mcnach

I would not love it but... if you give it a few days you'll probably also feel that it's not a big deal. My main band booked a gig one NYE when I was away. A friend of the band was recruited to play bass. I felt the same as you... but in the end, it was fun for them, no kittens died, and I ended up having someone I could call if I really MUST back down a gig (which happened once). As an originals band, I don't want to use subs, but from time to time it can be useful and if it's a situation like this where it's either cancel or play the gig with rearranged personnel, why not?

We had situations not quite as silly but not far off... and we have done the "let's do it so that we don't get bad reputation". Guess what? Incidents like that kept happening. Then one day I had enough and refused, and convinced my reluctant bandmates. Do you know what happened? NOTHING. If fact, we decided to not put up with unreasonable crap (there's always some kind of crap, it goes with the territory), and things become much better. When a promoter treates you badly, chances are you're not the only one and people know about it. If you keep working with that kind of people, then you will be seen as a band who is probably not very serious, I think. In your case... 7.30 is probably a nicer slot, so if you can do it, why not? But I'd stay away from that guy in the future. If it's not a nicer slot or you can't make it... fear not and just tell him that you're ready to play the 3pm slot and that's it. Don't be afraid of him being upset... it doesn't look like he's the kind of person you need to worry about. Just be firmly polite, there's nothing gained by being confrontational (I did threaten one promoter once who got in my face... guess what? yes, nothing happened either... turns out he's well known for being an idiot and some people were sad I didn't thump him but yeah, best to keep it simple, polite, and move on)

oh, and I've gone to see bands after I left them too.

I'm not in a covers band... I'd go see my band, yes... but if it were a covers band I would not travel much to try. I've been in bands I would not go to see... in fact I've been in bands I have regretted being onstage with

Aha, another one 'discovers' these great speakers Big fan here too.

I think the bits that really matter are good. Fit and finish are perfect, everything is fine... but yes, the screws are soft metal... so be careful. I would not let that put me off... in fact I found that out on my first bass and bought two more. It is one of those "guys, really?" things... but fortunately the rest is good. Very good.

That's my approach too... but as you say, it's just what *I* do, not the right way. There is not right way but the way that works for you to give you the sound you want. I tend to leave the amp flat, and use the onboard preamp to get me the sound I want to produce. I only adjust the amp controls to EQ for the individual environment (boomy stages? room characteristics if I'm not using PA support... etc)

I would not worry about that. It's merely a pad switch. The label seems to imply active = higher output, which is simply not true. Active and passive basses come in all sorts of outputs and there's no hard rule about it. For example, my Stingray is not particularly high output, it matches a passive Precision / Jazz quite well... G&L L2000 in passive mode is one of the loudest things on Earth,, louder than any active bass I've ever owned. Neodymium Entwistle pickups make any passive bass scream... etc. Of course, if you boost the low end control to max on active basses, you're probably going to overload a normal input... In other words, it's not active/passive... but down to individual designs and what you do with them too. I always try the passive option first, and only if it overloads the input I switch to 'active' input. Engaging the 'active' input never sounds as nice, if the amp can take your bass in the 'passive' input, in my experience. I prefer amps with simply an input gain control (many these days)... then you simply adjust the input gain to suit.

Looks interesting! Thanks! Could be a very useful tool when working on new songs too that we've recorded at rehearsals, rearranging things etc.

I have to say that your bass is much more to my liking. As you may remember, I mis-specced the colours on mine (ended up with a redder purple than intended because of a mistake I made, and I specced the 'vintage tint' when I had in mind the 'yellow tint')... so while yours wasn't either exactly the combination I was after, I think it looks fantastic. If it plays just a fraction of how good it looks, it must be amazing

Finally! Summer this year might have been last weekend Over here you never take a warm sunny day for granted.

That amp has seen better days... but I have one just like it and it sounds pretty good. I bought it back in 2007 when I needed a little practice amp, expecting it to be disappointing just like every little bass amp I had tried until then... but boy was I wrong. I have no idea about the bass, 'though.

I liked that!

I owned one and sold it... and my girlfriend is buying it back

If I'm loosening it, I don't bother. If I'm tightening it... it depends. If it feels tight I do, if it doesn't I don't. Most adjustments are very minor so it doesn't seem to matter much... but the safest would be to loosen up the strings if tightening the truss rod.

Well... my 50th will be this summer, and it looks like I'm getting this: Most people would probably aim for something rather more upmarket... but I'm very happy about this one

You and your fetishism...

I hope it works out for you

Playing at the Ska & Northern Soul festival yesterday in Berwick upon Tweed... while we're not exactly either fully ska or Northern Soul... but it went pretty well. I only got my hands on a little mobile phone video of one of our newer songs... It was fun. https://www.facebook.com/jose.d.heras.7/videos/10155999696566273/

I hope they don't... because I'll end up buying one The new Squiers are really good 'though. The CV series in particular, they're great instruments with nothing lacking. When you compare them to what you used to get from a Squier, you realise the extra money is justified.

Years ago I bought something similar (not the same ones 'though) and they worked well but the glue was not very strong and they ended up moving about and losing a few frequently. I hope these ones are a bit better.

I've done various things. On a lacquered maple neck, I've used black marker to paint big dots. They do get erased over time but they're easy to repaint. Done carefully they look good too, and they're easy to remove without leaving marks. On rosewood fingerboards, a bit of tippex works well and it's also easy to remove without marks.

Ah... a Sire won. I have to say that I haven't tried many Sires... but they were all very good. Good choice!