Mudpup

Do you reckon he got more than 350 quid for it or did it for exposure maybe?

Properly in the pocket here......dead simple but totally works in the song

The new Dan Reed Network album. Loving it. Maybe their best yet...

I would highly recommend Gary Mac!

I had the combo version of the Peavey Bam 210. Weighed an absolute ton. But the amp part was really good. Tons of effects and amp/speaker models and I thought it was a fab bit of kit. They were really expensive new so are properly rare - I've been keeping a bit of a greedy eye on that one you've spotted for a few months now but I can't justify more amps. Be aware it may be 600 watts into 2 ohms though. And the original foot switch is even harder to find but useful.

Happened to me once. First note of the first set (soundcheck was fine) with a new set of strings and the E snapped at the ball end. 20 seconds later I'm back in the song with my spare bass. Never happened before or since so must have been a QC issue. And earlier this year I had my first ever amp failure - my Handbox went pop halfway into the 1st set. A spare little Quilter BB800 always sits on top and is plugged in to the mains so it's just a speakon change and I'm good again. That one took about 30 seconds to get back in the game. My thoughts are that if you are getting paid you need some sort of backup option for all your kit - basses, amps, leads whatever. I always use 2 cabs just in case one dies. And if its a wedding you absolutely have to have plan B - as above, it's just a gig for us but it's someone elses biggest day of their life and I wouldn't want to stuff that up for them....

That's a warm fuzzy feeling when that happens isn't it :-) Well done. We have a couple of dep guitarists that have worked out like that - never met them before and they were blinding on the night. They had obviously done a bit of cramming on the day and were really organised. They're like band family now.....

Cracking night at one of the more local venues. Good crowd and we played well. The van with PA, drums, lights and half the backline got stuck in a crash on the M25 so was really late - cue world record set up time. We normally need to get started at about 7.30 for an 8.30ish sound check and 9.30 gig. The van finally arrived at 8.30! We were sound checked at 9.05 and just about had all the lights set up for the 9.30 start.

I've never been that interested in trying them until I watched the Count Me In film with Stephen Perkins. Now I really fancy having a go at it.....

I can pass on your details to him if you want to message me? Or you just post/message on his Facebook and get a phone number off him. Then sort it from there. He's Essex based.

The seller is a friend of mine. A totally upstanding dude if you need a recommendation.

Good luck finding one (a TT800 that is.......) 😉

I would add with great friends to that list..... I'm incredibly fortunate to be able to include all of the above in my band

I think there's a difference between a pub that is really a music orientated venue with music throughout the week and one that sticks a band on every Saturday night. You stand a better chance of getting a gig or having a good night if you can match the venue to the music you play. There are a few that we do that have jam nights in the week, lighter stuff on a Sunday afternoon and maybe the bigger stuff in a Friday and Saturday. They have a regular crowd that just enjoy seeing live music. One in particular local to me has everything from metal bands to Blockheads tributes but you'll see the same crowd there all the time. They just love their music but you can't be trotting out Alabama and Comfortably Numb in there as they want something a bit different or challenging. The crowd and owners may not play instruments themselves but they can spot shaky musicians or an unrehearsed band a mile off. You'll also never see them book a 'Blues Rock' band. The crowd tends to be a bit harder work (that's not meant in a bad way - they're all lovely people in the places I have in mind) but, as they see so many good bands, you really have to earn your applause. Most genres of music can get a look in here if they're good enough at it though. The others just want a band to play Mr Brightside, Alabama and Mustang Sally. Different band each week maybe but the same old stuff in general and they just want to keep punters in till midnight drinking. People go there because its a safe bet - they know they want a few drinks and to be able to jump around at 11.30 singing along to stuff they know. The crowd is easier as a result as long as you play the right material. Either tailor your set to the venue or pick the right venues for your set.

No one mentioned valve amps..... Compression by definition limits dynamics and so do the class D amps that I have tried. They get squashier as you really crank them. My old Mesa's don't in my opinion (And the Ashdowns and EBS amps have I have used) They only have a valve preamp. But the power amp seems to make the difference.

I agree with Skidder above. We play almost exclusively pubs and start booking in July. We're usually fully booked for the following year by September and the popular pubs will be mostly the same. Prepare for a long hard slog - you'll probably be trying to break into an established circuit and there are more bands than pubs. It can be soul destroying. I book most of our gigs and it took a few years to reach the point of being booked into all the venues we wanted to do. Fortunately we're now pretty established so it's much easier (One of the few benefits of Covid is the huge amount of last minute gigs popping up. This is making it easier to get gigs if you keep an eye on the social media. We've picked up a couple of regular gigs in venues I was trying to get into this way)

The rocky bit of our set last night in a local pub - decent sound if you stick some headphones on. I was pleased with my sound :-) Velvet Revolver - Slither Extreme - Get the Funk Out Ozzy - Bark at the Moon Van Halen - Panama I love playing this stuff...

That would have exactly the opposite effect and compound the issue for me - it would squash the dynamics even more. The big old heavy amps keep the dynamics as you wind them up but the class D ones seem to flatten them out

I've given up on class D as well. Tried a load of them (GenzBenz, Mesa, Genzler, GK, MarkBass, Darkglass) and they never quite give the booty when you get loud. You can get the initial volume but they flatten the sound out quicker as you get louder and just get shouty. The newer ones are very good but still don't quite do it for me. And I've had the same cabs for all of them so I have a decent point of reference. A while ago I read somewhere that it's the faster decay of the note that's different - the initial power delivery can be equivalent but a class D can't sustain the hit as well as a class A/B. The power delivery peak drops off quicker and thats the bit that gives you the heft thing - it gives you that bottomless power sensation. I don't know whether the science backs that up but it sort of makes sense to me and mirrors my experience. If you're playing loud live rock gigs that rely on backline volume you'll notice the difference but if you just use the amp as a stage monitor or play in quieter venues you may not. The only class D i've found that gets close to it is a Quilter and I believe that uses a bespoke power module rather then the generic ones that others use. I actually kept mine and can happily gig it but have moved on all the other class D's in favour of a couple of old Mesa's. They weigh a ton but the sound offsets the inconvenience for me. And if I didn't have the Mesa's plan b would be an Ashdown ABM600 as per the other guys above. It's not very heavy and definitely has the booty.