Lozz196

I got an email via Ashdowns mailing list detailing some new amps & cabs so suspect they will be there promoting these.

Good point, live arrangement for a studio recording to make it more dynamic, makes sense.

The latest Ashdown RM800 would get my money.

Said BL sounds as mad as cheese.

That’s a great idea, PsychovKiller segue to 500 Miles

Hard to believe its a year since this sad news. Great pic @Blondy, thanks for sharing.

The main thing for me is thinner strings further from bridge/thicker nearer the bridge must make for a better balance. I often find that the D (and G should I ever use it) lack depth in comparison to the E & A.

I had those Gear4Music ones for my guitars and they were very good, not just for the price either.

In my old punk covers band The Daves we were sure we played everything correctly, until we needed a new drummer. The new guy learned the songs correctly and we found a good few we played differently, with no ideas as to why the changes had been made. Maybe this happens in other bands as well?

Looks like a bass that Mr Soft from the Steve Harley/Cockney Rebel song would play.

Yeah I get that, certainly less pressure my way, learning 12 when given 3 than being given 10 to start with. But being given 10 can be a good way of looking at both the commitment of the auditionee, and their ability, if given a fairly wide range of material. I think the most I’ve been given for an audition was 6, tho was 15 years ago so could have been more.

If a US Fender I’d look at the bridge that currently comes on the Professional series. If Mexican then the Fender Hi-Mass or Gotoh 201B-4 are both decent, and reasonably priced.

I’m not so sure, last audition I had was told of 3 songs off the bands album. Got to the audition, they asked me where I wanted to start and my reply was let’s do the album start to finish. My thoughts are it doesn’t hurt to learn a good few songs even if I don’t get the job, as surely I must like those songs in order to be auditioning for a band that plays them. I did get the job btw.

There’s Road Worn, and there’s Shagged Out. I’d put this cab in the latter.

Fingers crossed for you Nige, hope it goes well

Most definitely. In my classic rock band we do stuff that we like and which stretches us as musicians. They are excellent songs which are great to play but I’d doubt many audiences would last our set out.

In my old band Knock Off the singer/guitarist got all the gigs, did all the Facebook stuff etc. he’s the typical cheekie chappie that just gets on with people, and enjoys networking. We were offered far more gigs than we could ever do, yes we were a good band (they still are) but I’m sure a lot of it was to do with his networking skills, plus the fact that we were easy to get on with and work with, always on time, and no attitude.

My main thoughts are to cover expenses, not get paid specifically at the bands usual rate. It’s why I used a bar person as an example, for their rate of pay, if they get £50 a shift then that should cover a regular covers bands of 3/4/5 band members on getting there. Or if that’s not doable then a couple of drinks and a sandwich each. I’ve done a few charity gigs where for whatever reasons the charity was close to one of the band members, and at those gigs we were paid expenses. How much I don’t know as in each case we just put the sealed envelopes in the charity pot.

That’s the ideal model for a charity gig imo.

I think the way forward on this is: Band Question- are the bar staff being paid Organiser/Venue Answer - yes (as obviously they will be) Band Response - our expenses for this will be the same as what one bar staff will earn for their full shift

F.A.B!

Thanks Dave, yes all part of the fun imo, I knew I’d get there, just a matter of try it & see based upon a lot of guesswork and a small bit of logic.

I might well give those a try, am really liking the XLs I’ve just put on my Sandberg Lionel so might try a set of the BTs on my Precision.