Muzz

Yeah, I'd put a C&D into 'imminent legal action' territory. Awful timing for Sheldon, mind.

I'd suggest that the first line of their announcement 'Due to circumstances beyond our control' suggests very very strongly either imminent or actual legal action from Gibson...in the end, it makes no difference: they've changed a popular design (and the name) due to external circumstances. No point in taking on extra work, and possibly losing sales, if that wasn't the case.

My tinnitus was (finally) triggered by a guitarist dep's 40w 1x12 combo. Albeit positioned badly (for me), but that's all it took...

This is the most sense I've heard all week...we do it occasionally, when the guitarist/singer gets into the 'volume creep' thing with his presets* - it's like a Sanity Reset... 🙂 * You know, when one preset is louder than the next one, so instead of turning the first one down, he turns the second one up...and so on...repeat until deafened...

I think that seeing as they've gone for Dingwall, whose only Gibson-reminiscent bass has a completely different headstock and so many improvements on the original it's basically only the overall body outline that's in any way similar, then Mike Lull had better be lawyering up right now...his are straight copies by comparison, plus he's also the right size for Gibson's legal team to push around...

Listening to an audiobook today by David Hepworth talking about something Led Zeppelin managed in 1971: "It's easy to BE louder, what's more tricky is to SOUND louder..." Dynamics can be a powerful thing...

Fantastic...they're that good you'd better watch out for Cease and Desists from Gibson... 😕😀

Back in the days when there were quite rigidly-defined partitions between music styles and their fans, a pal of mine was a full-on mohican'd punk, and I was a biker metal fan. We thought we were being very daring when we agreed to each go with the other to a gig of a band on the other side of the tracks. I took him to Motorhead, he took me to The Stranglers. The crowd for both gigs was exactly the same people... 🙂

Ohhh, I'm loving "...but he couldn't understand their lack of violence..." I've played with those type of drummers, too...and they're never the best. 😕 In the OPs position, I'd be making moves to point the guitard's cabs directly at their heads...it's amazing how they get the point when they're looking down the barrel of their own output. It seems utterly pointless to me to be cranking stage volumes up when everyone's already wearing hearing protection, and from some close observation of crowds I've spotted that most punters don't like ringing ears, either...

And yet enough people do like the change to the T-Bird offered by Dingwall for Gibson to perceive it as a threat. I think the earlier point being made was the quality ('sub-par') offered by the original...

I'll forward this to Yamaha, Aria, Sadowsky, Maruszczyk, Alleva Coppolo, Sandberg, Mike Lull, and Uncle Tom Cobbley and all for you...just for the Jazzes. Actually, I won't; the list of recipients would be too long for my email client...

Most of the time, my backline isn't. Helix, in-ears; times have already changed, again... 😀

I love it, and yeah, it’s why I play...always has been. The downsides can weigh a bit heavier now I’m older, but they can be addressed. While avoiding the drunks can be hit and miss (despite vetting bookings), with some thought (and expenditure), we’ve got the lugging down to very, very little (three trips to the car for the three of us and we’re done), so the heavy lifting’s gone, and we’re 30 mins to set up and soundcheck, and less to break it down and get it packed away. That helps a lot, especially on a three gig weekend like this one, followed by a 6am alarm for work tomorrow morning...

We played one of those all-day charity festivals a few weeks ago, and were asked for a rock set. We put Killing In The Name in, specifically to watch the singer having to bowdlerise the lyrics on the fly...'Flip you I won't do what you tell me' and 'Motherfluffer' don't have quite the impact of the original, but it was worth it to watch everyone laughing...including most of the kids 😀

What I meant was would you have done it for nothing? Because that’s what the Tattoo are wanting... I’m guessing not 😀

I wonder how well this would go down if the Tattoo was on a cruise ship for a month?

One of those as a bass...

To paraphrase Billy Connolly: "Don't tell me how to do my job, or what with...do I come to where you work and tell you how to sweep up?" 🙂

I think what doesn't help is the perception that playing an instrument isn't actually work; not like security, or building a stage. The perception that applause is validation in itself, and therefore full reward, for what a musician does... Wrong, I know, but I suspect that's what a lot of people who aren't musicians think. Add to that the chance to cut costs, and you can see why it's the musicians which get the sharp end...

You should worry - I switched to a new-to-me 12-string at a rehearsal once and nobody in the band noticed. Really. 😕🙂

Or somebody very talented could pass the audition for me, and then I'll turn up. That'll teach them. What're they gonna do, dock my wages? 😀

Unfortunately, they only have to find, for example, one bassist who'll fall for this, and their job is done.

Unsurprisingly, I couldn't find any profit figures...but with a turnover in ten figures, if they'd be seriously compromised by the wages bill for the band, I'll play my next gig for nowt...

Can't argue with that - I've got one on all my basses... 🙂

Tho the pedal, being an external device, takes away all the compromises with string tension, gauge, feel, setup etc that physical drop tuning can involve. Personally I like a higher tension string, so Drop C would be a bit of a faff. Plus, standard tuning for songs which require/suit it, is just a Stomp* away... * SWIDT? I'll get me coat... 😀