leftybassman392

Crikey, that takes me back. Not so much for the band (good though they were); more for what I was doing at the time. From my part of the world too... Happy days!

4 basses, but 2 up for sale right now - I counted 'em anyway. Originally a guitarist by training so still I have, er, 5 of varying vintages and configurations (down from 12 or 13 at it's peak). I only play for myself these days (and not very often at that) so it's way too many, but I can't bring myself to let them go.

Looks like a huge project. Enough to keep players going a lifetime I'd say. Can't imagine anybody being daft enough to try following 365 lessons in 365 days though... Great effort sir!

What's a light bulb?

Mine's not me. It's a Hiccup, and will remain so until I can't remember where this forum is anymore. Come to think of it, it'll still [b]be[/b] a Hiccup even after I [b]have[/b] lost the plot. That way I'll be able to stay forever young in the eyes of my fellow Basschatterers...

[quote name='walbassist' timestamp='1443104961' post='2872260'] PRS Bernie Marsden Signature Model [/quote] Very nice! I remember Bernie using guitars made by Sid (aka 'Les') Poole for many years. Is this a new model?

[quote name='Kiwi' timestamp='1443177490' post='2872816'] Peavey Classic 50 head - stunning value for money compared to Fender and chronically under appreciated. Nile Rodgers has a pair given to him by SRV back in the Lets Dance days. [url="http://www.ebay.co.uk/itm/Peavey-Classic-50-head-mid-90s-model-for-sale-or-trades-/331662103827?hash=item4d389a1513"]http://www.ebay.co.u...=item4d389a1513[/url] [/quote] I had a mature student once who had one of these - it was indeed an excellent piece of kit and terrific value for money (in the proper sense that is, not just damning with faint praise). When I first read the OP I couldn't help thinking 'Jazz to Doom...?' I know I'm a bit out of touch these days, but that still sounds like an awful big ask from a single amp.

Sotherby's?

[quote name='phil.c60' timestamp='1443019230' post='2871505'] [/quote] Duly noted, but it is a pretty evocative song all the same.

Any pair of lines taken more or less at random from Billericay Dickie. e.g. She took me to the cleaners, and uvver misdemeanours, but I got right up between, her rump and her ribena...

On a dark desert highway, cool wind in my hair Warm smell of colitas, rising up through the air

I actually met him on couple occasions: first time was when he stayed in a room at our boarding house in Portrush in N.I. - we'd watched him do a gig supporting Mike Absalom at N.U.U. - would have been sometime early-mid 1974 from memory. Subsequently at one of the RGT annual gatherings (he has been a patron of the Registry for many years). A thoroughly nice man. Sad news but good that the prognosis is so positive.

Not necessarily a comment on your situation, but I'm pretty sure oxidation inhibits electrical current. If it's as bad as it sounds they may need to be replaced. Not a difficult job if you're handy with a soldering iron...

Best band I ever played in was also the last band I ever played in (a modern jazz/fusion outfit - Govan/Stern et. al.). Composed entirely of music professionals just looking for an opportunity to have a bit of a blow away from their main activity. Everybody knew their role very precisely, nobody got in anybody's way (either musically or personally), egos got parked at the door during rehearsals; and as luck would have it we all got on really well. Everything was done for the good of the band. One of those situations that some musicians spend a lifetime fantasizing about. Unfortunately just as we were really getting going I was forced to quit for medical reasons. Took me some time to get over that one if I'm honest. These days I live in fairly contented retirement, but I do still think about it from time to time.

[quote name='cybertect' timestamp='1442336151' post='2866175'] Do you still take precious minutes out of your performance time to get your cables just so, or do you simply not play these kinds of gigs? [/quote] I can only speak for myself, but if we were gigging then we were on our own or (very occasionally) working with a hired PA crew and did what we were told. At other times I hired my PA out for events of one sort or another, which meant I had a large chunk of the day to set it all up; and bands were given clear instructions on how to use it. If they chose to ignore my instructions or were too stupid to get themselves on and off in time then that was their problem. Anybody overrunning their slot by more than about 5 minutes ran the risk of having the plug pulled.

Haven't done it for a few years now but I was a complete control freak when setting up - I would never let anybody else near it! Main mics, stage monitors, etc. all across the front, everything else behind the drummer - all going to a 16-way snake (for big venues with a remote mixer setup I had a 24-way drum with some sockets wired for stage return routing to monitors and (active) speakers). Just enough gaffa to hold it down otherwise leads get unpleasantly sticky pretty quickly. Even for small gigs we had our own sound man out front. Imagine a space going full width of the stage between the mic stands and the backline. I'd aim to have nothing in that space except humans if at all possible. Wireless if you can handle it, otherwise a maximum of one lead per player to their amp, stretched straight and gaffa'd down. Any more and sod's law will most assuredly have it's way at some point.

Same here, although I do recall a couple of fairly energetic dust-ups at a club in Newcastle when I lived there, would have been mid-late '70's. Can't remember the name of the club, but it was on Newgate street just where it turns the corner, across from where Debenhams is now but what I remember as a flytippers paradise of old... In general, however, I don't recall much at all - not even from the Specials gigs. (To be fair these were pretty local to the Coventry area before they became famous - the School of Education in Canley was one of their 'locals' at that time IIRC - pretty boisterous near the stage but no more than any other gig, and certainly not violent.)

I've worked a lot with female singers in acoustic duos, and I'd go for the better singer every time. If you can't have both (which as others have said would be an interesting option if it could be made to work), then you'll have better long-term prospects with the option 1. If you chose number two you'd be forever working around her limitations and availability, especially if she gets promoted in her job.

Mustang Sally. Obviously!

Just to be clear, is this thread about bass cabs or about cars?

[quote name='AndyTravis' timestamp='1441566890' post='2859919'] Well, I could... Or I could throw a load of wah and slap octaves on it and take the cash... [/quote] Precisely! All depends how you interpret the term 'rewrite'. If the songs weren't funk tunes in the first place who's going to know the diff?

Probably best not to be too precious about it. It's a wedding function so you should be expecting special requests. Granted it's a bit more extensive than you'd normally get ( ), but I'm kind of thinking that it comes with the territory - and it's all good experience that'll serve you well down the line. Unless you've specified that it's an additional cost, bite the bullet and get on with it.

[url="https://www.youtube.com/watch?v=2NS7Gkv4NNA"]http://www.youtube.com/watch?v=2NS7Gkv4NNA[/url]