bobmeyrick

Hmm, my Plethora X5 came with 600mA power supply. I suppose you have to consider what you really need in terms of effects. I remember Robben Ford saying in an interview that all he really needed was some reverb and a bit of delay, though now he has a new pedalboard courtesy of Dan from That Pedal Show. This made me consider what I really need - reverb, delay, chorus, tremolo and a Univibe-type thing. Pitch-changer and/or octaver is nice but not essential. Consequently my main "board" on the Plethora is Viscous Vibe > Corona Chorus > Pipeline Tremolo > Flashback 2 Delay > Hall of Fame 2 Reverb. All of these are in the effects loop of the amp, and I'd be unlikely to use all of them at once. The MASH footswitches are useful, e.g. for changing the speed of the Viscous Vibe. It's fun to have a chorus into a delay into a reverse delay into a reverb into a looper, but that's not something I'd use on a gig 🙂

I have a Strymon Lex which sounds pretty good to me. This video gives a good run through of its capabilities. Actually these days I tend to use a TC Electronics Plethora X5 which has an 127 possible "boards".

The 150 Special has, I believe, a poplar body with a maple cap, and is thinner than a regular 150, which accounts for it being lighter.

That Goldtop looks very like my H150 Special, the difference being the binding on the neck of the 150.

My understanding is that HRWs were Schallers that had been modified Ren Wall. It would be interesting to see how the HRWs compare with the standard Schallers.

I had a look at Michael Oletta's website and I like his comment, "The Jazz images I treasure are not just a "documentation" of the Jazz Artist. The image should reflect the music, mood and the moment." Exactly this. Nearly thirty years ago the tutor on a photography course I was attending said that you take good images of subjects you're passionate about. I also see that he plays bass - I know a few jazz photographers who are also musicians...

I can recommend a book by Dave Stewart (keyboard player with Hatfield and the North, Bruford, and his duo with Barbara Gaskin, not the Eurythmics guy) called "Musicians Guide to Reading and Writing Music". It was published quite a while ago, so may only be available used.

Playing in a band should be fun, and that sort of behaviour is totally unnecessary. Getting gigs is hard enough, without alienating the person who runs venue. Luckliy the four of us in the Pete Donaldson Blues Band get along well. On the subject of guitars, do you have any particluar idea of what you want? I have a couple of H150s that aren't getting much use - a Trans Black H150CM and a Gold top H150 Special (a slightly thinner and lighter body). I've changed the bridge and tailpiece on both for Nashville units, and reinstated the original Schaller pickups - at one time the Trans black had a pair of Phat Cats in it, and the Special a pair of P-Rails with the Triple-shot rings. Hmm... I might put them back in. Let me know if you're interested. Yamaha make fine guitars - I used to have a PAC1511 Mike Stern model, a bit like a Tele on steroids, with a Seymour 59 in the neck and a Hot Rails in the bridge.

Hi Mark, good to know you're out there playing. If you're in the market for a new amp I have one that might be of interest - a Seymour Duncan Convertible 2000 1x12 combo. I need to make some space as I've ordered a 633 Drive King, and the Seymour just isn't getting used. If you're ever down Nottingham way pop in and give it a try. Send me a message if you're interested.

Vocalists, eh? In my experience you're lucky if they have a decent mic of their own. Here's a thought - do you know anyone who has a small PA you could hire, possibly another local band? When we (the Pete Donaldson Blues Band) gig, we use a mate of our drummer to provide a PA for a fifth of what we make on the gig. If he can't do it, we use my PA, which is a modest affair I've put together from a mix of second hand and new bits. I got a Studiomaster Powerhouse 300 8-channel mixer-amp (300W per channel, built in digital FX) for a couple of hundred quid via the local paper and a pair of RCF cabs (12" plus horn) for about the same from a local shop. Pete has his own Shure SM58 plus stand and a Peavey powered monitor. I bought an SM58 and powered monitor for myself. This setup is more than adequate for pub gigs. I suppose my point is that it's possible to assemble a usable PA for significantly less than £1200. Anyway, best of luck and I hope you get it sorted so you can use that 555 in front of an audience!