chris_b

You should try gigging in places like Camden, Shoreditch and Covent Garden. Those gigs really try your patience, but if the gig's a good one then it's worth the hassle to travel and park.

I'd go back to the doctor and tell them the side effects are unacceptable and get them to prescribe something else.

[quote name='peteb' timestamp='1494674405' post='3297753'] I drive a Volvo these days and even that has failed on me once (big time - the central computer crashed, cost £1.5k to fix)...! [/quote] I'm the source of most failures. Once I even put petrol in the diesel on the way to a gig!! I was rushing and . . . . . bugger!

Since the 60's and the demise of dance bands, the MU's condescending attitude to any of the popular forms of music and the world the guys playing it inhabited, ensured they had limited relevance to any musician born after 1945. They were a necessary evil in the old days if you were trying to work in "official" and "traditional" entertainment, ie TV, studios, theatre and foreign tours, where they had things tied up. Even if you were a member, have a dispute with anyone they didn't recognise, like most managers, agents, record companies, pubs, clubs and venues that weren't unionised and they were at best disinterested and usually useless. A lot of the West End pit guys quit (80's or 90's can't remember) when the MU did a deal (against the wishes of the players) with the theatre owners to allow digital instruments into the shows, thus putting lots of players jobs at risk. I was in the MU once. Only because it was a requirement for the tour. Apart from the insurance they are an expense most musicians don't need.

[quote name='RhysP' timestamp='1494669323' post='3297704'] There's no way I would ever have used an amp straight out of the box for a gig, same as I never would have left a bass on a stand unattended. Just asking for trouble. [/quote] I always use new gear on the first gig but I always take a backup for the first few months. If I'm really not sure I'll have both amps set up on the top of the cab with the backup just needing the speaker cable to switch over. I agree with not using a stand. These days my basses always go into the gig bag when I'm not playing them. Just safer that way. I'm not a big "backup" person and I do regard myself as being more "professional" than the next guy. My experience is: I have never broken a string or had a bass fail. I've twice had a battery run out but not since I started to change them on a regular basis, and this is not an issue now my main bass is passive. I've never had an amp fail since I switched from valve amps to SS and D class and a cab failure? Never. The only guys I see and play with who regularly carry backups are guitarists. The keys and brass players don't and drummers mostly only seem to carry breakables, sticks and spare heads. We never have any redundancy in the PA systems. There are single points of failure everywhere in everyone's gear on every gig but the guys I play with hardly ever have problems. I did get a call from the guitarist, he'd broken down on the way to a gig. Fortunately I was able to divert and pick him up. Drive a Volvo. IME they never fail. My thinking is, buy good gear, treat it well and it will support you. Complacent? Maybe or not really. Depends on your point of view. But my approach has worked for me for many decades. Everyone should do what they feel comfortable doing. If you feel it's "more professional", or you are prone to gear failures, or it just gives you a warm feeling, you're a very careful person or just have OCD then carry as many backups as you like. IMO it's not "more" professional to take backups but if you have failures, don't treat your gear well or buy unreliable gear and [i]don't[/i] take backups then you are definitely being "less" professional than you should be.

[quote name='blue' timestamp='1494555307' post='3296970'] Sound for support acts has always been a concern of mine. Maybe it's me or maybe headliners are far superior than support bands. Just seems like headliner sound is impeccable. Support acts not so much. Blue [/quote] Maybe headliners have more confidence than the supports rather than being [i]superior[/i]. If US FOH guys are the same as over here the support bands will not be given the same sound as the headline band, but I'd still insist on the stage sound being as good as you can get it. I did a festival last year, first for awhile, and fortunately the sound was pretty good. Fortunately. . . as I was depping and wasn't too familiar with the material. My main problem was the amount of room, a roaming guitarist and lack of eye contact with the drummer but, on hearing back some of the show, in spite of knowing where my short comings were, it was still seamless from an audience point of view.

It's just another gig. Do what you do and make sure your monitors are right. Have a great time.

You're looking at cutting the pie 6 ways. Good luck trying to find a bigger pie. Many gigs I play are a trio for this very reason.

IMO an electric kit is not the best way of learning drums. Play one after you've learnt but not to learn on.

Get a set of flatwounds and you'll never have to change them again.

I guess the next thing that gets readjusted down on a "cheaper" instrument, after the components and labour, is the QC the company expects of themselves and their suppliers. Yorks5stringer, you talk about 1st world problems but these companies are in 1st world competition and they have to perform, no matter what price point they are aiming for.

[quote name='IainS' timestamp='1494342964' post='3295157'] One question, though: are in-ear monitors better for your hearing (and tinnitus) than standard monitoring? My ears always ring more after I've used headphones to listen to music so I assumed in-ear monitoring would do the same. The rest of my band use in-ear so it wouldn't be a problem to switch. [/quote] The only thing that is better for your ears is turning the volume down. No matter what the source of the volume either block it out or turn it down.

I don't understand why so many players think they should get hearing protection [i]after[/i] the problems have started. That's like deciding to put your seat belt on after you've been thrown through the windscreen! I know several players who now turn up to gigs with hearing aids in, then proceed to take them out for the gig and don't use any protection while they are playing. And one of those guys has no hearing in one ear anyway. Madness. It's like playing Russian roulette with a full chamber. I've had tinnitus for over 30 years and been protecting my ears with various degrees of success for the last 25 years. I know most hearing protection isn't ideal but deal with it. However bad it's better than loosing any part of your hearing.

I know you'll get a great sound out of that rig.

If you have to tune up between numbers there is something wrong with your bass. I tune up before each set and once about half way through, when the heat has got to the strings.

I'm a fan of everything Aguilar. I've used a TH500 since they came out and now have their OB3 pre amp in a bass. I know a few guys who will put up with the excessive weight to get the great tone out of their DB cabs but I'm afraid I'm not one of them. Aguilar also went for the square format for their 212 which IMO makes it even harder to move around. A lot of players also like the sound of SL cabs with a TH500 Top quality makes I've use with my TH500 are Bergantino AE and CN cabs and Barefaced BB2 and SC cabs. As your interest has been raised, there must be some Barefaced cabs you can try in your part of the world.

Lakland bass set up with Carl Pedigo https://www.youtube.com/watch?v=cIzV9462xeE

Hamish Stuart ex AWB Carol Kaye LA sessions.

A few years ago I played the Warren Point Blues Festival in Ireland. The wind was so cold I had a T shirt, shirt, fleece and overcoat on and I was still so cold I could hardly l move my fingers. The wind chill was terrible. . . . but the sun was shining. It was the only time I've frozen and got sunburn at the same time!

Google them and you can find out their current value. I'd keep leave them to the kids for the grand kids. These might be worth something by then.

. . . . plus the great Bobby Womack

I'd be wondering why the drummer sounds so bad, playing with brushes, then I'd wonder where my invite was. Never mind I'd turn up anyway.

I loved the sound of my TH500 so much that I bought another as a backup. That was when I was using Bergantino cabs. Now I'm with Barefaced and the fantastic tone continues.

There's only one answer. Stick to what you love and suits your playing. I have never had any fear about my gear being damaged on a gig. If you're playing gigs like that I'd be more fearful for my own safety than that of a few boxes of wires. IMO Bergs are a far better cab than TC but in this "dangerous" world you seem to inhabit I'd still be as worried for those cabs. Again, if you are happy to play on a gig like you describe, your gear should be the least of your worries.

Jeff Genzler has always been a class act. His amps and cabs are some of the best. I can't believe Fender had such a brain fart when Genz arrived with the Kamen takeover and they completely failed to capitalise on the gem that had dropped into their lap!