Roger2611

We clamber over the monitors, tune up silently get just about ready to go then the vocalist announces he needs a pee and we stand there like lemons for five minutes!

I have just brought a Sterling Ray34, it's ok, I suppose....sort of like a good Mexican Fender....yeah it's good but it's not quite the real deal.....I can immediately see the difference between this one and the American H/S Stingray I didn't get on with last year.....The neck is not finished to the same standard, the nut is different, the battery compartment is cheaper and I think the eq range is quite a bit less. Overall I am not taken with it, used it at my last rehearsal alongside my trusty Precision the band all agreed the Precision sounded far better than the Sterling.....shame really because I love the look of the bass

Yeah we played a town centre bar last year, we turned up and the single barmaid said "you won't see a soul through those doors before 11.15 and by the way finish at 11.10 please.....she was correct and even she disappeared 10 minutes in to our set and only came back at half time......to make matters worse the guitarists son and daughter staggered in at 11.20 and demanded to know why we had finished playing......stupid thing was, in the 40 minutes it took to pack away the place filled up and no end of the punters asked what time the band was starting and were peeved that we had already finished. The venue stopped having bands after that and closed down a few months later

WTF!

If you are lucky you may pick up a used Markbass 102 traveller cab, they are fantastic and nice and light

I was sad to part with my Stingray, I really wanted to get on with it and selling it was admitting defeat.....even more sadly I have brought another one and ......you guessed it I don't get on with that either......damn you Musicman must you tease me so

We had a similar experience last night, we played a 25th wedding anniversary party at a local golf course restaurant, we deliberately used the small PA amp to keep the volume down, we definitely weren't too loud, still had the local residents complaining by 9.30 so we had to shut all the windows....it meant an early finish for us. I asked the owner afterwards if they had other bands on and he said the agreement for licensing was they could have a live band 4 times a year but irrespective of that they would receive a raft of complaints every time they put a band on. I guess some venues just shouldn't put live music on but then on the other hand maybe residents should be a little more understanding when a venue is doing its best to keep things under control. Buy a house near a music venue, complain consistently about the noise, get said venue closed down....sell house for increased amount as no longer near music venue!

There was a bass for sale in the photos

Odyssey ? so the tab for D.I.S.C.O is in there as well......I will definitely be buying it then.....actually went into Smiths yesterday yo buy my latest fix they still had the whammy bar issue on the shelf

[quote name='shybaldbuddhist' timestamp='1402079827' post='2469925'] It's not the responsibility of the performers, the venues need the licence. [/quote] I thought that had changed recently and pubs no longer needed a license to put on live acts if the capacity was under 250 people? or is that a different license?

[quote name='skankdelvar' timestamp='1402079107' post='2469918'] The whole question of what sounds 'good' or what is 'best' is so fraught with subjectivity and so confused by variables as to be a debate akin to nailing a jelly to a wall. We may recline upon science yet experience tells us that what is stated to be 'right' does not always sound right. Examples abound of 'perfect' rigs sounding good one night and bad the next. We pursue the chimera of tonal excellence through GAS, deep reading and microscopically detailed enhancements to our equipment. Yet in my opinion it is only at the highest levels of the trade and in the most controllable performance environments that near-consistency can be sustained from one night to the next. At the end of all, we must simply accept that for most of us a definitive and repeatable outcome is beyond reach. All we may hope for is the occasional delight when everything comes together by chance. [/quote] I largely agree with what you have said, other than I think you can end up with a set up that sounds good more often than not, my old Mesa 1516 sounded great on pretty much every stage I remember playing, my current Mark Bass set up sounds great 80% of the time...to me the Mesa was my ultimate rig, the Mark Bass is good but falls short on more occasions than I remember the Mesa doing. Anyway this thread has inspired me, tomorrow night I will run a 6x10 set up with the Mark bass head, if I am happy with the results I will run the 6x10 set up with the Hiwatt head at next Friday's support slot

[attachment=164452:Walk in the Park 2012 (53).JPG] Rock god indeed

I have three questions......Why?......Why? and Why?

I have not brought from the Stevenage store but Luton has relieved of decent sums of money on more than one occasion, they are bad people with stores full of shiny nice things that make your bank balance turn red, of course your bank balance is emptied with the best possible customer service

I have never tried 8x10 but it is a classic set up, I loved 2x15 and 4x10 and 1x15 sounds but the best sound I ever had was from a Mesa Boogie 1516 which was something along the lines of 1x15, 1x12, 2x8 and a horn, the closest I can get now would be 6x10 I may try it on Sunday I hope you 8x10 set up sounds great...just think only 2 4x10's to carry!

[quote name='timhiggins' timestamp='1401804953' post='2467035'] Thats just silly [/quote] Tell me about it...not a Yamaha BB in sight, what am I thinking

[attachment=164226:002.JPG] My babies

[attachment=164217:004.JPG] Here is my current guitars...sadly not seeing a lot of use at the moment

Ok,finally got round to taking a photo of the current family......enjoy [attachment=164216:002.JPG]

Yeah, I tend to be exhausted the day after most gigs, I still put everything into each gig so am knackered and ache the day after....so perfect for a 4 hour recording session this afternoon then.....and next week a 4 hour practice, and the following week a radio session....not really thought that one through have I!

I brought a Black on Black Strat 1firstly because I liked it, secondly it was the iconic guitar edge used on the live at Red Rock gig so I guess they do have a decent tie to Fender, but quite why either need to make shrewd financial investments is slightly beyond me, between then don't they own pretty much everything anyway?

Our vocalist brought a brand new SM58 for £40.00 unsurprisingly it was a fake, the first obvious difference was the weight, the fake weighed a fraction of the the original we have, it sounded ok, don't know how long it would have lasted, he chucked it away because it was a fake.....£40.00 for a brand new SM58 what was he expecting...what is it they say..."if it sounds too good to be true...." muppetry if you ask me

Best advice I can offer is to get you amp high enough or tilted so it is pointing at your ears rather than your ankles, ears work much better than ankles for picking up sounds

I am a big fan of new strings, I start to notice after the second gig that the strings are losing their edge, unfortunately I can't afford to change them every other gig so they have to last a couple of months or so, but by the time I take them off I can't wait to get that crisp edge back

I used to gig a Les Paul, then a Junior, then a 335, always took my Strat as a back up, ended up selling the others and just using the Strat, unadventurous, yes, predictable...again yes, Swiss army knife of guitar oh yes.....mine is a beautiful Japanese 62 std reissue in Lake Placid Blue with a set of Custom Shop 69's under the hood