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Chip Stewart

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  1. We have a fixed setlist for each gig but the setlist changes for every gig. Since everyone in the band knows what the next song will be it greatly reduces the time between songs. We also schedule our talking to the audience. Typically we play 2 - 3 songs and then briefly chat with the audience. We strategically schedule these for when I have to change settings on my pedal, etc. to buy me a little time. That way the audience is "distracted" while I'm making the change.
  2. I'm in a guitar duo that just expanded to a trio by adding a percussionist. We found that some songs ("To Love Somebody" by the Bee Gees, "Can't You See" by the Marshall Tucker Band, as well as others) just sounded hollow without the percussion filling in the space. Hopefully the percussion will fill things in (we haven't got everything worked up yet). Our last gig paid $150 ($75 per person). Adding a percussionist will cut that down to $50 per person, but we're both o.k. with the decrease in pay. Hopefully a fuller sound will lead to more gigs, etc.
  3. Never broke a string. I change my bass strings every 6 months. At around 6 months I can hear the tone starting to fade.
  4. I use GHS Brite Flats (half round) short scale strings on my Hamer SB4 short scale bass. They give a very deep tone that's perfect for the folk/americana music I play.
  5. It sounds to me like you don't need the amp, so I don't see why you would buy it. If you want to help him out money wise, I would offer to buy it for $200. He's not your friend if he wants to make a profit from selling it to you.
  6. I use GHS Brite Flats on my short scale bass. I find short scale basses sound better with thicker strings, and the GHS Brite Flat string size is 0.049 to 0.108. Playing in a folk band, I also want a sound with a strong fundamental. The Brite Flats are half rounds with a strong fundamental that don't sound dull either. After about 6 months the Brite Flats start to sound dull, so I change my strings about twice a year. I experimented with many different strings and the GHS Brite Flats are the strings that give me the sound I'm looking for. You can hear what my short scale bass with the Brite Flats sounds like at .
  7. My Hamer SB4 is very similar to the Gibson Money Bass. I love my SB4, but unfortunately Hamer doesn't exist anymore.
  8. I play in a folk band, so I don't need a lot of volume. My rig is a Hamer SB4 with GHS Brite Flats going through an MXR M87 bass compressor and Ampeg B100R amp (Made in USA, 100W, 15 inch speaker). For the coffee shops we typically play the Ampeg is plenty loud. I rarely go past "3" on the master volume. On the rare occasions we play some place larger, I either mic the cab (preferred) or run a line out to the house PA. I have to keep the stage volume down since I'm performing with two acoustic guitars.
  9. Our banjo player is currently using a SM57 microphone on a mic stand to amplify his banjo. What recommendations are there for amplifying a banjo using a pickup with or without a related DI. Thanks for any suggestions.
  10. I've never been a fan of jointly owned equipment. The bands I've been in have always had multiple people contribute individual pieces to the PA. Typically everyone buys their own microphones, stands, cables, and monitors. For the FOH, one person might contribute the speakers, someone else the mixing board, and someone else the stage snake. That way no one person has to front all of the money, but if there is a parting of ways it is very easy to know which equipment goes with the person leaving. For your current situation, I would insist on either having you buy her out for $150 or having her pay her balance on the PA ($225). I would not want to continue in the current situation. My preference would be to buy her out for $150, but if she wants to pay the remaining $225 to buy her half of the PA I think it would be difficult to say no without being a jerk. Good luck working things out.
  11. A local radio show was discussing the problem of car/deer accidents, and a woman called in and said they needed to take down the deer crossing signs so the deer wouldn't cross the roads anymore. People like this are driving cars on the road. That's the really scary part.
  12. When I performed on a TV show last summer, the sound engineer mic'd my amp. It sounded great during the broadcast. Not all sound engineers go directly for the DI box. I do find when performing outside at festivals it is easier to use the line out from my amp instead of miking it because of the potential issues from wind. It may be the lazy approach, but we usually do not have that much time to set up and it is the most likely approach to be "successful".
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