Bassman Steve

Can only say I had an experience at the other end of the scale. The owner clearly thought I wasn't worthy of viewing the nice 6 string stuff on the first floor and discouraged me from going up there. This when I had basses at home easily worth at least as much as the guitars upstairs. Never set foot in the place since and won't again - the bloke was a complete ar$e.

[quote name='fumps' timestamp='1407828457' post='2524289'] I recently jammed with guys who I really enjoyed playing with but had to drop out because I was too embarrassed to tell them that I couldnt afford to pay for sessions, fuel & the obligitory few pints afterwards, every week. It does burn into your pocket if your on a tight budget. [/quote] That's a real shame. I have been in bands where I've covered another guy because of his circs because they've been a nice guy/good player and I don't imagine I'm remotely unique. Never be embarrassed by your situation. Remember this (I don't know who said it) "those who mind don't matter, those that matter don't mind".

You certainly don't need shiny new (or vintage old) gear to get a good sound and play in a band. I would think it's frustrating to be with guys who are able to keep buying new gear but you have commitments and it's to your credit that you prioritise as you do. I might say one thing. Your priorities are the right ones in the scheme of things but how many 'well paid' gigs would get you up and running with decent, usable gear? If that's investing in your ability to keep playing then it's an investment in more money for your family. If it's the difference between an amp and eating then I understand but is it that? Is your amp actually dead or can it be fixed (as icastle is implying)? Use the wealth of knowledge here to explore that option. You might think 'it's ok for him' looking at my signature but that bitsa (a Squier body and similar bits) would be fine for gigging and my nephew has another I put together and it's his number 1 gigging bass).

I tend to be pretty easy about sharing my gear. On the one hand I am quite evangelical about it and so like the idea of other people getting the experience (or my version of it anyway - others will hate it I know). Principally though, I've never had a bad experience with someone using mine. I fully understand those who are at the opposite end of the scale and have no criticism of them whatsoever.

JD's rig would be great but I want the old Hiwatt into Gauss loaded Sound City cabs and Acoustic 371 rig, not that later Sunn or SWR stuff. Yes, geat vid but (donning anorak as Queen fan from when they started) I could swear there was a red neon light on the scratchplate. It's clearly been refinished as it used to have masking tape holding some of the veneer on but I swear that must be a new scratchplate. Would have liked to know what the refin incorporated.

On the video 'Outside it's America' there's a suggestion there's some Thunderbird in there too.

Love Acoustic gear and always wanted 301's to begin with and then 405's. Great project - I'm envious.

Can't remember precisely which song but a school assembly playing songs from Babbacombe Lee by Fairport Convention and telling the story.

Probably supposed to stick to the Affiliates forum, I would guess. I'm surprised the guy with his expensive scratchplates doesn't get his collar felt.

Congrats and well done. Festivals can be great fun and you obviously enjoyed yours.

I had a PF500 for a while and was very impressed with it - only got rid when I sourced my Walkabout. Loads of features for the money and stocked by Andertons, who are just up the A3 in Guildford.

[quote name='miles'tone' timestamp='1406578726' post='2512744'] Just out of interest, how did you happen to come by not one but two of J.E's basses? Gotta be a good story there! [/quote] Back in the days when the Bass Centre was in Wapping they had a decent range of s/h stuff. Must be around 1987/8 they had a whole bunch of ex-Entwistle basses. I arranged a bank loan and bought a 1953 Precision, a 1961 and a 1962 which was refinished white. I also bought a slab 66 which was there. This was before the days of the internet and I had no idea slab basses were so rare and that the white re-fin was the first Precision JE ever owned. Each of his basses came with a certificate signed by him. I kept the '53 for a while but didn't really use it so it was a bit of a waste in my hands. The same with the 1961 - I found the E string was dead no matter what strings were on it. The slab went because it was a bit uncomfortable (being a slab body!). I kept the '62 for a while - getting it refinished in black. Not long after I found a 1966 in Brighton that was far better than any of the older basses and the '62 went (via Sotheby's). The two slab body basses recorded brilliantly but I was doing far more live work. The prices will make you smile. 1953 = £995 1961 = £950 1962 and 1966 - £895 each. And you tell the young folk of today!!!!

Two candidates for each: Should have kept - either 1953 Precision in near mint condition (ex-Entwistle) or 1966 Slab Precision; Absolute dog - 70's Rick 4000 and 1961 Precision (again ex-Entwistle). Neither were terrible basses but the worst two I have ever owned.

HI James Big shout out for Kent Armstrong. My two main stage basses have KA's on and the sound is very good indeed. Give me a shout and come on over. Steve

Lots of good tips there. I would certainly endorse:[list=1] [*]get their early [*]be pleasant to the staff - whatever their role (I wouldn't want their stress ever) [*]don't over-do the hospitality (until after the gig) - remembering point 2 above still!! [*]make sure you can use any of your gear before you just unload it - swapping over gear takes time - the sound crew will be able to refuse if you don't adhere to 2. [*]think about what you each want in your monitors so the monitor guy isn't wasting time while you all debate what you want [*]enjoy the experience, festivals are great fun and a brilliant atmosphere. [*]have a good one! [/list]

[quote name='RhysP' timestamp='1405960484' post='2506967'] f*** me, that was a long set. [/quote] Sometimes I think we could do with a 'like' button.

If I'm the guilty party, I said lock into the groove. As stated, depends on repertoire but I don't play Jazz Odyssey ever. Protect your hearing is a great one. 40 years stood next to a snare drum has not been kind.

+1 for the Korg tuner. Dirt cheap for what you get - includes a lead tester as well. Looks damned cool too!

Oh yes, do take everyone else's spares. I used to tour with a case full of such stuff and was the only person not to ever need anything from it!

Work with your drummer. Lock in to the groove and stay there. If they yell 'bass solo' just ignore them. No advice on hats, I just look a total idiot in a hat. Mind you, as an aside, I do have an aversion to guitarists in hats. I reckon SRV has a lot to answer for on that front.

I think it's A34/M40/M42/M6 toll/M6.

I work in Newbury but have no plans to go anywhere near your neck of the woods until I head up to Congleton on 23rd August. I guess we could meet at a services but I would always use the M6 toll.