neepheid

We've turned down gigs at known dud venues that never promote their nights, or simply no-one ever seems to visit. Even if we get paid, it's a complete and utter waste of our time, especially if there's lengthy travelling involved. Be discerning, it's not a good look for a band playing to hardly any folk, even if it isn't their fault - people could make the leap that there weren't many people there because you're not very good.

On my old RedSub amp, the headphone jack was the same design and went dodgy and would sometimes mute the amp even if nothing was plugged in (due to the spring contacts not staying in contact with the plug removed). I didn't muck about with trying to bend the contacts at all, I just went straight to replacement. Thankfully it was on a wee daughterboard, so it was a pretty simple remove daughterboard, desolder socket, solder in new socket, reinstall daughterboard, job's a good 'un. This'll be a bit more of a pain to get to the solder points (removal of pots and footswitch etc.) but better than gutting an amp!

Like @Lozz196 did, I too am using a CMD121P (IV) with an NY121 cab. It's not technically two 1x12 cabs because one's a combo, but to all intents and purposes... I also have a Tecamp Puma 900 head, so I think I'll be looking for another Markbass cab (not another NY121, maybe a different 1x12" for variety) to have that as a rig option also. I must admit, it is taking me a little bit of time to get used to the Markbass sound, having used my old amp and cab for nearly 12 years. I think I'm getting there - once I figured out that I didn't need to push the mids any more, they're there when the amp is flat and it only needs small adjustments to taste. Dial in some Old School (I think this used to be called VLE) to lose some of that modernity/help disguise my sloppy technique...

Have you tried PMing Blue instead of having passive/aggressive jibes in a completely unrelated thread? Might be worth a shot, if it bothers you that much.

Sorry, but I'm going to do absolutely nothing about this

Why, were you invited?

Having used both, I prefer the Supertone. I find the Babicz fussy and overengineered. Each to their own.

I did have this issue when I shielded my Epiphone Explorer - the hole for the jack socket is pretty tight, size-wise and when installed, the jack socket was touching the foil. Can't rotate it (other than the whole kit and caboodle in multiples of 90 degrees because it's mounted on a plate) because this Epiphone has flat areas on the thread of the jack socket to prevent the very thing I was trying to do. I got around it by putting some insulating tape over the copper tape in the offending location. Probably wouldn't have been able to use the above solution in a space that small, but for a whole control cavity that's a nifty solution. Nice one!

I've already played this game - I owned a '75 Gibson Ripper: If I was to do this again, I'd prefer a G-3 or take a punt on a Grabber, yet to have the pleasure of playing one.

He obviously hadn't been made aware of Robert Fripp then.

Back home super early from an afternoon/early evening gig for a birthday party. One of the regular attendees at Nine Lives gigs booked us to play her 70th birthday. Proper, old school social club. We were on in the middle and the last band (Scottish Quo - guess which band's music they do?) were kind enough to let us use their backline to make for easy changeovers - much appreciated! We got in on time to catch the first act, a solo singer with backing tracks. We only had to do an hour and a half, then we stayed back to watch Scottish Quo - seemed only right after we borrowed their gear! They were proper good too - it wasn't wall to wall Quo, they threw in some other covers too. Bass player was playing 4 and 5 string Statuses (Statii?) and put on the light up fret markers near the end, bloody showoff Nah, it was sound and I enjoyed listening to them. Main thing was that the birthday girl (ha, she's 70) had a good time, and she certainly appeared to do so, plenty dancing going on. A very pleasant afternoon/evening. Because it was a special occasion, I hammed it up to the max - wore a stupid shirt and a hat, played the Epi Explorer... EDIT - someone actually remembered to take photos AND tag us!

They have been a bunch of greedy so-and-sos of late, haven't they?

Apologies if this thread is just for lauding James' Home of Tone, but I would like to give a shout out to an indie merchant: Strathvegas on etsy - custom engraved switch surrounds ("poker chips"), knob rings (fnar), truss rod covers etc. He did my DO/DO NOT poker chip for my black and gold Les Paul and more recently he took a bespoke order from me (non-standard size and engraving) for a surround for a three way rotary and delivered it flawlessly, given a simple mockup done in Inkscape. He's in Canada, so it can take a few weeks to come through, but when you get the final finishing touch to a bass you've been modding - worth the wait.

Not to mention that c0cked hat that the latest fad gear knocks all other previous gear into...

