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Funny how some years a venue becomes one you’re at loads and the next it drops off the gig list completely. So for the nth time this year we were at Lyde Court, all the usual perks, park the van right by the stage, big area to play in, loads of plugs and an enormous flown house FBT PA. The happy couple wanted 3 40 minute sets which made the evening a bit stop start and the whole band was one click off the pace after holidays etc, but the clients were happy. Finally started to get some good sounds out my Stomp too, definitely a learning curve that toy.

The Old Village Beer Depot Gig was pretty good. We had around 100 people show up. Daryl

Hard work to a small crowd of punters and a load of technicals for me last night. Took forever to get to the venue for me, then a rushed set up (the others were already there and set up). Issues with vocalists mic, then I couldn’t get my IEM’s running and never did all night so sound was odd for me. It seemed to be a combination of a dodgy lead for him and positioning of the router for me. My iPad wouldn’t connect to run xair until I moved my IEM transmitter further away on the end of a lead and I still got nothing even after the move. Turned out despite checking the transmitter and receiver had got onto different channels 🤦🏼‍♂️ Despite all that the sound out front was really good apparently and the landlord was pleased and put three in the diary for next year so 🤷🏼‍♂️

Odd one last night at the Balaclava in Fraserburgh. Weird ebb and flow to the crowd, not busy, busy, not busy, busy then really unbusy at the end. Tales of fights outside the bar involving 6 folk and pint glasses being thrown around. Thankfully if true, it stayed outside. On the whole, pleased with the night though - 5 new (to us) songs thrown into the set and they all were played with minimal oopsies and went down pretty well ("Don't Believe a Word" was especially appreciated by a rabid Thin Lizzy fan). I got up to some wireless shenanigans, wandering off into the crowd during Highway to Hell and high fiving folk during the quiet (for me) bits. Some sound issues (chiefly singist mic feedback) but we managed to get on top of it. Good to be back in the saddle after 5ish weeks off for holidays etc. Gear was the Reverend Triad then the Epiphone Les Paul (not so) Standard into the usual Markbass tone cubes (Mini CMD 121P IV + NY121)

The best comment I have seen so far about the Oasis ticket situation on Twitter 😂😂 Don't be sad. You can create your own live Oasis experience at home. Simply stand 2 immobile action figurines at the end of your garden, drink some warm beer, play any literally Slade single at 33rpm, and set fire to £150.

My medium scale boxer!

I had to post a Pic of mine. Daryl

First time at a pub in Chippenham last night. Bandeoke band supporting the usual suspects (tone deaf karaoke kings, drunken shouters, nervous silent types and over enthusiastic hen parties). It went well, no one hit me and I got paid. Happy days.

Played the BrewBeat festival in Leicester city centre on Saturday afternoon. V interesting band on the bill before us called NFQ - sort of mix of jazz and breakbeats etc with some tasty upright and fretless bass playing too. We (the Andy Wales Band) were on mid afternoon - decent sized crowd, lots of people saying nice things afterwards. I took my Ashdown ABM, my two Markbass 2x10 cabs and my Yamaha BB604. Had it properly cranked too and it sounded good. Managed to dodge the rain too. ps I nicked the pic below off social media - no idea who originally took it but it’s a good shot!

I've shared a few of these over the last couple of years and been humbled by many of the nice comments you have made. My duo "Deadlight Dance" is essentially two old friends who met in Sixth Form in 1989 and wound up in a fun but (if I am being honest) slightly dodgy Sixth Form Goth band. Fast forward to lockdown / Covid and we decided to have another stab at things. We are two weeks shy of releasing a 5 track EP (streaming free everywhere, so I'm not asking for your money!) via Ray Records. The EP has a running theme of characters from books (Mary Shelley's Frankenstein and Orwell, for example). We really mixed up the instrumentation this time so there is only conventional bass guitar on two tracks - this one is bass vi. "Montag" is the conflicted fireman from Ray Bradbury's "Fahrenheit 451", which is what inspired this track. The guest star around 1 minute 55 seconds might make a few of you smile. Anyway, have a look. Whilst I'm not asking for cash (there is a Bandcamp page, in case anyone is worried I'm skipping meals though!), I'm more than happy to put this out for likes, subscribers and shares! 🙏😺

Hi Dave, I wasn't a multi band event. Just Maple Road 6-9. Daryl

Great gig at a local pub last night (The Monument, Hereford), it's really feeling great with the new band members! Loads of new songs in the set tonight, which was a bit nerve wracking at times, but we did well, the punters and ourselves thoroughly enjoyed it! 🥳👌 Bit of video here: https://www.facebook.com/share/r/pb6bQLYfHM8vyfpp/

What really grinds my gears is the process - keeping people on edge in a queue for hours wondering whether or not they'll get tickets at all, then finaly giving them the buzz of getting to the front of the queue only to be told they can only have their tickets at 2-3 times the advertised price and they've only got a short window of time to make their minds up and complete the process or it's game over. If you asked a psychologist to design a process to manipulate people into paying over the odds I doubt they could come up with anything more effective.

