uk_lefty

No because they pay into the club and have to follow a lot of not all of it's rules but aren't full members so don't have a say in making those rules. They also have a cultural and political history of not getting too involved in major things happening in Europe so I'm sure they're happy with their lot.

This is what our stage looked like last time with our own lighting out... The weird spotty light thing in one of the pics was part of the venue house lighting which was a bit of an eBay Mish mash by the look of it. Our own lighting is the colour up the walls and the green and blue side fillers on the stage. Great advice, thank you.

I don't even know the names of this stuff tbh, I just got lumbered with it when I joined the band. I'll take some photos of it tomorrow. Re: additional work we all take on some responsibility in the band so I am happy to do some added work. I don't know how complex DMX Programming is but I could have a go I guess....

I've got a load of these saved up in my loft from past bass purchases and even cases. Most are double-boxed too which should help with couriering. I don't want anything for them, just want to free up the loft space. Drop me a PM if interested.

Is anyone here knowledgeable about lighting? I'm looking for good resources for making sensible, low cost changes with the gear we have to make our stage presence look more professional? I'm sure there's tons out there, just like there is for bass playing, but my base knowledge is zero here! I've somehow ended up being the storage man and set up guy for the band's lights. I have to be honest, I never wanted to be and was a bit reluctant... Then I saw some photos from our last pub gig and realised the value. Without these lights we would have looked far less professional. Now I want to take it a step further and actually understand what to do with colours and changes in the lights to make it a bit more slick. What kit we have: All the kit is cheap Chinese stuff We have lights that go up the back and side walls which we could link together but don't; Side filler lights that we hook onto the PA Speaker stands; Some crazy whirl around things that can do strobe but we rarely use them. Any advice to get me started on this would be very much appreciated.

Well, these aren't new anymore but someone somewhere might be interested.... It took a bit of farting about but I managed to upgrade the firmware. Holy moly, it's a different beast now! I was able to access a tuner on the android app, and form the website with the amp hooked up download patches. Some of the guitar patches are fantastic but so are the bass ones!!! They're not only good amp models but the weakness in the inherent sound has gone and the notes down to E are now clear and gutsy. I've just been bashing my Stingray with the "jamiroquai" amp sound on, lovely. So if you're picking one of these up, like most multi fx thingies, ignore the stock sounds, download some clever user made patches and the thing transforms.

Bacchus jazz bass in the UK on Reverb. I don't know much about these but I suspect that's a good price? Obviously no connection to the seller, etc. Bacchus Global Series WL-434 NAHO/M-Lefty (Blue/Oil) https://reverb.com/item/62655776-bacchus-global-series-wl-434-naho-m-lefty-blue-oil?utm_source=android-app&utm_medium=android-share&utm_campaign=listing&utm_content=62655776

String choice makes a huge difference on these. I received mine with roundwounds, changed to round tapewounds which I didn't like they sucked the tone too much, and now I have Maruszczyk flatwounds and that works perfectly for me with fingers or pick.

Nice!!! Wish they did the lefty in that blue. I love mine, I usually play a Stingray but like to bring out the JC for some gigs for a different approach and sound.

I got one, great deal used and the toneprints is a big plus. I'm very happy with mine, and like yourself only use it occasionally for a big and not very subtle change

With these scams you often get "it's for my daughter/ husband/ granddad and we don't have time to come and see it but we want it right now" so they try to pressure you, make it seem like they're not the "knowledgeable" buyer but you must hurry up they're paying full price... Etc. It's the eagerness to get the thing completed and distancing themselves from it ("it's not for me") so you can't have a technical discussion that's the giveaway.

Great thread, really enjoying reading this. As a left handed bassist who fancies a bit of vocals I've always wanted to do a Beatles tribute, contacted someone a year ago who was setting one up but he'd already canned the idea and moved on to Cream, which I also thought about but realised the guy was flaky and changeable at a seconds notice. My current band did a 2000's night a few months back and we've been booked for another. That feels a good fit for us but we have been debating how far we need to go with the theme, how we dress, how we present the songs, to make it viable as a show and get booked for other venues. It's a long debate with no conclusion!

Do you have the option to buy both online together, carefully unpack them and return the one you don't want to keep? Might be the best way to test through your own gear and playing style.

+1 for Wunjo. Completely no pressure sales and great service. I can get my bass set up there for free at any time forever, sadly I don't live or work close enough for that to be worthwhile but it's a great commitment! North West Guitars have been brilliant with me phoning up and asking random questions about electronics and hardware. Manson's in Exeter are fantastic as well, whether in person while I'm visiting family in the area, or remotely when I'm ordering Mojo fake leather straps from them.

I've got a V9 too. Still not sure if it's "better" than my old G1 V7 vintage that I had. I suppose when they put ebony fingerboards and matching headstocks on the G2 V7 range there wasn't much setting the V9 apart except the flamed top. I personally really like the flamed top on mine, it was a big attraction, being lefty and not usually having access to these type of things, but guess they didn't sell so well. I don't think anyone is going to miss them.

For a covers band I'd try to get a recording done at a gig where you have a decent venue with sound man/ lady and some mics picking up crowd noise. If you've got someone who can add video footage to that audio then you can show potential venues what they get... Do they get three pensioners tapping their foot in an empty pub to offkey badly rehearsed covers or do they get an enthusiastic band who gets a crowd singing along and dancing? For a covers band a studio recording isn't going to do much for you, it's not the "experience" that you are trying to sell. Also, with social media etc these days a good live recording and a video, even if it's a montage of photos over your audio, is almost an essential. We were speaking to someone who books bands recently who admitted it doesn't matter so much how good a band is, if their social media is good then it's more indicative that you will get a good crowd in. Make of that what you will, but if you want to get gigs I don't think you can go very far without it.

I always think a preamp DI pedal is a good investment, better than a spare amp.

Well it looks like Stew made the right decision in the end! My last leaving a band take was roughly a year ago. The five of us had become good friends and two of the lads had the band logo tattooed on themselves so it was a tough decision to go. However, five and a half years of playing roughly the same set and to the same people became too much for me. I was having a lot of stuff stack up causing me stress including the band which should have been more fun than stress. Taking a step back I realised a few things about how certain people were using the band as their way of being centre of attention amongst their group of friends, rather than being in a band to make music and play in new places. There were many small gripes but it all came to a head when I was criticised for taking three days away to go to a Wedding, "pretty long f'ing wedding!", and a gig was booked for a weekend I was away and played without rehearsal. Needless to say it was a disaster. Walking felt tough but I knew I had to do it and I'd already been looking at setting up my own side project anyway. I'm now in a much busier and much more professional band but it's nowhere near as stressful because the other people in the band are so level headed and we're all pulling in the same direction. It's taken a while to find it but I'm doing more gigs, more varied music, better venues and taking home more money, all of which = more enjoyment.

The unlined fretless P with a maple board can be the 1978 reissue. Entire new product line made of really heavy woods and with the quirky logos they had at the time! Jackpot. In all seriousness unlined fretless Fenders would be cool. Working for Fender product development must be easy. Need a new product lads, pass me some of our old catalogues and a thesaurus so I can find alternatives to elite, ultra, professional, etc.