Woodwind

when I was 20 ( I had moved to Norwich for the art school) A drummer I'd befriended and I went along to what was then the main sunday jazz jam. we introduced ourselves then decided to go back the next week and play. We were a little dismayed that it was exactly the same bunch of late middle age plus musicians playing exactly the same music as the week before. I took out my 5 string and was told rather hurriedly that it would be best if we just listened this week to "see how the sessions work". Drummer and I never went back. The other music scenes I encountered there were very progressive across all ages though.

I was trying to express this same point albeit far less concisely and elegantly. The events I play at in the UK are because of the music I make. I'm not losing gigs to EU bands, rather events happen that I am booked to play at in the UK sometimes because an EU act is coming over. I've been encouraging a few of the promoters and venues I work with to pay to get the license to be a sponsor for EU acts. These are tiny venues or operations and the outlay for a a Visa License will be a serious concern, but having non UK acts coming is a way to curate a whole season of shows.

The original Kick Backs were fantastic! I used to use a borrowed Kick Back 15 in a big band I played in when I couldn't get transport for my hartke traveller 15 and HA3500. Which pirate studios were you using? I'm attending a rehearsal at their Earlsfield place soon so will hopefully get a go on a KB

Happened to an acquaintance of mine coming from Japan. doing some "holiday" gigs in the uk. Immigration queried the 20 identical records with his name on the cover in his bag. The excuse of presents for friends wasn't allowed so If he wanted to be admitted through customs he was told he had to ditch them right there!

I haven't read the thing, is it £244 for an annual EU visa or £244 for each EU country you work in?

Quoting this before having finished the thread so apologies of any thematic repeats etc. The few times I've been to Europe musically or theatrically Ie in a professional capacity where a visa will now be required won't be situations where a visa will be granted. Fringe, small scale, club level, start up, etc etc venues, artists, bands & performers won't get visa's granted. The American performers I've played with here haven't come with a visa they've turbed up on "holiday" and borrowed everything they need. Payment is cash and just goes into the "holiday" kitty. This will be the same situation now for Eu artists coming here and be extension us going over to mainland European. Exactly as you say PeteB club level gigs in mainland Europe were financially viable, perhaps even moreso than in the UK. This simply will not be the case from 2021 onwards

I bet it will sound sweet! Interested in how you get on as I'm in a similar situation

Not quite cheese, but the band Dream Themes only play TV theme tunes. https://dreamthemes.tv/ Audiences have a great time!

What Trace head have you got? If it's in a big wooden case you can have it remounted in a lightweight rack bag which will save you some more weight and make for a bit of an easier lift

I'm sorry that was your experience. That's just put the last nail in the coffin for me there then.

As much as I loved my Hartke Stack in the late 90's and having been intrigued by the Hydrive 112 especially at discount prices, I can only see the Competition offering a better alternative these days. A fender rumble 500 would be comparable price to an HD500 (if you could find one) or a Markbass CMD12 would come in at a greater cost, but arguably deliver much much more

Yeah I wasn't really dissing G&L specifically, I'd happily state Fender and Musicman basses are equally insanely priced 🤣

Lovely as that "tone rolled off" sound is (despite a lot of it coming from the big block of foam under the strings) that price is absolutely insane

Anyone had any luck replacing the footswitch in a digitech pedal? Mine had got erratic and has now stopped working when pressed. Waiting to hear back from their UK distributers. Cheers Thomas

you'll get a lot of folks recommending the stuff they use. I don't own one, but have played through one on a few occasions and couldn't believe how good it was. Exactly as Lozz suggests a Markbass CMD12! I think for your needs you'll be hard pushed to beat it without going into the endless cycle of cab/amp swapping & testing

Brilliant, Thank you Al. I'm after something quite synthetic sounding rather (hence my OC2/3 interest) to contrast with the EHX pitchfork I use already.

bumping this as I'm on a similar hunt. Anymore cheap, worthwhile OC2 or Oc3 clones to consider?

that's very generous, thank you Martin. I'll drop you a line today

I wish I could use slightly heavier strings Everything would be a lot easier. I used to play elites Stadium roundwounds exclusively and adored them so wanted to stick with them as a company, but my injuries said otherwise sadly. I have thought about just going back to rounds, but that groundwound feel is addictive

Cheers Jus-Lukin, I tried a set of these many years ago and found the tension too high - hence Why I went to the Status 40-100s If only Elites did a guage down I'd definitely try them.

Apologies if this has been covered ad-infinitum, but The search isn't working on my phone. I absolutely love the status 40-100 groundwounds I have on my (fretless) bass. Articulate, nice low tension, very eq'able if necessary. My current set must be over 5 years old and are on their way out. Status don't make these anymore and I'm a bit stumped as to where to seek a replacement. Ti jazz flats have been on my radar for a good while, but I'd like to play some before dropping the cash. Has anyone played both Status grounds and TI flats to compare? I play with a very low action and light touch. Low tension is essential due to old tendon injuries. Any advice or pointers gratefully received.