TimR

Ears.

I'm another one who wonders what all those extra knobs are for. Gain until the light comes on. Volume until you're as loud as the drums. Play.

Either. But I find with a steady band it's very hard to maintain a good musical relationship with them. They're will always be a difference of opinion on what tunes to play. Unless you have a strong vocalist who can sing anything and wants to sing anything and the rest of the band are open. I've found a year to eighteen months and things start to get a bit of a grind.

I thought FM had most of the artistic input and control over the final arrangements.

Although what is the problem with how long they take to set up? It takes me 2 trips to the at and less than 5mins to set my bass gear up. Then I'll do the lights which is another trip and another 5mins. That's a lot quicker than the drummer. So I could either arrive much later, or as expected, at the same time as everyone else, set up then disappear until 'sound check'. Our 'sound check' is done during the first song. We just do a very rudimentary operational check of the PA.

Yes. I agree there are two types of PA. 1) 200w vocal PA that every vocalist should own and bring to the gig for their own use. 2) Full PA capable of running instruments. My view has always been in case 2) that one person should own the PA and the band should hire it from them. Any breakage from misuse or accident should be paid for by the person misusing it. Any accident from band funds. Any wear and tear paid for by the owner. The problem is; someone has to store the gear and go out and replace leads and other bits that wear out. It can quickly becomes a thankless task and 'expected'. And with the best will in the world shared gear doesn't get treated with the same respect and looked after as well as personal property.

The drummer and I usually arrive at the gig an hour before we are due to play. I think he takes his time but less than 30mins. Out of the six drummers I've played with in the last 2 years, only one has tuned up at the gig. He was also the least proficient player. The tuning may well be a confidence thing. When I tune my bass, I do it silently and quickly. Several times before we've been due to start the guitarist has been very insistent that I tune up, just because he hasn't seen or heard me do it.

Queen got rid of their original bass player because he took the spotlight away from Freddie. John was picked because he blended into the background.

When you read interviews from the other members they're very careful what they say. They avoid contact with him. The clear message is that he and Freddie were very close and he was devastated when Freddie died and went into depression. The most recent interview alludes to him being in a 'fragile' state. Very, very sad.

[quote name='gafbass02' timestamp='1403472956' post='2483089'] Yep, Robins nest. I'm pretty sure those factors, especially the low ceiling are pretty big contributors. But mainly the balloons. [/quote] Contributors? You haven't broken any rules. No doubt if it had sounded bad you would have moved the speakers. You cannea break the 'rules' of physics.

A few things come to mind there. 1) sloping ceiling. 2) distance of speakers from side wall, wall behind band and wall behind audience.

Should have gone to specsacers.

Messenger bag. What on earth are people taking to gigs? I have two mains leads, three instrument leads, two speaker leads, a tuner, ear plugs, spare strings, screwdriver, pliers and spare 9v battery. Also I carry a music folder, music stand, marker pen and biro.

Solves the buckle rash problem.

[quote name='TimR' timestamp='1377812282' post='2192374'] Mine was tuned at the factory by experts. I'm not messing with it. [/quote] What he said.

How funny. It's about 5miles from me. I was at work otherwise I would have bought you lunch. I bought my old second hand Trace Elliot from them. Now that Machinehead in Hitchin has gone they're about the only shop around. Great range of MXR FX pedals. Not a great selection of strings though so I only ever drop in to kick tyres and fiddle with FX.

Rob, what kind of deposit have you put down? Have you paid by credit card? I think when dealing with a sole trader people should be a lot more wary that these things can and do happen. If I was building an extension on my house I wouldn't hand £40k straight to a builder and tell him to build it when he's finished his back log.

I don't get this 'commercial organisation' aspect. He was a sole trader who, like many people passionate about what they do, put more emphasis on getting his guitars right than the customer relations, finances and getting the product to market. He was hand making 18-20 guitars a year. Then his wife and baby nearly die in childbirth and his first child devolops a serious disease. So he changes to a PLC and employs a luthier to help him. People are still demanding their basses? Some of you have gone mad.

Wasn't the issue a communication problem. He says he's updated the phone number on his website. Surely the next step would be to contact him directly in the morning to find out what the exact problem and delivery date of the bass will now be. Moaning about it here is just going over old ground.

Ok. If you want to look at it in simple terms. The postage is a service and the item is a good. You've used that service and it's now gone. You can't technically sell it again. Although you could argue that you're just the middle man so the next user should pay the initial cost of getting the goods to you and then for you sending the goods on to him. You still have the goods and they're worth exactly the same as they were when you bought them. Morally; did you buy it to sell it on, or did you use the postal service so that you could try out the goods?

[quote name='planer' timestamp='1398873800' post='2438547'] That's one of the unfortunate things about forums, a lot are like an episode of Eastenders - some shouty people telling other people what they think they ought to do. If I'm selling something, it's my thing and I'll set the price. [/quote] I guess that's what the op is asking. How many of us are the Eaatender types and what kind of reaction is he going to get from us. I say just stick it up for what price you want and just ignore them. If it doesn't sell then drop the price.

[quote name='discreet' timestamp='1398855999' post='2438264'] It's because not that many people have actually done 10,000 hours. [/quote] Well it's slightly more complicated. It's about the quality of those 10,000 hours. If you spend 1500 of those hours practicing Mustang Sally from memory you're not going to get anywhere other than becoming really good at playing Mustang Sally.

Put it up for whatever you want. No one knows what you've done to it. If it's a bass you could have put new strings on or set it up properly etc. If it's an amp you could have cleaned the pots etc. People will only buy it for what it's worth. That's the nature of buying and selling and speculating. You speculated that you would get a good deal, buying second hand. You didn't. You now have to try and make good. I don't think anyone thinks you're being opportunistic if you put it up for more than you bought it for. People don't have to buy it. They're at liberty to knock you down based on the price they think it's worth with the knowledge of what they think you might have paid for it.

Have you read 10,000 hours? It's a good book. This interview with Sting is also an interesting read, just found it this morning. http://www.singingbassist.com/interview-with-sting-the-singing-bassist/ I'm a firm believer that if you're reasonably good at something naturally, you are drawn to it and will practice it more as it's something you enjoy because you are naturally good at it. In that way you make exponential improvements.