peteb

Same here! Does anyone have any suggestions?

I don't know if this is true, but I know several (very good and very experienced) singers who will use one IEM when gigging. I don't use IEMs, but I often use a moulded ear protector in one ear on a loud stage, which seems to work well enough.

Not bad, but I would have thought that it might be a bit more than that

Mick Taylor was in a couple as well... But Daryl isn't actually a member like Bill - he and Steve Jordan are (presumably, very well paid) hired hands...

No, you've got that wrong - hundreds of years of snakeoil salesmen conning deluded musicians about how an instrument sounds! Seriously, you can't argue with these people. I once had a builder tell me that the laws of physics worked differently in the UK compared to how they do in Germany (when challenged as to why British homes are built to a much lower standard than those built in Germany).

I've just seen that Mo Foster's main fretless bass is for sale in the Bass Gallery. It's a Fender Jazz that he got a symphony-bass repairman to replace the fingerboard with a 100-year old piece of ebony removed from an old upright bass, as well as replacing the original bridge with a Badass. He said that this instrument became his 'voice'. Of course, he was completely mistaken as we know from this thread that the choice of wood and using a hi-mass bridge make absolutely no difference to the tone of a bass...

I've just played a festival where the guy playing in the band before me had an old TE amp with an Eden 410 cab. He sounded pretty good and the rig more than did the job. He said to me the he's looking for a cab with a bit more headroom, but his current rig works well enough and sounded great. The trouble with mixing a 410 with a 115 is that you do lose a bit of efficiency with different speaker sizes. I once replaced a 115 cab with a second 410 and it made quite a noticeable difference. I wouldn't worry too much about needing a 15 speaker for the bottom end if I were you - in my experience, a decent 410 will handle the lows perfectly well.

Dunn about that - there's plenty of units being touted as a 'one cab solution', pretty much any 4ohm cab.

I doubt that I will be buying it, but good on 'em...! They're musicians and if they still want to releasing new material and touring, then that's pretty inspiring actually. It's not as if they need the money - I'm sure that even Jagger isn't bothered about that at this point. I've just played a blues festival over the weekend and run into an old mate that I played a couple of gigs with several years go (he was playing the same venue after the band I was playing with). He was saying that he was glad to see that I was still doing the circuit, bearing in mind that I assume that he's a fair bit older than me (I'm in my early 60s). I've no intention of stopping and neither has he. He said that he will keep going until he keels over onstage and leaves his last gig feet first! No reason that the Stones shouldn't do exactly the same...

I've always got a Radial StageBug SB-2 in my gigbag for the odd occasion when I need it. It's small, lightweight, seems to work pretty well and costs £85 from Bass Direct.

I clicked on the link only to decide after ten seconds that it wasn't for me. I didn't feel the need to post anything nasty about it or to proclaim her as the second coming because... she's a girl... When I first saw the link I couldn't make out whether the OP was saying 'wow' because he thought that she was good, or because she was bad! Isn't a 'simp' something a guy who can't get laid calls another man who appears to over-compensate for their lack of confidence by being in awe of women for no particular reason? Sort of name calling among inadequate blokes? Excuse me, I'm not really up on all this incel nonsense...

What is the point of this thread?

Led Zep tribute in Manchester on Friday (Dazed & Confused): https://www.facebook.com/ledintozeppelin/videos/277166045036149

It's a Custom Shop Les Paul with humbuckers, so obviously not a cheap guitar without shielding, etc. Never had a problem before, just an extreme situation! I have been trying to remember the name of the studio, but it was in my very early 20s, so a long time ago! Half of that band are no longer with us! I was hoping that you were going to ame the studio and see if it rang any bells. Early 80s alert - if I remember correctly, at the time it was managed by the original bass player for the Fixx...! EDIT: it might have been Terminal Sudios, but I'm not too sure (I know that I did use Terminal at one point).

The name 'humbucker' literally means to reduce (buck) the hum that you got from early single coil pickups! Unfortunately, it isn't 100% effective.

I wonder if it's the same studio where I used to rehearse forty or so years ago? Funnily enough, we had the same problem last night playing a gig in a club in Manchester under a railway arch. There was a lot of interference for the guitar player's Les Paul, while my passive jazz bass was OK if I kept the volume on full for both pickups (a lot of noise if I turned down one pickup). It probably would have been better if I had used an active bass, but there's not a lot you can really do. We just ignored it and the noise tends to get lost when the band is playing. Just remember to mute everything when its not in use.

My mate has seen something similar on Reverb for £33k. I thought that it might be worth more. Does any one who knows more than me about these matters have any idea, just to satisfy our curiosity?

Dunno, it looks to be and the guy isn't trying to sell it or anything. My mate reckoned it seemed kosher.

This is a picture of a mate of mine holding a 52 P bass outside where he works. Apparently, a guy came in and got talking about guitars and mentioned that he had a 52 precision in the car outside and did he want to have a look. We're trying to work out what it's worth...

And, do I lose points for that??

Depends on the gig! I like to keep it as simple as possible, but I do have a pedalboard for when needed. A bass overdrive is certainly useful on certain gigs. These days I am using a tiny board with just a wireless receiver, a comp pedal and a tuner (that is redundant really, as the receiver has a tuner as well). You do know that you don't actually score extra points for not having any pedals...!

I was once told be a guitar player 'buy once, buy right - it will save you money in the long run'. He was quite right and I have always followed his advice. If you are going to commit to gigging with a wireless system , then get the best one that you can - even if its more expensive than you would like. I've used wireless systems on and off for the best part of forty years, right back to the early Nady systems. None of them were great, so I kept going back to using a lead. Eventually, I got the Shure and it has never let me down on many gigs over the years. I wish it had been available in the 80s when I first got a wireless, it would have saved me a fortune...

Due, the best and worst part of any signal chain is always the player. I've got an X-vive U2 system next to me right now that I picked up for £30 off eBay for use with my little practice amp on my desk. I got it because I was sick of damaging leads by running over with my workstation chair. I've used it a couple of times for rehearsals, but to be honest, I wouldn't trust it on a gig.

Generally speaking, your sound is only as good as the weakest link in your chain (from bass to cab / PA speaker). I play in a number of bands and to me it makes sense to keep my signal chain as simple as possible, but with the best individual components I can realistically afford. I don't use any pedals these days, apart from a compressor and a tuner. However, I do have a basic pedalboard, just in case a gig comes up where I need a few FX. To me, using is a good wireless system is a worthwhile investment as it makes gigging a lot easier and it has paid for itself many times over as far as I'm concerned. Generally I leave the responsibility of providing a good PA to the band I'm playing with or the promoter (although I do have a reasonable mixer amp for rehearsals or small gigs, just in case).

The Shure GLXD works on a PSU for the receiver and you have to charge the transmitter.