Ah, life on the road! I remember once being asked to provide music at an outdoor, community-run event. The initial contact between our band and the 'community' reps, involved me having to attend two Community Council full meetings, answering loads of questions from the 'committee': what type of music, how long the songs were (and the set list), how many band members, previous experience, etc. (I should add, that the gig was being done as a favour for a friend who worked with this 'community' and involved no money for us). Once the Committee seemed satisfied I had been gigging for decades, they graciously accepted our offer and said we could play. I checked loading times, stage, equipment available, etc. and was told we only needed to bring our backline and instruments as a full outdoor PA was already 'on-site'. Come the day of the gig, we arrived as arranged and caught the last 15 minutes of another band's set - mostly guys in their 70s playing hits from the 1960s (they sounded fine). Once their set was over, they proceeded to break down and pack away their equipment. Slowly but surely, the stage was cleared and all that was left was the PA, which was nothing fancy, but up to the job in-hand. We were about to bring our gear onto the stage, when three guys from the other band came back and began taking the PA down (we were told that it was their own PA and they were about to depart the show-ground and head home). I then headed off to liaise with the guy from 'the Committee', about our promised PA, only to be told that it was "all in-hand" and was about to be delivered by 'Boab' from the local Council Events Team. 'Boab' did indeed arrive five minutes later in a Council van, said to contain the PA. "Are yoose the band needin' the black box thing?" asked 'Boab'. Confirming we were, 'Boab' then proceeded to bring out a home-Karaoke unit of around ten watts, sans mikes, stands or even a mains lead. We, of course could not play our slot and left more than a few audience members staring at an empty stage. Our 'Committee' man was not best pleased when told we were departing and inventively used the vacant stage area to begin a 'beat the goalie' competition for some kids in the audience. Rock 'n' Roll - you can't beat it.

I often think I'm must be an awful bass player as I don't think about the sound much. I'm mostly playing a Lakland 55-02 through a TC Electronic BH550 amp with 2 x one10s. I was in a soul band for 3 years so I played with just the bridge pickup and Mark King's Sweet Minger toneprint on one channel and I can't remember the other one but I rarely remembered to switch anyway. The closer I played fingerstyle to the bridge the better I sounded for the funkier tunes. The other bassist who was in the soul band before me and subsequently returned to bass duties after me tends to overplay I think, the singer always says there's more breathing space in the songs when I play (I keep my notes short and funky). After the soul band I joined a heavy metal band playing originals. This has been a tough lesson in finding my place in the band, the guitars tend to play low so sometimes I'm lost in the mix. I've managed to cut through by rolling off the bass on the amp and go more trebly. The lead guitarist is also the band's 'sound engineer' so he's been a great help. I guess I just don't want the faff of a load of pedals, etc. I remember supporting Toupe (local Southampton band with 2 x bass and a drummer) and watching them set up, it looked like one of them had a scaffold plank full of pedals... I thought "eff that for a game of soldiers, how does he find the time!". It's probably why I've only ever had one person ask me after a gig about my gear in 30 odd years of playing (it might be more, I just can't remember 😄)

For years I struggled with trying to get the bass sound on the "Histoire De Melody Nelson" album by Serge Gainsbourg. Before the internet and what was subsequently revealed in interviews I tried all kinds of different basses, different strings, different amps, but never quite got there. I could play the notes but the sound wasn't really there. Then two things happened. One, I saw the bass player in question, Dave Richmond, playing his dust covered Burns Bison with black nylon strings (which he reckoned to have never changed) through an Ampeg at the Jazz Cafe. And two, I realised there and then that you can get close, but unless you actually are Dave Richmond (with his flared slacks and scruffy slip-ons) and are playing the exact bass used on the record, it's a futile quest. I never bought an original Burns Bison but I did stay with flats and foam at the bridge though. That's a forever move for me. No pedals, just amp and bass 👍

Another update. The scratch plate arrived today. I couldn't help but put the pieces of the body together to get a feel for how the final product will look. I'm very much enjoying the combination of anodised scratch plate and metallic finish. Very excited to add the neck.

