TimR

Had a look at the custom shop and downloaded order sheet to look at the options. There's no PJ option so I would probably go for a modded player series, but then they still have a limited choice of bodies.

There are plenty of tunes better than SHA anyway. 3 guitars in a band is 2 too many anyway.

Isn't 'Does your Mother Know' a reference to groupies who used to dress up to look older to attract rock stars. The US has different ages of consent in different states, many of them higher than the UK (and Sweden).

Paid £39 for 2 hours last week. But very good space. And few years ago paid a lot more for a massive space in Camden, but had grand piano etc in it. So depends if it's a room you can fit a drum kit and 3 people standing, or a large jazz band.

Are you including electricity and business rates?

Like any business, you need to diversify and spot other opportunities amd work really hard, I don't think just having a space for bands to practice in will cut it. https://www.thepracticeroomz.info/ in Stevenage have a wide range of services, from rehearsal rooms, recording, providing live PA services, organising multiple line up gigs, plus being all round really nice guys. I think Farm Factory at Welwyn and Apollo Audio at Hertford, make money during the day for recording pro acts etc.

Certainly would make anyone doubly cautious about borrowing any amps that looked on their last legs. Cue lots of tech savvy bass players with remote control self destruct timers fitted to decrepit amps. 😆

They started at Wapping in 1984, then in the mid 90s, moved to just around the corner from Brick Lane. That's the same area as Liverpool St Station and Spitalfields, but Wapping is walking distance from Brick Lane. The whole area has since been redeveloped and gentrified. They used to have small gigs downstairs.

I was always taught to treat other people's possessions better than you'd treat your own. Unfortunately the standard some people treat their own things is so low that doesn't make any difference. Have just remembered lending someone a book. Wasn't an expensive book, but when they returned it they told me they'd been reading it in the bath and dropped it in. Honestly, don't bother returning it, apologise and offer to buy a new one. I'd probably have said not to worry. I threw it in the bin anyway. I'm not sure I know anyone who would practice bass in the bath...

There's a whole lot more people who have absolutely no interest and just want to play music. Repeatedly dragging up things from the past, that only you are interested in, will not change that, it's pointless and boring.

I don't see it as being nuanced at all. If we are to live in a civilised society, we need to try and follow the laws as they are, not set up our own imagined punishments for crimes that may (and often weren't) committed. That way lies madness, as @Greg Edwards69 points out. This isn't about music and society changing and not being relevant. This is about the musician being targeted for something disparate from the music. And possibly in the OP's case a bunch of people controlling the music that the rest of the band find perfectly acceptable, and for actually no good reason other than what they've been told by the media. It's exactly the same as no platforming someone because you don't agree with their political views. I have no interest in seeing Billy Bragg or Paul Young, mainly because I imagine there's a fair chunk of their concerts that will be political speeches and statements. I'm happy to go and see U2, because the music is good, and while it has a message in most of the lyrics, the message doesn't seem to be divisive. But I'm not telling Billy Brag or the guys in my band, or my local radio station not to play his music.

We have a justice system that decides guilt and a proportionate punishment to avoid this kind of lynch mob and vigilantism, even if it is virtual. The idea is that the people who are in full possession of the facts, and hear the evidence first hand make the decisions, not a bunch of people who read second hand badly reported events, often sensationalised to sell whatever media they're published on. Then the offender does the punishment and is rehabilitated back into society when appropriate. Otherwise you will get more of this cancel culture and the world will spiral into a big mess where anyone can potentially lose their reputation, job, house and family, just becasue someone starts a rumour or wants to further their own agenda.

Didn't even know that was Gary Glitter.

I don't see any issues with playing Micheal Jackson's songs. Harris and Glitter weren't particularly producing long lived songs that were mainstays of any radio station playlists.

I'm sure the only reason bass bodies are the weight they are is to prevent neck dive. You need the COG to be at the bridge end to counteract the turning moment of the neck. If anyone can come up with a strap that attaches to the neck instead of the body and still keeps the body in a playable position then that's the way to go. How did the Steinburg basses work, aside from being headless?

Playing at home? What's that?

Mainly to create engaging content. Which seems to be working. And no doubt a bunch of BassChatters will now head off to YouTube to add more views following your free advertisement.

Since 1987. McKenzie Qmax 100. A 15" 100watt 15" combo. Trace Elliot GP7 SM 300. 300watt 15" combo. Warwick ProFet 5.1. 500watt head with 2x 2x10" 210pro cabs.

In a previous band I 'hired' the PA to the band for the gigs. PAs are hard work to deal with, transport, maintain and store. It's not just owning something and letting people use it. The drummer got fed up with the arrangement and decided he'd own the PA. Fine. We paid him instead. But then he started asking people to store bits of it because he didn't have enough room and for people to drive to his house to bring bits to gigs because he had to fit drums in his car. Booking gigs is a ballache as well. I'm happy to take the money that the band leader is offering for the gig if it means I just turn up with my gear, play and go home. I'll carry some gear and help set up. But means I don't spend an extra hour loading my car and unloading it or put up with a garage full of gear that's mainly used by everyone else. I've been there and done that. It should be up front what people are getting paid for though. In my day job no one gets paid the same.

Did your amp tech not check these as a matter of course. That's probably the root of the failure.

It'll be mains bourne. Something was running in the building that night that's not normally running. As others have said possibly a fridge. I'd go hunting around if it happens again. Maybe someone bought a drinks fridge in for an event.

A DI to cover the amp breaking. Just have to deal with less volume through the vocal PA.

Found it quite easily but to save anyone looking.

Yep. Sound engineer just needs a signal. He can work out the rough settings while the whole band are playing the sound check and then fine tune during the first number once the room is full of people. You can tell whether the sound engineer knows what he is doing by how quickly his thumb comes up. 😉 I played a mini festival recently where each band had about 30minutes. The bass player was wireless and spent ages walking around out front bashing his bass and listening from different places. No idea what he thought he was achieving.