Boodang

Yeah, I think for me the lack of an adult conversation is the unforgivable bit. Normally when sh!t happens in a band you get over it and move on, I guess in this case it’s because it wasn’t just a band it was friends, we hang out with other, support each others projects, play in darts teams together, in fact spent more time not playing music together. In theory no musical secrets at least, so came as extra surprising. But as you say, it happens in all walks of life not just bands. Still takes me by surprise every time.

It happens, I agree, and it's more than likely that they've found someone better, but they took the cowards way to sack me. And by doing that it's affected the friendship which is the point. If they had been up front about it I wouldn't have minded.

I use the tri mix at the heart of my board. Not only for parallel mixing but also to match gain structures for inputs/outputs. Some pedals can have sensitive inputs and this solve the problem. Plus pedals in parallel is an awesome option to have.

The guitarist, quite frankly lame, excuse was 'your strengths really are in playing the acoustic numbers'. I pointed out that even if that is the case I hadn't excused myself from the non acoustic side of the band and certainly not anything that was discussed. And I certainly didn't feel that he as the guitarist held executive powers in the band (of which I am a co founder) to decide which numbers I play on and which I don't. I did get an apology, of sorts, from the drummer who said sorry they didn't think it thru. The guitarist.... nothing. Still, in the meantime I have a blues band that's doing really well with musicians who do think about each other, so at least I have more time to concentrate on that. I suspect the blues band might have something to do with their behaviour but I've always been upfront about other projects and I've never let them get in the way in terms of commitment. Still, as has been said, move on and don't let anger be the main emotion, after all we did have some great gigs, so have to be grateful for that.

I think what's quite interesting when something like this happens is how special bonds are between musicians. When you play, especially live, you're having a musical conversation that's unique and then there's that extended band family. So when it goes wrong it's particularly painful to deal with.

..oh, as for where the old band stands, they're definitely a duo now! I have other musical projects to fry with musicians who are less 'complicated' to deal with.

We were actively looking for new band mates to get it going again. He found them... plus one extra! And in terms of the music it's the old band minus me. I guess it's the lack of communication I really don't understand. However, I'll move on musically, that's not the issue, it's more the friendship. What I can't get past is when he found a keyboard player and bassist, what he didn't say was, we need keys but we already have bass.

Yeah, he genuinely is surprised by my reaction. Also, I'm surprised that he's not surprised! It's a shame because I've genuinely lost some night's sleep over the loss of a friendship and the extended family that comes with it because let's face it, with a band there's always the wives/husbands etc that form the wider circle . Oh, and definitely not going to the gig but at least I would have got in for free!

We have had a discussion. We were doing some acoustic stuff in the meantime just to keep playing and he saw this as the band's new direction. However none of this was discussed and all this was done without any consultation with me. I think for me that's the issue as it was sprung as a complete surprise and presented as a fait accompli.

Don't worry, in my head I might think it but I wouldn't do that to fellow musicians and the audience no matter the circumstances.

I think they were told it's a new adventure, which is obviously not entirely true. The worse bit for me isn't so much the end of a band but the end of a two year friendship.

I don't think they are aware as they're new in town. However in a twist of fate I'm doing the sound for a small open air festival next month and I've been told they are first on. So I'll get the opportunity. Plus I'll make sure I give their sound special attention!

This hasn't happened to me this way since I was a teenager... and that was a long while ago! I formed this covers band with a guitarist two years ago. Recently we've been on a bit of a hiatus since fellow band members left (we're all here on temporary postings) leaving us down to a trio. Turns out my fellow guitarist during the lull formed a new band consisting of the trio minus me with new musicians, playing the exact set list from our last gig. Apparently I've not been replaced because the band has a different name, so that's alright then! Haven't been fired in such a cowardly for decades. I got invited to their first gig!

Good point!! Just using an old Laney 1 x 15 combo (160 watts and quite punchy), a Doc Lloyd Photon death ray comp and a combination of a Squier Jazz with custom pups and a Musicman. Around 150 people, didn’t want to be too loud but equally some of the Hendrix numbers can’t be too quiet. Seemed to get the balance about right as we could take the dynamics down to a whisper for things like Worried Life Blues (Robben Ford style) and Little Wing, and push it back up for the likes of Fire and Purple Haze.

Played the Brit club here last night, a surprisingly excellent gig. Not for any other reason than we weren’t sure how well a blues band was going down, but as it turns out very well. This is the first outing where it’s been a full evening of just us, we advertised it as an ‘evening of blues’ and an appreciative audience turned up. The guitarist introduced us with ‘if you don’t like psychedelic blues you’ve come to the wrong place’! Also first outing for the Marshall stack and sounded awesome. Went old school for this one, back line and only vocals thru the PA.

A lightweight chambered Warmoth body would do the job or.... you could always get the body you have chambered by a local luthier.

Don't be put off by 'Berklee' & 'jazz', this is a surprisingly clear book on music theory, and you don't need a PhD to understand it.

I bought a NS Design CR4 eub in the late 90s. It came with lightweight strings that didn't bow very well so changed them out straight away for nylon core Obligato's and they've been on there ever since. And they've taken a lot of abuse. They might cost over £200 a set but given how long they last it's actually good value. Oh, and still sound as good as when I put them on.

Except one is a musical instrument and the other is not... although which is which?!

Same here. At least it's not 'printer' chat!

Was watching a Ligonniere episode on YouTube where he converted a Gretsch 28" marching drum to a BD. Rack toms a bit of an issue though!

10" deep BD?! So shocked I've obviously posted it twice for some reason. Pancake drums?

10" deep BD?!

10" deep BD?!

I’ve been going through a bit of a compression thing at moment so can sympathise. However, have reached a point where I couldn’t do without it! First off, go through all the spectracomp tone prints to check out their differences. It’s a very versatile comp and certainly not a weak link. I bought an optical comp recently and that made an indelible impression on me. No good at taming low end transients but awesome at adding top end presence and bringing up detail in the higher register. That’s an always on thing at the start of the chain, now looking at a 660 style limiter to go at the end. Of course searching for the right compressor is both worthy and a fool’s errand!