handy if any pedal gremlins appear on a gig. 4. Wired IEM patch through to my "daughter board" which has compressor, preamp etc. (Not pictured)

No. And I hate the attempt at creating a class divide wherever people want to find one. One of the old music magazines, Q or NME used to be awful for slating bands who had a "public school" background as if it mattered, I remember Keane being made an example of for this. Hate them because their music is insipid, boring shyte, not because at aged 4 or 11 or whatever their parents decided that they would pay for their kids education. Same the other way too.

The old boy network might get you access to opportunities that are harder to come by for musicians that aren't part of it. But ultimately it's the music buying public who decides who gets to make a living out of music.

It's funny that if you go to an old folks' home nowadays they'll still have entertainers coming in and singing songs from the war, before many of the inhabitants were born! I wonder if when I'm in my dodderage in one of those places, the daily diet of David Dickinson will be broken up by be-leathered and zipped singers jumping around and shouting "Gawd Save The Queen She ain't no human bean!"

Edit: PINK FLUFFY UNICORNS DANCING ON RAINBOWS

Many, old and young alike, enjoy music from the beginnings of music, and since. Classical music has a wide following, as do folk songs around the world. Music is not always 'disposable', to be replaced by the latest fad (although some of it is, I'll allow...). The 'good' stuff tends to stick around for more than a generation or two.

Looking back at the 70s & punk lack of money seemed to be a main factor for many of the bands, living in squats & rehearsal rooms etc. Move forwards to bands like Guns N Roses who did similar. I think today’s “glossy polished” music it would be unlikely to get people from those types of backgrounds & environments. Def time for a guitar resurgence, played by scruffy unpolished young people who don’t get sent for media training & image awareness.

Edit, I see @MacDaddy already said this. Worth saying twice though! Both versions are excellent, I didn't know about the Gloria Jones version for years after knowing the soft cell version though.

If I have a favourite bass player it's probably him. Loved his playing long before I ever took up a bass myself. I could sing some of his bass lines before I even realised it was a bass that was making that amazing sound. So sad we lost him way too soon.

I absolutely LOVE Cubase Pro, i cant get enough of it lol. If there is something it cant do ive not found it yet (thats not really saying much though). Only problem with the demo is you have to have a dongle for the pro version. Occasionally i use Elements if I’m too lazy to use the second, Cubase only install of Windows 10 as its on a dual boot system. Even that it amazing though. I think with Cubase its not obvious why its so good. On paper I’m sure most other pro DAW’s can do a lot of what CB can do, but its how it’s implemented that makes it so easy to use.

whatever working class is in 2021, I'm pretty sure there's music being made and listened too, broadcast on pirate radio... it just probably doesn't sound like anything the average Basschat member would be into. If we set aside the class thing, even in the indie/rock/punk spheres that exist music is being made and released on more DIY or low key production spirit in local scenes around the UK. The problem probably isn't the music not existing, it's you not finding it and supporting it... My mate had a really interesting habit that I've tried to continue, I recommended a friends album - he listened to 60s of it and bought it on bandcamp on the basis it sounds good and I'm supporting music being made. It's a good habit to get into, like something, buy it on band camp (or similar)

My Mum hated Vera Lynn too. She was born in '33 so was alive during the war. Her dad went off to war and was captured by the Japanese, spent 2 years in a camp and then was torpedoed by the Americans. She loved Neil Diamond and Glenn Campbell.

Well that went very far south very fast….

Yup totally agree it's awesome how music is connected to memories. I remember reading an article about how you will always love and relate to the music love listened to between 14-18. This is very true in my case.

Yes, sorry, wasn't implying anything against older music. Big fan of Autumn Leaves, although I don't like Miller. Was partly a reflection of my late mum's attitude who hated Vera Lynn and the fact that everyone thought it was what 'people if her age' wanted. She was a Sinatra fan but also partial to a bit of Pink Floyd and Rolling Stones.

BB is the reason I started playing bass. The part on Tears of a Clown was the thing that first inspired me to want to do so. Great player.

Mark Ronson was also from a privileged background. The beauty of music though is it has always allowed everyone to have a voice. Streaming platforms benefit this although make it difficult to make a living. As in all walks of life, money buys opportunity.

here we go ... good luck

Totally agree with this. I'd love to be a professional musician (I'm nowhere near talented enough) But I'd absolutely hate to be famous. A session musician gig where you get to play on stage to a large audience, but still go about your every day life unhindered would be perfect.