Abuse? Well, you did ask. Hold my beer. I think it's really insecure (not to mention dishonest) to try to pass off something inexpensive as a "posher" item. Be secure in yourself - most gear you can buy today is competent, what does it matter what brand it is? I gigged a Harley Benton last night and got the most praise I've ever had for my bass tone. Don't pay the slightest bit of attention to brand snobs, they're even worse than what you're proposing!

I've made some representations on the word "c0ck"'s behalf, we're not 12. Tee hee, they said "c0ck". Really?

It has many meanings. Today I used it to mean mistake (as in "c0ck up") and I saw someone refer to a licensed establishment with the word "C0ck" in its name. C0ck a gun. Male chickens. Just because it can mean penis or be used as an offensive term to question a person's sanity/competence, doesn't mean it always is and it kinda annoyed me today. As you were...

I don't think it's helpful to deal in absolutes. It's not just random notes is it? There's also interaction between band members - the nods, the winks, the "ha ha you made a mistake" knowing look, the "hey, we're doing the same thing at the same time" move. Some thought surely must be going into actually playing the intended song, even if it is to a degree a background process. I don't think that live playing should be purely anything, it's a mix of show and musicianship, neither have to be perfect, just enjoy what you're doing and that positivity will get across to the audience.

Then "matey" can book their own courier at their own risk and expense...

"I'll never sell this bass"

I... don't? I'm flattered that you think my live playing might even be slightly controlled. Oh wait, you're talking about throwing shapes on stage. I dabble. It doesn't come naturally to me, so what little I do feels quite outlandish to me. I think the most exuberant thing I do is sometimes indulge in a bit of machinegunning the audience - now that's 'Arry's influence on me. Also I often do a bit during Highway to Hell - due to its lengthy portions with no bass, I get up to nonsense like pretending to sleep, or grabbing a chair, putting it in front of my amp and having a seat, or if the cable's long enough, going and joining some punters at their table. It is evolving - at one of the venues we play, there's a darts area behind the band area - I think I'll put the bass down and throw some arrows while I wait for my services to be required. Props might also be added, a copy of the Beano, perhaps, see if people get the reference...

I think the hate comes from Gibson (USA) being run by utter cockwombles for god knows how long now, and also their utter disdain for bassists in general. This is coming from a former Gibson owner and long time apologist for them, but these days they do absolutely nothing for me. I don't hate them, but I pity the fools.

I'm a late bloomer, I was in my early thirties and I wasn't ready. I basically got dared on stage by the future Mrs. Neepheid to do a ska/2 tone covers thing for a birthday party with a one-off band back in 2008. She believed I could do it and it seems she was right. That first gig was a blur though - I barely remember being on stage, and I was stone cold sober! I joined my first official band in 2009 - an originals band called Panda Eyes. That was a good, low pressure introduction because it was very much driven by the guitarist and singer, the drummer and I were sidemen and this was made clear from the off - guitarist says to the drummer and I "if you want to write songs, go form another band". That band is long gone, but on the upside, I've been playing in bands with the same drummer ever since. I know when he's going to c0ck something up before he does IMO you're never ready - I've been playing in bands for 15 years now and I still sometimes don't feel ready! Just do it, and get better by doing it.

It wasn't the bass...

Good gig last night at The Leathan in Portlethen with Nine Lives. We were well looked after, the band area was already cordoned off with a couple of tables which were labelled as reserved for the band (that's a neat idea!) and were swiftly removed to allow us to crack on and get set up. I went up to order a few cans of Coke for us and the landlord gave us them gratis (and repeated this at half time, came over and offered us a drink, nice one!) Gig went well, it wasn't super busy and it's an odd layout, it's almost like there are two bars. I could see a bunch of people through the doorway in the "other" bar enjoying the music but too shy to come through for a dance, ahh well, as long as they're having a good time that's all that matters. We did have an enthusiastic gang of dancers who were up for most songs, so that helped. They left about half way through the second set, but were replaced by a couple of guys who were into the heavier stuff we tend to gravitate towards at the end of the night, so it was rewarding work all night. I played the Harley Benton HB-50 through a Markbass rig (Mini CMD121P IV + New York 121) and it was sounding really good - I actually got compliments on my bassing and its sound from folk. Had a fine chat at the end with a young bass player who said that my bass tone was really clear and coming through strong. Oh no, says I, that means the mistakes were coming through loud and clear also Anyhoo, great night, really enjoyed it, and smugly played a bass no-one can buy until 2024.