neepheid

TBF we do take a break of 10-15 mins. We usually make the first half slightly shorter than the second as a result, so it's more like 75-80mins then 90. Of course, this is cover band land. With the originals band we're typically on a three band bill and play a single 45. On the rare occasions we get to spread it out (like last Saturday when the support act bailed) we do something like 2x45.

That's nice, but in general we do what the venue asks us (and indeed pays us) to do. Up our way, that's 3 hours. The night often ends up being a game of two halves and we (well, I) talior the set accordingly - somewhat lighter stuff in the first half, getting heavier in the second.

Hard veto here also.

3 hours with maybe a 15 min break. Second set longer than the first, generally.

Eh? Is this real? And if it is, why?

And being named after one's rear end instead helps in this regard, how?

There's your mistake - expecting rational, reasoned discussion on FB.

I came into this thread expecting to read about some dumbass thing the OP had done to one of their basses.

My entries on the cheese pile are generally because "every other covers band plays that one, and it isn't even that good". I think that's a perfectly reasonable reason to veto a song. To try to swim a little against the tide. Fk Dakota, Fk Sex on Fire on that basis. There will be others and I'll veto them too when they come up.

80% of The Inevitable Teaspoons played at Drummonds in Aberdeen last night. Our sax player guffed up his dates and realised he had a wedding to attend (not his own, I must stress!). So to be honest I wasn't feeling it going into the gig. Isn't it funny how sometimes the gigs you're not looking forward to end up being great fun - maybe because there's nothing to lose and it takes pressure off oneself. So when we arrived for soundcheck, we learned that the support act had cancelled, so the whole night was ours to play with. We ended up playing for 2 hours (with a 15 min break) which is rather unusual for a no-name originals band such as ourselves, but we had enough material to cover it, and threw in some covers to break up the relentless cycle of "tunes nobody knows". It wasn't super busy, but we had folk up dancing nonetheless, so I guess we were doing something right! I expected it to be a bust, but it ended up being a really fun night! I played the G&L Tribute LB-100 into the house amp which was some sort of Ashdown ABM head into some sort of Trace cab. Sounded good, but it was just for monitoring, FOH was handled by the venue's sound engineer (who did an amazing job - I had a wander out front cos wireless and it was sounding great).

Nice, was my go-to OD for many years until I got my Monomyth. Also well done for powering through - the show must go on!

The washers work fine here. I move around - especially now that I'm wireless. The only time I've had a bass attempt to make friends with the floor was when I wasn't using the washers.

Sounds like I'm in the minority in finding agreeable people to play music with

Not so! You can finalise a transaction begun the previous year. It's when the deposit goes down that counts. "If you have put down a deposit on something before committing to this, which then requires a final payment within <year of abstinence thread>, that single payment permitted."

Hence why I said "anything within our collective technical capabilities"...

Hard disagree on this point! That's maybe how your band works, but it's not universal. Everyone gets an equal say in our band, and everyone has a veto, they're just not d!cks about using it. We're an open minded four piece and are happy to give anything within our collective technical capabilities a go, and let the audience reaction be our ultimate arbiter.

We do a rocked up version of The Weeknd "Blinding Lights" and it always goes down great. I prefer it to the original, honestly! Whenever you're trying to genre shift something, you know it has worked when you get that look on punters' faces that roughly translates into "oh damn, I wasn't expecting you to do that song!" followed by them singing/dancing along.

I would add a side to this - we usually play a (slightly) slower number second to last - it's usually Lewis Capaldi's "Someone You Loved", but we do rock it up a bit. Lighters out moment, then play a rocker to finish. One time we got asked to play Someone You Loved again and ended up playing it three times (!)

There is a cheese pile which we refuse to play, and SoF and Dakota are on it (along with Sweet Child of Mine). Can't kill Summer of 69 though. And why does Bad Moon Rising *always* work? Ditto on the Tainted Love - always goes down well because everyone knows it. We play it at northern soul speed and add nods to the Soft Cell version (chiefly the "*Bam* *Bam* - Get/Run away" bit)

Don't make me explain the joke Unless it wasn't funny of course, then

Bash him over the head. We all have to play songs we wouldn't necessarily listen to in order to entertain, it's the job, innit? It's not about him, it's not about what he likes, it's about the punters. Give the punters what they want, simples. He needs to get that through his thick skull, otherwise every time I've played "Don't Stop Believin'" through gritted teeth has been for naught. People have been sacked from bands because of this stick-in-the-mud attitude before, and just because he's BL simply means he could end up bandless.

Oh look, it's Oskar Schindler's pedalboard...

It's not that it doesn't mean anything, it's that it means different things to different people.

Once I get the mounting saga completed (waiting for proper screws - not Lace's fault, cheapo bass in non-standard pickup route shocker!), and I get it into a full, war volume scenario I will update.

Normally a PF500 would have to be in a rehearsal rental room for at least 5 mins to acquire such damage. These couriers are savages.