Dan Dare

I'll wrap it black and yellow tape 😁

😊

Are you certain about that? I note you are in NZ, so perhaps it's different there. I used to work at a prominent sports venue in the UK, where it was not unheard of for vehicles to be broken into because scum knew that there was likely to be expensive kit in them. Despite our posting warning notices in the car park, people would still leave stuff in their vehicles. We were always happy to give them a copy of the CCTV footage from our security cameras if their vehicle was broken into.

Bad luck. Have they asked Gateway Services for copies of security footage? Should give them a reg. number - the thieves would have needed a vehicle to take it away (or even get into the services - they are only accessible via the M1 as far as I know).

Any pickup will be microphonic to some extent. How much depends on how well it's designed and constructed - things like wax potting can help. It shouldn't be an issue unless you're working at ear-bleeding levels.

Option 2 of course, but I'm fortunate in that I have a choice nowadays. With a couple of pensions, some money in the bank and my home paid for, I don't have to worry financially. In the days when I did need every penny, I'd play virtually anywhere. Toilets full of animals who hated me, four hour drives, load ins up 14 flights of stairs - you name it and my answer would be "What time do we start?". I'd go back to that tomorrow if I could magically be 40 years younger.

Within reason, it won't matter where the subs are placed. Low frequencies are not directional in the way that mid and high frequencies are. So you'll be safe to place them wherever is most convenient. It's slightly better, if possible, to place them together (don't worry about spread).

Worst bass solo? Any bass solo. Joking aside, i can't stand them. It always feels as if the bass player is saying "Look. I can do twiddly bits, too. I'm not just part of the rhythm section". As if there is anything dishonourable about creating a solid foundation for the entire band. If the other musicians appreciate what I'm doing, that'll do for me. Grumpyguts is right - the bottom drops out of the piece when the bass takes a solo. I don't mind that I'm not in the limelight and I don't care whether audience members throw their knickers at me (not that they ever will, now I'm pushing 70).

In the good old days, a plastic beer crate did the job.

Tell me about it. I love Western Swing, too. Fiddle used to be my main instrument. I was fortunate enough to get the call to play for Herb Remington when he visited the UK many years ago - did a few dates and a Radio 2 session. I was a little nervous, to put it mildly. His fiddler back home at the time was Johnny Gimble. I tried on several occasions to get a Western Swing band going here. The problem is that you need serious chops to do it right and those who have them aren't interested - Western Swing seems to be viewed here as being hokey and a bit naff. Which it most certainly isn't.

Good points (and yes, we do love to moan on here). I think Fender's issue (and that of many similar companies) is that they scaled up to meet demand when times were good. Shrinking demand, combined with supply chain problems (the automotive industry is similarly affected - they cannot get hold of the components they need post pandemic/shutdown), mean they have too much capacity and must downsize and make savings. The largest element of most companies' costs are usually wages, hence the recently announced lay-offs at Fender. Re. suggestions to commission a luthier to make a custom instrument, whilst I am in favour of supporting independent luthiers, resale value has to be taken into account when buying an expensive instrument. Some years ago, I decided to buy the mandolin I had always wanted (an F5). I liked the idea of getting a luthier to build me one and even made enquiries of several. However, I bought a Gibson in the end because I knew it would hold/increase its value (which it has) due to the name on the headstock. I don't think it wise to view instruments, especially mass produced ones, as an investment in the shorter term. In many cases, you need to be able to afford to keep them for a long time to see any decent return. There are always exceptions, of course (such as the Les Pauls referred to above), but how do you predict which they will be?

Have a look at the Donstrumental YouTube channel. Don is very good and breaks it down very clearly and understandably.

I agree with your analysis. We've been living through an unusual situation. Now things are returning to some sort of normality, the one-off surge in demand for hobby items such as musical instruments, home improvements, etc is ending. Rising inflation and the threat of recession is forcing people to focus on essentials, rather than luxuries.

The frontman wasn't the driving force in AC/DC either. The Young brothers, particularly Malcolm, were. Look at any of the interviews about AC/DC (plenty on YouTube and similar) and everyone credits Malcolm with being the man who directed the band. So pete is correct about them, too.

He did and it cost him his life, sadly. Astonishing player, but the sort of person best admired from afar, imho.

Exactly. There is a popular misconception that many classic rock bands started out as a bunch of school/college pals who slogged it out and made it. Good for promo' copy, but often not the reality. Several of the bands listed - DP and Genesis, for example - included established/session players in their line-ups, so the process of getting rid of anyone who wasn't up to it had already happened by the time they became famous.

I always thought that photo looked like a toddler throwing a tantrum.

...and The Hissing of Summer Lawns and Court & Spark.

It's no longer for sale "because there was a mistake in the listing". Shame. It was just down the road from me. I'll keep searching for my dream custom bass.

Given that a double bass is tuned in 4ths, why bother? Many people play differently tuned stringed instruments without an issue (I play fiddle, mandolin, guitar and bass/double bass). It just sounds a bit pointless.

I really don't know what to say. I typed "Provided the rest of the band is competent, all will be well". Not crap. Do you need spec's? I can't see how "crap" and competent" can possibly be mistaken for one another.

I didn't say the other instruments were completely unimportant. I said that if the vocals and drums aren't right, it doesn't matter how good the rest of the band is. Leaving aside instrumental jazz combos and similar. most bands play songs. Ergo, the vocals are of primary importance, followed by the drums. Provided the rest of the band is competent, all will be well (there's a lot of truth in the saying 'good drummer = good band, poor drummer = poor band'). If the vocals or timing is suspect, it's pretty much game over. Most audiences won't care that the guitar or keyboard players are wizards if the singer is inaudible or out of tune or if the drummer is destroying the groove (try dancing to that). Your last question is a little silly. Neither is a band.

Absolutely. It also keeps the whole band tight if they can hear one another properly.

Depends on what the PA consists of. If it is only used by the singer, you may have a point, but what happens when you add things like monitoring that you use/benefit from? How about BVs? Like it or not, the most important things in any band are the vocals and drums. If they are not on the money, it doesn't matter that the guitar player has £4k worth of instrument or how good the rest of the band is. A quality PA is expensive. Mine cost three times what I spent on my instrument and backline.

The best way to buy a PA is for individual band members to own parts of it - one person buys the mixer, another a cab, another a sub and so on. Then if you split or someone leaves, you don't have to sell the whole thing (usually at a big loss as you point out). Everyone (or the person leaving if the band isn't splitting entirely) just takes their bit with them. I have to disagree that a PA is the singer's responsibility. No vocals/lousy vocal sound = no work, so the entire band benefits from the PA and should contribute. A decent PA usually costs a lot more than the average instrument plus backline. The degree to which each person contributes can be negotiated.