FinnDave

The pub's OK, just the people who run it... Full story - she turned up towards the end of our gig there last year, called me over when we'd finished, paid up, all very official, signed a receipt, and we got on with the load out. Few minutes later, she was asking who was 'in charge' of the band, so I stepped forward and she informed me (not unpleasantly) that we were 'the wrong sort of band' for her pub. I told we can't be everybody's cuppa, and she said she wouldn't be booking us again. I said something about that being fine and she left me alone. Then she started on our drummer who had just had words with the guitarist (they've known each other forever, and it's like an ongoing family argument!) and walked back into the bar to collect more drums and was effing and blinding about the guitarist. Landlady shouted at him 'Can you not swear in my pub', he apologised, and carried on getting ready to leave. Then the guitarist walked in (pleasant, affable chap) and she had a go at him 'and this one doesn't even know where he is' (on account of him leaning over to ask me what the name of the pub was when thanking the (small) audience for coming alone at the end), and he tried to explain, but she went off on one, started about his colour (he's from St Helena) and a couple of minutes later, when I was putting the last of my gear away she was shouting at all of us 'get the f... out of my f...ing pub and never come f...ing back. I so nearly said 'Can you not swear in your pub', but the guitarist was anxious to leave, which is why the cymbals got left behind (drummer travels with guitarist). Next day, I heard from the pub that 'a member of the band had assaulted an elderly lady with some musical equipment' and broken her hand. They told me it was 'all on CCTV and the footage is in the hands of the police'. No one in the band had any idea what she was talking about, local friend didn't think the pub had any CCTV, and we never heard from the police. Absolute nightmare of a gig, but the strange thing was that she didn't kick off until after she'd paid us! It's not really a bad venue, just very badly run. Would be a good place to play with different people running it.

I've played the Parson's Nose a few times, they don't want the band to start until 22.25, then play through til one. It's over an hour's drive for me, so by the time we've broken everything down and loaded the cars, I get in very late. Fun gig, though. Agree about the Pilot, that was the scene of our memorably carp gig. The landlady is a nightmare. They nicked our drummer's cymbals (£600 worth) and put them in the rubbish bins out back! Their loss wasn't noticed at the time as we were trying to make a quick get away from the aggressive LL. Luckily, we had a smart friend who lives nearby who worked out what had happened and retrieved them the next day. We're playing the Pig & Whistle in a few weeks, so it's useful to know it's 'snug'. We were in Swindon last night, and the venue was so tight for space that I was standing more in the audience than with the band. Thankfuly, I was on a wireless set, so no leads to trip unwary punters.

I asked them if pictures of me with each item would be adequate proof, but they said it would not be. I was told I'd need receipts for the original purchase (not easy for things I acquired some years ago second hand!) or service receipts. This is for musical equipment cover provided by a specialist insurance broker, as my household insurance refused to cover my gear when they discovered I was using it 'professionally' (their term, meaning thing it out and playing for monetary or other reward). It's yet more money that needs to spent on stuff that I can't have fun with!

That's true, but I am only stating what my insurer has told me. It did occur to me that it would be easy to claim for stuff that's been moved on, but it might prove a little awkward once the police get the serial numbers! Besides, I am an honest person and simply wouldn't do that, hopefully most people fit into that category.

I need receipts for all of my equipment for my insurance. If anything happened to a bass or amp, etc, they have told me they need to see proof that I owned it. Pictures of me using the gear at various gigs are not sufficient proof for them.

I've played a few times in Melksham, it's an 'interesting' place! Where were you? I think I played the most fraught gig of my life in Melksham last year!

Just back from a fairly unpleasant drive back from the far side of Swindon in surprisingly heavy snow. Gig wasn't one of our best, on balance I'd have been better off staying at home in front of the fire!

Please tell us more about the pizza....

My most recent purchase was a MiM standard Jazz, and it is a very good instrument. Decent value in my opinion. I've had it two weeks and it's already don a week in a recording studio and a couple of gigs. If I needed another, I wouldn't hesitate to get one from the same stable. My other Jazz os also a MiM, but is a classic 60s, which costs nearly twice as much. I also have a MiM Classic 50s Precision, again, a very well made and good sounding instrument, which is unfortunately for sale as I have too many Precisions!

I had to add mine up for insurance purposes a year ago, I have halved it since then, the money tied up in gear was quite an eye opener

I think the MiM Fenders are decent value for money.

20% off a few sticks wouldn't hurt, surely?

Panos, I recently had exactly the same dilemma. I play mostly Precisions in blues & rock bands, but recently joined a Grateful Dead tribute, and the Precision sounded too thick. I bought a new MiM Jazz bass and it is just right for the music.

Never to late to ask....you might get a rebate off your next purchase

But did drummers get a discount on the other 'services'?

I know I've said this before, but my local PMT (Oxford) does make a real effort, the staff are friendly and helpful. And so, when I decide I 'need' something, they are always my first port of call. A couple of weeks ago, I decided I needed another Jazz bass, called them, they had one in the colour I wanted, 40 mins later i walked into the store to see the bass behind the counter with a label under the strings with my name on it. To me, that is proper service. I always try them for anything I need and only if they can't help do I go online.

I'll be interested to hear what you think of it. For the stuff I play, I reckon the SansAmp as a pre amp is better than the one built into the Rootmaster, but I've not tried this at a gig yet. I will on Saturday though!

Just the one lead, Lozz, from the SansAmp output to the amps' FX return. Plugging into that cuts the Rootmaster's preamp out of the circuit, so the only front panel control on the amp that still works is the master volume. I'm playing it at the moment (well, put the bass on my lap to type) and even my Jazz basses sound great through it! I'm technically ignorant as well, but this was written out clearly in the SansAmp's instruction manual, which has been hiding in the box since I bought it several years ago!

So we should all totally ignore what he is saying, and just wait until his mouth stops opening and shutting and then launch into a lengthy and totally unrelated story about people you've never met and never will? Or is that just how it works in my house....

I can see that would be an advantage. I'll definitely look into it.

I used one of them from mid 70s until mid-ish 80s, don't remember it ever giving me any trouble, built like a tank.

I glanced at this thread a few days ago and it reminded me I have been carrying a Sans Amp Bass DI around for the last 3 years or so and have only used it once, when my amp stopped working, in order to DI into the PA. I started wondering what else it could do, so sat down and read the instructions (there's a first!) and tried it as a pre-amp, plugged into the FX return of an Ashdown Rootmaster 800, powering a Super Compact. Plugged in a Jazz bass and was amazed at how much better it sounded than just using the Rootmaster. To be fair, I tried to replicate the settings I was using on the sans amp on the Rootmaster, and it sounded better than I usually manage, but not as good as using the SansAmp and just the power amp section of the Rootmaster. Which makes me wonder whether I'd be better off with just a power amp, or even one of Barefaced's powered speakers - less gear to store and carry around. I'll definitely run the SansAmp into the back of the Rootmaster for the next gig, and see how it sounds out there in the real world.

First Wirebirds gig since November last night, so a little bit rusty, but as soon as we started, it just came naturally. Ended after three (I think - I lost count!) encores and were packing away to calls of 'one more...one more'. Landlord and agent happy, band happy, and that's what it's all about, really.