TimR

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.

Roger Waters seems to be popular at the moment...

How about Norman Watt Roy?

That's usually why we transpose. Did have a car crash at one gig in a band I was in. At the practice before the gig the singer asked if we could try the song in another key. We tried it but weren't sure it was any better. The drummer provided the setlists with keys and intro musician written next to the song, so we had an instant view of how the song started. So I kicked off with the iconic bass intro in the key on the list which was the key we always played in... and then the rest of the band came in... unfortunately some of them had made note of the proposed key change on their music during the practice...

Assuming the original is actually in Eb. Quite often songs were slowed down and sped up, sometimes the band tuned to whatever piano was in the studio (or not).

Yes. It was 7am!

The song is in concert Eb. If there were piano or Brass parts, the pianist would have to be playing in Eb. Any Bb Brass would play in E. This is why a lot of motown is in the flat keys. It's easier for the Brass to play.

Yes. Never learn a song note for note until the band have jammed a verse and chorus a few times and agreed it will work. Then all go away and learn it properly. You can get through several ideas per rehearsal that way. Plus when people turn up having not looked at any songs they don't like, you can decide where their priories lie and decide on your priorities to suit. I'd always consider it a bonus if people suggested a load of tunes I already know and know will go down well at gigs. Means you get on the road quicker and can introduce new/more complicated material at your leisure.

If you get a 'cheap' unit to try, it needs at a minimum compression, threshold, and gain. If you don't understand compression it's a good idea to get some free mixer software and play with some free plugins to see how it works.

I have Lozz's Keely Bassist and it's always on. In particular its good to have the amp gain high so your soft playing is still loud but soft and rounded and as you get louder and dig in, the attack and hard dynamics still come through but don't overdrive the input. It's a case of using it very subtly.