Lozz196

Well I do get all my eq from my Para Driver which is a DI pedal so FOH would have been ok but the monitoring wouldn’t have coped, ok for vox but nothing else.

Nice one and nice to see another band that links those two songs.

I’ve put these on my US Precisions, never had a problem before I knew of them, just figured it’s a safeguard worth having, seeing as the A is known as being pesky for some.

Quite agree on pretty much all of that. I remember being on the covers band circuit and coke-heads just made it a major pain. As you say they don’t usually become aggressive, just annoying.

At the gig I did last night the soundman was old-school, miked the cabs up, no DI-big. So if there hadn’t been a cab.....

Played a benefit gig for The British Heart Foundation last night, in Hereford. We knew a good few of the bands playing so nice to socialise with them. We were the headliners and both the singer and myself have the lurg at present - cough/cold - so we were a bit concerned about vox, however all was fine, we played well and the audience really enjoyed it. Big shout out to 4 youngsters who were there all day, up & dancing to all the bands apparently (where do they get their energy from) and an even bigger shout out to the organisers Raff & Sam, over £500 raised for a very good cause. Got home at 3:15, so rather tired today, zzzzzzzzz.

We sell a lot of CDs, but the majority of the people who like our music are 40 plus. I think it’s the audience that determines the format of how the music should be sold, and up to the artists to realise that.

Not played one but I saw a bassist using one at a gig and it had a really nice sound, so much so that I went and asked her what bass it was. Difficult to describe as it was now a few years back but do remember thinking at the time her sound was great.

That’s what I’ve done with my one, Si. The Players are really good basses, congrats on both.

On stage monitoring is fine if for one you like bass coming from the monitors (I don’t, but I never said I was normal) and secondly/mainly you get a good soundcheck to get the levels right. If not you can end up being one of those annoying bands continually asking for changes between every song. Whereas for me a decent on stage presence of a 410/610/810 eliminates both. I’ll only ever set my amp to the same levels as the kit anyway, but a stackmungus set up makes it a fuller, better sound. Have to add tho, a few years back I was asked to help move a flight-cased Ampeg 810. Up 3 flights of angled stairs. Took 7 of us (well we are all old).

Both of those were my locals years ago. I only live some 500 metres from them, obviously far enough away for my deaf ears to not hear the bands 🤣

Both brands make amps that sound good, but Peavey have a reputation as being virtually indestructible, as such if the two I’d probably put my money their way.

Sad but more than likely true.

You are not alone, Stew, I’ve never learned/had to learn any of those. I remember a few years back a girl down my local was a singer and on an open mic night she asked me if I’d play guitar for her - she rattled off all the “regular” songs and was quite put out that I didn’t know how to play any of them.

Not sure in Hemel Hempstead, been so long since I’ve been out socially I wouldn’t know what’s going on around here, aside from The Oddfellows Arms which has been a good music pub for a fair time now.

For me the big gear simply sounds better. Put on a very big stage I think that the bigger gear really comes into its own. That said I loved the sound of my Ashdown RM500 & 2 x RM210s the other week.

👍

Aaaarrrrgh, brain overload 😱

I’m quite easy to please: YES - Is a Precision NO - Is not a Precision

I love mine, it’s rare for me to keep gear for more than 6 months and I’ve had the 600 for three years. Its a very loud, date I say hefty amp, the notes are big and powerful. Plus you get the legendary Ashdown customer service thrown in. I will be selling it very soon if interested (see my thread about having had to leave my band) just gotta pay my £20 subs to put it - along with my ABM cabs and numerous basses - up for sale on here.

Yep, got all my gear including amps/cabs/pedals with them.

I was pretty sure he was an Ashdown man.

Well I have to say that aside from the low low stuff requiring a low B the Squier VM77 Jazz can do a great deal, just with the pickups and tone control, I can make it fit most of the genres I play along to, from Oi to Motown.

As title says, I’ve had to leave my band due to health reasons. Nothing serious or life-threatening, I’ve just realised that I can’t hack the gigging all over the country/in Europe whilst holding down a full time job, it’s just taking its toll on me. I don’t sleep well due to a back injury and the long hours travelling means I feel stinky poo virtually all the time when regularly gigging due to being knackered all the time. As I suffer with depression at times I’ve come to the realisation that my moods are linked very much to how I’m feeling physically, and when I’m not gigging/exhausted and going to the gym regularly I feel great. I can’t do this during periods of regular gigging due to needing rest, so when regularly gigging I pretty much do nothing apart from work/rest/gig. And we gig pretty much all the time. The annoying thing is is that when I’m feeling exhausted through gigging the only time I feel good is when I’m on stage - the very thing that is causing me to feel bad, a real chicken & egg situation. So I’ve decided to leave, in fact the decision was made a few months back and the guys were told then, I don’t feel great about it but for the sake of my physical and mental health, plus the sake of the band - we signed up with a German record company this year who have put out our 4th album, meaning more European work - it was a decision I had to take. I’ve done almost everything I’ve ever dreamed of musically in this band, other than play in the USA, and it means the world to me so to say I’m gutted is a real understatement. To get through it I’m looking at it along the same lines of a footballer whose legs have gone and can no longer play at the same level, age has finally caught up with me.

Well mine has stopped working, only had it just over a year, 40 odd gigs and mostly weekly rehearsals. I’ve e-mailed them and the AUS dept has been very good (was the only actual e-mail contact I could find). Quite typically dealing with the UK has not been anywhere near as straightforward, almost set up to prevent contact a conspiracy theorist might think. I’ll update once I have any kind of response/conclusion.