PaulWarning

I've come across this with my SMX GP12 AH 250, it once failed mid gig (or the cable to the PA did, after fiddling about and swapping heads it worked ok so not sure why)) I have had issues with low signal from the DI, or the sound man has, (I've tried it at home and it seemed fine to me) I've also got a series 6 GP12, never had any issues with the DI so I take that head when I know we're going through a full PA

I think with all Behringer stuff there's a chance of getting a dud, they use cheaper components (obviously) and quality control is a bit iffy, bit of a faff but you can just send it back and get another one.

BETTER DEAL HERE https://www.amazon.co.uk/Behringer-Modeler-Guitar-Effects-Pedal/dp/B000KIPUQG edit, I'm not shouting, left the caps lock on 🙂

Another Vote for Vintage V4's here, just bought a lefty on impulse off ebay, glad I did, now it's set up it plays as well as my USA P, frets not finished off as well and tuners are bit stiff but that's about it, I've played it twice now at gigs and in some ways I think I prefer it to my Fender Precision, it has more 'bark' to it

that never occurred to me, glad I'm wireless, perhaps I should get a wireless mic too, although I do try and avoid touching the mic with my lips, especially venue mics 😝

they are, bit like we're supposed to have PAT testing I suspect.

we use this mixer amp, and have had trouble with venue wiring, shocks and funny noises after one gig, we took it in for repair, nothing wrong, try it at home or practice see if it still happens

there biggest hit, as big a travesty as Chuck Berry's being My Ding a Ling 😞

yep I've just bought a Vintage V4 (new lefty) for £200 and more then happy, the finish is not as good as my USA P obviously, didn't really have a set up, but that was from new, but it's got a nice P bass bark to it and now it's set up plays just as well as my Fender Precision, a great back up bass for me

I set my P up in line with Fender recommendations, 2.5mm at the 17th fret on the E string, they should know they built it, I would think too low an action means a very light touch all the time which will take the dynamics out of your playing, plus I very rarely go down the dusty end so lowering the action has less effect anyway, apart from loads of fret buzz

sold my stingray for £650 about 5 years ago, too much twang and not enough growl for me, these are way overpriced IMO. Check out the overplaying thread, this guy certainly need too

our drummer is always 'busy' gives me an excuse to keep things nice and simple, which is just as well really

but if the buyer is asking you to ship when really want cash on collection it's up to them to take the risk, when this has occurred I always quote my 100% ebay feedback

you should be left handed, cuts down the options no end

almost any rock band that had a hit in 1977 were labelled punk, I always think 2 4 6 8 motorway is just a normal rock record, a bit ploddy, a long way from the Pistols Ramones and Clash. Were the Stranglers punk? they certainly had the attitude but they were just around at the right time, but I don't care when I here the bass kick in on Hanging Around

were you on the Thomson cruise round the western Med in 2016? if so could have been

Reminds me of a bass player I saw on a cruise ship, playing slap to alright now, on the verse!!!

I'm a P bass sort of guy, but I do occasionally here a Jazz that I think sounds awesome (Spud out of Alcoholic Licks for one), I've even once heard a Ric that sounded good, but then again other peoples playing does tend to sound better than mine

when we made our last album I jokingly said (many a true word said in jest) that I only have to get it right once during the song then the engineer can cut and paste to the rest of it, and this did happen to get rid of one or two mistakes on otherwise good takes Must admit though I'd be annoyed if I hadn't played anything on my own songs at least. But is using drum machines and bass sequencers any different from using session musicians instead of band members?

he says minor crack, looks a bit more than that to me, but then I'm no expert

for what it's worth I use a B1on for live work, which has the same effects as the B3, (I bought a B3 and found this out ) not as easy to adjust on the fly but a lot smaller and only £50

looks like it's had a headsock repair to me, aren't Gibson prone to headstocks breaking?

I was concerned about the volume issues from the DI when I had my Rumble but it never caused any problems with the soundmen I worked with, I always prefer the DI to be post EQ, at least you have half a chance of getting the sound you want FOH

what is this warming up of which you speak?

I've got some of those, the headband is held together with gaffa tape now, brilliant headphones for me, I've got big ears and they fit nicely round them without pressing them into my head so really comfy, and a relatively neutral sound, when the gaffa tape gives up I'll buy another pair