Just back from an amazing evening gig at the Pantiles in Tunbridge Wells, my last as stand in for a local funk/soul band. Brilliant atmosphere/audience and we were pretty much ‘bang on it’ playing wise.job well done I think as everyone was very complimentary about my performance tonight and the two I done with them last week, it makes you feel good doesn’t it 😊.lovely bunch of people and players too. X

Just got in from the second gig in a week with the prog/math-rockish band. Another jamboree bag of various acts at a bar in Farringdon. Dismal onstage sound, but we soldiered on...not the first time, not the last etc. I was pleased with my singing and playing, so overall not too bad.

We are our own worst critics. I'm all for self improvement, but not self flagellation. Live performance will always have wee fluffs, they are but fleeting moments in time. Save the "perfection" for the recording studio, I say.

Nice message in from the dep last week "Hi Al, thanks again for depping. Listening back you put a spark back in to the band. My playing was a bit shonky at times but the fun was back and it was relaxed. Here's a link to the recording. I hope you bass sounds a bit better on this one Chris" The final sentence was a reference to my bemoaning my playing on a previous dep a month or so back. The recording was stems straight off the Soundcraft stage box. I can still hear the odd flub, but they'd have been gone in the moment so I doubt anyone in the club picked up on them and I notice only because I am listening back. Bass sounds good though possibly needed a bit more bottom but it sits well - Status S2 -> Boss TU3 -> Boss CE20 -> Trondheim Audio SkarBassOne -> sfx Microthumpinator -> TwoNotes Bass Revolt (green channel)

😎

This and it applies to any player, not just Dave Richmond. It isn't just down to the instrument, either. The sound you hear on records is produced in a studio, where there is access to a pile of eq options, outboard/mastering gear, etc, etc and where the acoustic environment can be tailored to suit whatever you are trying to achieve. You can also run your rig at any volume you like in a studio and route the sound via cans to the other musicians if the band is playing together. If individual members are tracking their parts, you don't even need to do that. Just play in the control room and listen via the monitors. It's one thing to dial up the ideal sound at low volumes, when your rig only has to make enough noise for a microphone a few inches from the cone to pick it up and is working well within itself. It's a different matter when you are trying to recreate that sound live, in a less than ideal acoustic space at high volumes. Often, the bass will have been DI'd. People spend a fortune on old Ampeg B15s to try to get the "Jamerson sound" because "that's what he used in the studio". He did, but the amp wasn't mic'd. It was only used so the rest of the musicians could hear the bass. His recorded sound was DI'd via a custom preamp/direct box. As meterman says, it's futile.

I saw one that had been modded with a Tbird pickup and really liked it. So when I found a local used one I snagged it and planned to do the same. Might change pots and tuners , but I like it.

Finally, Keanu gets to feel like everyone on here when we get a new bass!😁

Yeah I remember queuing up at HMV for my Sex Pistols ticket in ‘96. When I bought it I was like a dog with two of the proverbials.

I’ve only ever been to one stadium gig. U2 at wembley. First and last. Brixton Academy is about the maximum size venue I can deal with. Ticket purchase was fine even though it was a pretty hyped gig. Early start and a largish queue at HMV but far more fun than staring at a mobile screen on and off for several hours only to be mugged off at the last minute. Who would think that there would be nostalgia for queues for paper tickets bought with paper?

Took the new amp to rehearsal on Tuesday and gave it a spin. Immediate first impression is that it's solid with the origin effects super vintage through my BF 410. I play in a reasonably loud doom band, using a 5 string active bass. Having reflected on it, I'm not really sure how to describe my thoughts tbh.... Summary: Did it look cool? Yes Was it light weight? Yes Was it easy to set up? Yes Did it make my bass really loud? Yes How loud? Drowned the drums Anymore headroom? Yes How much? Volume at about 2 oclock The presence of my bass in the room was good, it felt like there was a fair amount of 'heft', and dynamics, and there was headroom to spare which is important I think to the whole responsiveness of the feel. Anyway, I have a bit more dialling in to do tbh with my band to get it a bit closer to my 'standard' matamp type tone and presence, and my gain staging was a little all over the place, but it was enjoyable and my favourite lightweight option to date. Gonna look for a foam case to transport it now. Will probably add a few more thoughts here next time I out it ✌️

If they don't get them for the 3rd then they need to have a think about what they're doing.. . it's not really fair to take pre orders and keep rocking the date back. I hope they do get them though and everyone gets theirs.

