Norris

I think Bilbo has amassed those pens in preparation for the hoardes of fans wanting his signature

I'll definitely listen to them. My guitarist plays with Martin Turner (Wishbone Ash) and they have been on the same bill as The Strawbs on a tour a year or two ago. I'll ask him what he thought of them

Key, who starts, rhythm/tempo (if it's similar to a song I know). Maybe chord sequence and middle 8 if it's a tricky one. And maybe how it ends if there is a custom arrangement instead of a fade out on the original

We play in similar venues - pubs, clubs and occasionally outside, and use a pair of second hand Mackie (SRM?) 450s. Plenty enough for vocals and kick, fairly light and compact. As they are powered it saves having a separate power amp, and fewer cables to plug in. We then have a Yamaha 8 channel mixer - job done.

Clean your tip on a damp sponge then melt a blob of fresh solder onto the tip. The fresh solder will contain flux, which helps, plus the fresh solder will improve the surface contact

I think to count as a gig it should be pre-arranged. A jam is ... well a jam. Having said that I suppose you can still jam at a gig. Certainly I don't think an OM counts, but then if you want to tell your mates you gigged, I'm not going to stop you. Time for a drop of JD methinks

[quote name='JohnFitzgerald' timestamp='1508516942' post='3392742'] I did a gig earlier in the year. My band played, then another two other bands played, (David Cross, from King Crimson 0 then Ray Wilson) then ARW played. ARW are Anderson, Rabin and Wakeman. They now go out as YES. There would have been around 5,000 there. What's the least you'd have played our slot at such a festival for ? Or if I might ask that another way. If we'd pulled out with a week to go, and you were offered the slot, for zero fee, how many of you would have taken it ? All I'm saying is, the pay or reward doesn't always come in the form of money. (We consider ourselves massively fortunate to have had the opportunity, so please don't misunderstand me). I'm well aware that this is different to the original post, but I'm talking about the circumstances in which the actual cash fee kinda doesn't matter any more. [/quote] Being on the same bill as Yes is a different matter. I'd have happily done that one for free - free gig with backstage pass init?!

The only "exposure" you're likely to get from this gig is as a band that will play for free. You'll certainly get plenty of offers - for other unpaid gigs. Fair dues for legitimate charity events, but this one doesn't seem to be one of those

[quote name='Sean' timestamp='1508240364' post='3390719'] Yes. It reads 18 ohm in the one direction, off the scale in the other. WOuld that indicate that the issue is elsewhere? [/quote] Yes - you need to keep looking

If it's a diode, have you checked it both ways? Swapped the positive and negative leads around? Diodes allow current one way but not the other

If you play in a band regularly you are not going to have much of a weekend social life outside of it You don't need an expensive bass (certainly not nowadays) to make a good noise The groove is more important than the actual notes

A school hall in Munster, Germany. Around 1983 aged 17. A diabolical Kay SG copy through a home-made amp that also had guitar and vocal going through it. We played the two songs we knew - both originals.

Titebond and as many clamps as there's room for. No need for dowels

Maybe we are unusual in still only putting vocals through the PA and using backline amps. There again for the pubs we play in you really don't need a multi-kilowatt PA. So many landlords tell us it's refreshing that we get a great sound without taking the roof off or spending 3 hours sound checking in the Dog and Duck.

I'm lucky enough to have never been nervous about playing. I suppose it's because I don't think too much about it beforehand. When I get in the car I become a musician on the way to a gig - that's about the extent of my preparation, a mental switch away from the day job and family life. Arrive, set up, have a shandy. Eventually it's time to step up and do your stuff.

Yes, it only works with the switch in one position. As for the crackly sound, give it a squirt of Servisol switch cleaner and wang it backwards and forwards a few times

If it's like my 1980 one there is no true passive mode. IIRC it bypasses the varitone switch. Does it sound any different when you use the switch? There are circuit diagrams on t'Interweb, so any competent guitar repairist should be able to tackle it

Beautiful

Excellent tips Andy. I've got an ebony board to do soon and can't say I'm looking forward to it. Ebony can vary in hardness in different parts of the board - which makes your chalking tip even more valuable. Checking with a decent long straight edge every now and again will also help keep it on track

Mine is my nickname. It was given to me when I first joined a paying band in 1985 and stuck. For several decades it was the only name I was known by in musical circles, and even now most of them don't know my real name.

Around here most gigs are on a Saturday. A few Fridays and Sundays. There are very few bars that have bands on the other nights of the week. It would be difficult to get four gigs a week for a covers band let alone an originals band. Maybe once in a blue moon, but not week after week. Then as has already been mentioned, even four bar gigs a week will not pay the bills. Lack of opportunity and fairly low pay rates means that most musicians do it as a hobby. Then if you have a day job you probably don't want to be out that often either - it hurts too much after only 4 hours sleep

I didn't really start playing until the 80s but then I recall that 70s guitars and basses were considered crap - CBS ruined them all. Of course now they are worth a fortune. I always hankered after a Fender Bassman stack but couldn't afford one. Pretty quickly they were simply not powerful enough. Nowadays my back twinges at the thought of one. Sod vintage tone - I'll keep my class D

Build diaries, repairs and technical usually. Occasionally general and off topic. Now and again other musically related items for sale.

I used an adhesive called Weld-On for my celluloid binding. It has a high acetone content. I had no issues getting it to stay put and with no visible glue line. The only slight issue was the 10 minute working time, but that's not an issue if you've pre-bent the binding and prepared your masking tape strips in advance

A resistor would convert the power into heat. If you recall how hot an old 100W filament bulb used to be... Edit: Actually I wonder what the resistance of one of those would be. It wouldn't do your amp much good when the bulb eventually blows though!