casapete

[quote name='Chienmortbb' timestamp='1486041382' post='3228693'] SadlyI think some Soundmen/women would be terrified by the switch options on the Amp. [/quote] +1. Hence my DI box recommendation. As already outlined in other threads, many sound guys prefer to use an outboard DI - mostly due to reliability in case of amp failure and some amps having not very 'clean' DI outputs. Whilst DI outs are handy on amps, and as you rightly point out should be easier to set up / less cabling etc, just notice on how many pro gigs / setups that a DI box is used.

[quote name='Ghost_Bass' timestamp='1485777482' post='3226535'] Everytime i play a gig with hired PA company i make sure that the techs know about how my amp's DI work, i let them know that it has a switch for mic or line level, another for pre or post EQ and also the ground lift and let them set it the way they want. For me it's great not being in control, takes my mind of the overal sound and just focus on playing with the band. In pub gigs i generally get stuck with the mixer as i can step in front of the PA to listen the band's mix and correct anything needed. I would prefer to not bother with that. [/quote] Often easier to just use a DI box than have the tech stressing over how your amp works. A Behringer BD121 is a cheap useful bit of kit for such occasions.

Main gig ( long show in theatres ) - Fender Precision Lyte. Covers all that's needed for me. Country rock gig - Danelectro Longhorn (only one core sound but a good 'un ), although recent Squier Jag edging in. Acoustic duo gig - Washburn AB20. Had it over 20 years and still love it. Also Countryman Uke bass for uprighty stuff. Anything else gig - Another P-Lyte ( hey, I'm not getting any younger etc...)

See post #3 ^^^^^^

Can recommend some earlier Fender combos, namely the Deluxe 112+. Made in USA, great pedal platform, fairly light with a 1x12 speaker and very loud! Great clean tones though at any volume, with lush reverb too. They seem to go for not a lot of money s/h, c.£100. Best kept Fender secret for years.

Agreed - one of my nominations in the current thread for coolest bass player. No slouch on guitar either.

The Daryl's stuff is always great, hard to find a duff episode. Love Hall and Oates, seen them twice and were amazing both times.

+1 for Nathan East. makes it look so easy, doesn't overplay and everything right for the song. This also applies to these guys for me - Dale Davis (Amy Winehouse etc) Alan Gorrie (AWB) Stuart Zender (Marc Ronson etc) Dave Bronze Tom T-Bone Wolk (Hall and Oates) Garry Tallent (E-Street band)

Bit of a flaky start for us due to our singer having serious health problems just after Christmas. All our Jan / Feb gigs have been rearranged now though, so will mean a busier time later on in 2017. [url="http://www.elotribute.com"]http://www.elotribute.com[/url] In the meantime, any deps before Feb 24th, then please give me a shout....

Pretty much agree with all of the above. Having tried a Kala, I honestly couldn't justify maybe £200+ more on one over the Countryman. There is also a train of thought which says solid tops/bodies maybe are n't totally necessary/the best thing on a piezo equipped electro acoustic which is mainly played plugged in. Love my Countryman, best bass related thing I've bought in ages, especially given it was £145.

Mrs CP and I are lucky to share broadly similar tastes in music. She has been to many gigs with me over the years which relied on me thinking she would like it, and she did! She draws the line at anything too muso-ish though, disliking self indulgent long solos in any genre. Mostly like me really... I accompanied her to the opera once, despite it being probably my least favourite type of music. Thought I'd give it a go though, egged on by the promise of some semi naked ladies and a live eagle in this particular production ( possibly La Traviata? It was a long time ago). Anyway, the nudity was over in an instant, the eagle didn't show due to illness, and I dozed off before the intermission. Hey, I tried. I did regret not going to see Leonard Cohen with her a couple of years ago. Whilst not a massive fan, I do wish I'd gone. Mrs CP has been a fan for years, but I was just worried that because she knew I wasn't it might take the shine off it for her. Best gig we've both equally enjoyed was probably Nile Rogers and Chic. I watched, she danced!

I thoroughly recommend the Sansamp, works a treat for me. If your funds don't run to one, you could always dip your toe in the DI water with one of these - £24 well spent IMO, even if it ends up as a 'spare'. http://www.gear4music.com/Guitar-and-Bass/Behringer-BDI21-V-Tone-Bass-Preamp/6LV?origin=product-ads&utm_campaign=PLA+Shop+-+Behringer&utm_medium=vertical_search&network=google&adgroup=1+-+Product+Level+-+Behringer&merchant_id=1279443&product_id=8563d1&product_country=GB&product_partition_id=111959022559&gclid=CMG91LaU29ECFcMW0wodQfcCNg

You'd be amazed at the amount of times I encountered this - hotels having functions were the main culprits.