Why is it that folks who clearly do not understand something feel they are qualified to accuse others of something that they do not even understand? There are SOME manufacturers who use optimistic power metrics when rating their amps, they are almost always manufacturers offering product at the lower levels of performance and budget, resulting in their need to use metrics that have larger numbers for marketing purposes (which works very well when the customer doesn't understand). There are also many manufacturers that do not feel the need to do so, they clearly state the power based on Watts (RMS) and at whatever THD the power is measured at. These manufacturers are generally marketing towards players who understand more about gear, and are looking for performance first, with cost as a secondary concern. Why is there a particular need to be rude here? Have a wicked pissah day y'all.

Can’t agree with this. Gimme Shelter is one of the Stones finest, and has one of the greatest intros ever

If you’re offended by relics, don’t read any further and don’t post any negative comments. if you wouldn’t have one, or don’t think they look good; you’re entitled to your opinion and I won’t try and change your mind. if you have one, or are planning one, post your ideas and pictures here. here’s mine I used the back of a kitchen knife to roll the fretboard edges, a bradle to do the rsndom dinks and the same knife back to do the edges. I was careful to think about end grain. Bare wood was sponged with tea. I used a green dish sponge to take the gloss off the paint. I thought about the strap rub points. I did nothing with metal parts. No belt sanders were harmed

Dave Ball was a big fan of Northern Soul, hence the Gloria Jones cover. Their songs are littered with hints to this. The B side of Tainted Love was a cover of Where Did Our Love Go by The Supremes, the 12" was the two blended together. Another Soft Cell single, What?, was a Melinda Marx cover.

And quite often the bands will stop playing mid song if someone looks to be badly hurt, to summon help from venue staff, I’ve seen that a few times. As you say Steve, happened for years and long may it continue.

Yes definitely this. When I was very little we used to go on holiday to Devon and stay in my dad’s friend’s caravan. The caravan had a shed where they kept deckchairs and tables. I remember it had a very strong smell of creosote, I only need the slightest whiff and I’m transported back in time. Music though I can remember where I was when I first heard a particular song. I associate songs with events too.

There are some sad & scary accounts in there

Jeez Louise, what a voice …

Another vote for the Quilter. I bought it as a back up in the first instance. Very simple but effective eq, and one of the loudest amps I've owned for its advertised power. Very solid in the low end, when the contour eq is engaged goes from mid scoop to vintage. Sounds very musical, and weighs nothing!!!

It's awesome, great sounds. Very cool how they have crammed that much functionality into such a small and reasonably priced box. The fact that you can use it as a midi controller was the icing on the cake.

In one book I read he says he and Jameson were listening to a song on a bar that they’d both played the part for and they couldn’t agree which of them they were actually hearing on the final cut to vinyl

Well, I've just read this necrothread...

Castle Donnington and a barrage of bottles of p!ss are an inseparable tradition..

Some amazing discoveries here.

I think my trouble is I still love seeing bands live but I have grown old enough to hate the pushing and shoving that goes with it. Also I love new music so this brings me into contact with young 'uns. Not a good mix. Young energetic drunk people and older, more sedate less drunk people. Another occasion I remember was again, in the Cathouse. We were watching The Dead Daisies and the bass player Mark Mendoza was prolific in his throwing of pics into the audience. This girl in front of me had collected about six by desperately diving in every direction. one hit me on the shoulder, I bent to pick it up and was about ten inches from doing so when this foot stamped on it claiming it. I looked up in disbelief and this same woman was looking at me with a watery smile as if to say you were too slow. Another pic came flying and she tried again to get it but a guy next to me picked it up. She put on her sad eyes and I couldn't believe it. He gave it to her! I thought what a desperate, selfish beach. I wasn't that bothered but a little momento of the gig would have been nice. I got one the next time we saw them play. I forgot to say, said girl was no girl. She was a full blooded middle aged "rock chick"

Myself and my mate Mark were fortunate enough to get a little time with Andy a few years ago. It wasn't long after this that he passed. Very very saddening.

Nah it's Reggae.. no treble, no fret buzz...

I see you also practice setting your guitar alight.

My little Marshall MB.

quite a few Bob Dylan songs, All along the Watchtower, If You Gotta Go Now, Mighty Quin, Mr Tambourine Man, probably be some more, Oh yes, the covers are always better than Bob's originals 😂

Disagree on both counts. You notice people like Squire, Entwistle, JJB, Jaco, Norman W-R, Jamerson, and they’re all doing it very right, IMO. Whilst there may be an element of humour in your statement, Adam Clayton is a perfectly good bass player so far as I’m concerned. He plays parts that work in the context of the music (whether or not you like that music is not relevant). Whenever I hear people slag him off I always wonder what they think he should be playing. Funky 16th note groove in With Or Without You? That would be bad bass playing.