Nice one. I like it. That's how we do it with the Glam band. We bring a standard PA but if we need lighting and a full PA then its a van hire as well so we add on a bit more to the fee to cover it all. The way we look at it is if we can get in our cars its a standard fee. Anything more is extra. Dave

Sounds great with the ACG...

In my last band ( playing mainly theatres) I hardly ever needed to touch my amp’s settings from gig to gig. GK1001RB into a GK Neo 410 cab sounded pretty much how I wanted it to sound with no faffing. I think it’s a luxury to be able to have your bass sound in the PA though - this means you don’t have to compromise on your onstage eq to suit the room / band / audience! I’ve recently found a new solution though - it’s the ‘Vintage’ button on my Fender Rumble 500. Once engaged it makes my bass sound exactly how I like it, job done. It’s not usually through the PA, but does fit the 3 piece blues band I’m currently playing with really well. For years I’ve worked with musicians who disappear down various rabbit holes looking for ‘their’ sound, and it has to be said it’s been mainly guitarists! That’s not to say I haven’t been interested in changing my set up, but never got into pedals apart from a Sansamp used for DI duties. For me it’s just finding that magic combination of bass and amplifier and enjoying it.

Coincidentally, this is also the title of my forthcoming autobiography which will be hitting the shops shortly.

He’s been with me 17 1/2yrs. On a darker note, I wanted him in the video whilst he was still around. On a lighter note, he actually provided vocals on track 5 of the EP.

Pretty much exactly what it was.lol Daryl

One week from today, my band 'Shreds.' hits Edinburgh, Scotland for the very first time. We'll be at Legends on Saturday September 7th. Maybe see you there? Running Times: doors 6.30pm Charlie Tangos 6.50 - 7.20 Shreds. 7.35 - 8.15 Gnasher 8.30 - 9.05 Grail Guard 9.20 curfew 10 We'll have loads of merch for sale, including copies of our 12" "Step Back" vinyl that was just pressed! BTW, you don't need to head to Scotland to buy our merch... everything is also always available from our Bandcamp page: https://shredshc.bandcamp.com/merch

Hohner B2AV - absolutely no neck dive with strap buttons in original position. The only issue I have with the neck strap button position is that the bass leans away from the player rather than hanging vertically, and I've seen one modification where the strap button was moved to the side of the body facing up the neck to counter that (something that the strap extender hooks don't address).

I was thinking the same myself, even the more straightforward songs can still be tricky in places, that’s why I added a few Stax songs to my list. Duck Dunn’s playing was simpler but still just as funky in my opinion and Stax records are such great songs to play.

Dirty Roses are at the Journey's End in Yardley tomorrow (Saturday 31st August).

Ah, allow me... Shoegaze - when you are tying your shoelaces and your shoes look back up at you because they don't want to go for a walk, they want to eat chips, sit on the sofa and watch Casualty. Dreampop - that awful moment when you are finally about to engage in tongue Kung-Fu with *insert attractive celebrity here* and you are woken up by the fourth slash of the night. Thanks enlarged prostate. Hardcore - broken bricks, rubble, or similar solid material used as a filling or foundation in building and nothing whatsoever to do with Pr0n M'Lud. Post-Punk - a service whereby pink-haired thugs gob through your letterbox. Sludge - an obscure animated character who appeared in only two episodes of the 60s Hanna-Barbera cartoon series The Flintstones. He was a bouncer who worked the door of the club where Fred and Barney attended drunken parties held by The Loyal Order of Water Buffaloes. Stoner Doom - a term used in dry-stone walling circles in North Yorkshire, essentially a wall collapse due to furtive sheep action or drunk-driving veterinary incidents. New-Wave - the latest type of wave employed by any of the younger royals upon their inaugural trip in a carriage. Midwest Emo - the initial name for the act that subsequently went on to great success renamed as Rod Hull and Emu. Indie - Short Stop's nickname for Doctor Jones as used with annoying frequency in the 1984 film Indiana Jones and the Temple of Doom and played by Vietnamese actor Ke Huy Quan. Alt-Rock - a sugar free vegan tofu alternative to the teeth-demolishing confection sold to unwitting children on Blackpool's 'Golden' Mile and certainly not a county lines soubriquet for crack cocaine. Yes.