[quote name='stingrayPete1977' timestamp='1485193057' post='3221974'] This comes up every time pat testing is mentioned and its total nonsense, chances are the bar staff or person organising the bands won't have documents such as the fixed wiring certificates, if it's a brewery owned venue the documents will be kept on file at a head office or more likely purely an electronic copy sent direct from the electrician that tested it to the venues owner usually to send to the insurance company and local authority as part of an entertainments licence application. FWIW if you really want to ask for one it's called an "electrical installation condition report", them having one or not carries no value regarding your gear being PAT tested or not if they've requested it before you play. [/quote] My point was that it would seem only fair to expect some sort of guarantee from the venue that the mains supply you were connected to was sound, if they were indeed asking for the same from you about the state of your own gear?

Jim Lea released an album late last year, with the single being played a fair bit on Radio 2. https://www.youtube.com/watch?v=rR28HcoznX8 According to The Daily Mail (!!!), Jim Lea & Noddy Holder each receive around £250,000 a year from the Christmas hit. http://www.dailymail.co.uk/tvshowbiz/article-3374311/Poisonous-feud-merriest-Christmas-hit-earns-fortune-two-Slade-s-stars-ZILCH.html

This ^^^^^ You'd be amazed how many venues / hotels / theatres don't have their certificates to hand when they ask you for your PAT stuff.

RIP. Great memories of him with Mott. First player I saw making a Thunderbird look cool.

[quote name='wateroftyne' timestamp='1485164116' post='3221567'] This. I genuinely thought it was a parody when I first heard it. I proper LOL'd. It's overwrought, over-sincere, and dreadful. [media]http://www.youtube.com/watch?v=u9Dg-g7t2l4[/media] [/quote] I know what you mean. Although after a couple more listens, you realise it's an amazing vocal. The jury's still out with me on this one.

Dave Rotheray, ex-Beautiful South guitarist / songwriter, runs a bar 'The People's Republic' in Hull.

Andrew Bodnar (superb bassist with Graham Parker and the Rumour and played for Elvis Costello / the Pretenders / Nick Lowe etc ) works in a library in deepest North Yorkshire. His playing on 'Watching the Detectives' was just amazing.

[quote name='arthurhenry' timestamp='1485100979' post='3221102'] Over on "Mancuniancuisinechat" at the moment, they're discussing whether Flea is better than Mark King. [/quote]

[quote name='TrevorR' timestamp='1485098845' post='3221084'] Youth of today, they don't know they're born. When I wert lad we had to suffer for our music... etc etc etc etc Reading this thread has given me so much pleasure in so many ways! And it reminded me just how much the cultural context is necessary to understand the culture of even a few years ago. I don't know Bubinga5's age but I suspect not as old and decrepit as some of us. How can you possibly justify Timmy Mallet? Well, maybe not justify but explain... don't forget he was the host of one of the most popular kids shows of the time so he had a premade pre-teen customer base however good or rubbish the tune was. Then there is the tune itsef. A complete zeitgeist collection of summer tunes. Remember that in the 80s and 90s when you went to Spain or The Balearics the discos and clubs weren't playing Pete Tong or Fatboy Slim they were playing these buts of Europop trash. So the Mallett tune had a built in adult audience too. There was a culture of such novelty songs and they were hugely popular and made shed loads of cash. The Timmy Mallett tune is no different to a host of others whic made it to No 1 in the charts. And they weren't designed for any artistic merit. Nope they were just designed to make CASH. We don't really have novelty songs these days as far as I can see. Even Crazy Frog was over a decade ago. Different times! I'll leave youngsters with a couple of No odds to mull over and thank their lucky stars they dont live back then... [media]http://youtu.be/hTA6I6hn-z4[/media] [media]http://youtu.be/5bGQ1-Gmoso[/media] [/quote] Anyone remember this follow up too? Stars on 45 pints.... [url="https://www.youtube.com/watch?v=ciurZpFgYnI"]https://www.youtube....h?v=ciurZpFgYnI[/url]

+1 for Mowgli. Also Ply on Lever Street - great pizza and beer.