JapanAxe

1. If I’m wearing stage clothes, change into my street clothes. 2. Pack up. 3. Drive home. Looking back over my 30+ year gigging life there have been very few exceptions to this. On one recent occasion that required a hotel stay, I joined a couple of band members in a nearby pub just in time for last orders. That single pint had me up 4 times in the night for a pee. You will not be surprised to learn that I have zero tales of post-gig excess and debauchery…

No way, I don’t want to lose my tall bloke privilege!

Chelsea Dagger by the Fratellis - a yobby shout-along for shouty yobs to shout along to in a yobby manner.

I’ve had this too when answering ads for bands some distance away. The risk to them is that once the initial excitement has worn off, the travel gets wearisome and they are left looking for a new player.

Oi! I live in Swindon. Yeah, fair enough.

My absolute worst load-in is O’Neill’s in Winchester. You have to stop on or next to a junction controlled by traffic lights and carry all the kit through to the back of the venue. Then park your car in a multi-storey and walk 1/4 mile back. The load-out is worse because by then the venue is rammed, and you have to drive all the way round the one-way system to get your car back to the venue.

BL made the front page of the local paper after the reason for his dismissal from his teaching post became public.

Fixed bias is the more common term but grid bias is also used as for example here. ‘Fixed bias’ seems to confuse people because it is often variable by means of a pot!

I don’t think I've hated any of the basses I’ve owned. I just moved them on, either because I became increasingly dissatisfied with them, or they were surplus to requirements.

Yes the enclosure/cabinet is always the challenge for me. Where possible I try to re-purpose these from dead (or at least undesirable!) solid state amps. Also I’m useless at woodwork!

Yes I based my layout on the Ceriatone but just went for cathode biasing rather than having grid biasing as a switchable option.

Very well thanks, I was just playing through it this evening. The build thread is here. And yes amp building is addictive - I think I’ve built 7 since my first Modulus 5E3 kit. Unfortunately valve amp kits for bass seem to be few and far between. I also built (not from a kit but from design I found online) a bass head based on a Marshall JTM45 but I’m not so happy with that one - think I’m going to turn it into the guitar version!

I have an Alesis SR18. It’s now the only piece of hardware connected by 5-pin MIDI cables to my studio computer. I use it (infrequently) in the following ways: - Jamming along to on guitar or bass. - Inputting patterns into Reaper to be edited. - As a source of alternative drum sounds to those in MT Power Drum Kit. Previously I’ve owned an Alesis SR16 and before that a Yamaha RX17. I used to step program them - that was a royal pain but it made me learn how drums work together.

Yes, any adaptor should enclose the non-UK plug so that it can’t be accessed without use of a tool (eg a screwdriver to remove a screw). However this is unlikely to be the source of the hum, it’s just a way of connecting the mains in Class II equipment (no safety earth). The problem with 2-pin European plugs is that they look like you can plug them into a shaver socket, but if you do that it puts the pins under stress.

1. Why you don't have any gigs? I didn't have any gigs in January, mainly because I managed to convince the pub band that I was depping with a lot that I wasn't going to be nearly so available as I had been- that was the band that prompted some rather grim posts from me in 'How was your gig last night?' 2. Do you rely on an agent? The tribute band that I dep with has a decent booking agent, and the tribute that I belong to really needs one! Otherwise the bands I play with tend to sort out their own gigs. 3. Who finds coordinates and confirms gigs? I don't care as long as it's not me. I have done this in the past, and found it a soul-destroying slog. 4. Are you or any band members in this for the money? Personally, I do it for the enjoyment, but I also want my skill and hard work to be suitably rewarded. The pub band folks I mentioned do it for a living - care homes mid week, pub gigs at the weekend. 5. How much do you want to gig? I love a good gig, but I won't do just any old gig. Yesterday I turned down a dep gig where the money was low, plus I knew there was nowhere to park legally within at least half a mile of the venue - just not worth it.

Noah Guthrie supported by Roofman at the Louisiana in Bristol, last Tuesday 30th Jan. I found Noah via guitarist Rhett Shull, whose YouTube channel I’m subscribed to. He has an incredible voice and the guitar chops to accompany himself more than competently. Roofman is a Dutch guy who sort of reminds me of E from the Eels, except - completely different!

Yes. Yes I do - right from hearing the demo version of Sultans of Swing on John Peel in 1977.

Stood in with Dire Streets last night at Swindon Arts Centre - less than a 10 minute drive for me, which was nice. My direct-to-PA bass rig is now fully sorted, as is my IEM setup. I really enjoyed the gig, the only slight hitch for me was when the batteries in my IEM belt pack gave out halfway through the last number - Telegraph Road. I had to pop my earpieces out and work from the ambient sound, which was way louder than my nice IEM mix, especially the drums. Fortunately I was able to change the batteries before we came back on for the encore. I’m back out with them on rhythm guitar next Saturday - Artrix Arts Centre in Bromsgrove if you fancy a nostalgic night out!

I use a Neotech Megastrap on each of my basses. The only time I get shoulder pain is if I tense up for some reason.

That’s slightly worrying! I recently bought a WL-20 and have been using it live with no problems. I plug the two parts together last thing when setting up so that they can find a clear channel to work on.

A useful tip that I picked up is to use Focus Mode and feed an output from your board into one input and the mix from the desk (minus your instrument) into the other. That way you can always be sure of hearing yourself, whatever happens to the monitor mix.