NBD: 1997 Fender American Standard Precision Bass

Long story short, had some gig money and wanted a new bass. I wrote about it here: The Waiting is the Hardest Part.

It finally arrived today, after a lot of impatience by me. And even then, I had to wait a few hours to get home to check it out. Luckily it was sunny and warm out, and the front entry wasn't in full sun. Nevertheless, I got home and brought it in and opened it up.

Shipping delayed one day because seller had to find a box

Original Fender case from 1997

Inca Silver straight out of the case

Back side looking great!

After dinner and watching the Seahawks look crappy until halftime, I took the bass downstairs to give it a closer look. I did play it and it sounded like a P bass. The seller had some zingy roundwounds on it and they sounded fine. Volume and tone knobs turned smoothly and without issue.

The body is pretty spectacular. There is a little mark just under the neck plate, there's a finish scratch right under where my right arm would rest when playing, and that's about it. No major dings or blemishes. The headstock has a little marking on it and maybe a few nicks, but for a nearly 30 year old bass? It is in excellent shape, very happy with its condition.

I did take it apart to look it over more in depth, let's take a look.

Neck pocket date, June 25, 1997!

Can't really make it out, but maybe June 11, 1997?

It was a little furry under the bridge, so I took it off

Backside of the bridge

Used some guitar cleaner to get off the gunk

The cavity wasn't shielded at all, but the bass is quiet so I left it

My apprentice was blocking my workbench

After cleaning it up and playing a bit

First impression of the bass when I picked it up was how heavy it was! Weirdly so! But when I picked up the buttercream P, it felt the same in my hand. However, when I strapped up the new P, it definitely neck dived. Just hanging it on my shoulder and releasing my hands, that guy wants to point at the floor like a divining rod. But once I played it, it wasn't a big deal.

Speaking of playing it, the action was pretty low. For a heavy-handed player like me, I think it was a little *too low. I raised the saddles a half-turn on each allen screw and that seemed to make it better. I didn't touch the truss rod yet as the neck appears pretty straight via the eye test. Just playing through the Orange amp, it sounded great. All notes seemed to ring true and the string-through bridge offered nice sustain.

I do like the red tort pickguard but I might have to pick up a matte black pickguard to swap out down the road. We'll see. Looking forward to playing it with Embers tomorrow night and possibly at the gig. Let's see how it does!

4/17/2025, Sunset Grooves at Kings Hall (Everett)

We have not been on stage since late November 2024. No gig offers, no party offers, it's been pretty dry. We didn't even rehearse again until Feb or something. When this gig came in, we weren't sure what to expect. There was a guarantee on pay ($1000), but it was a Thursday night free show, at a place far away from our normal spots.

I got the day off work and left home about 2:45pm for a 4:00 arrival time in Everett. GPS was pretty spot-on for timing as it took an 1:15 to travel about 35 miles. Dennis was there first and shared our name on the marquee.

Big stars, us

Got primo parking in the big lot, loaded in via the elevator and got back in the big room. Which I remembered was the old Club Broadway, a place way back in the day where I played with one of my old bands, Grasshopper. We were in a battle of the bands, sometime in the mid-90s, I think. Story for another time.

Giant stage!

P for set 1, G&L for set 2

Setting up for sound check

Evan, the promoter or owner of the place, was super super nice. He showed me and Dennis the room, then the green room downstairs, which was basically a big room with a bunch of cool furniture and amenities in it. A giant mirror, a wet bar, drink fridge, couches and chairs, fireplace. Beautiful green room.

Giant mirror

Not part of the GR but adjacent

I got upstairs and started getting set up. Evan took our order for dinner (burger for me), and shortly after soundchecking, we ate in the green room and then got changed.

Came to the green room, dinners were on the table!

Burger: good. Bun: burnt. Fries: overdone. Overall, B-.

As pictured above, I brought the 99 P bass in black and the L-1000 Gold. I would've likely played the P all night, but I wanted the detuner I have on the L1k to play "What a Fool Believes." We drop it down a full step and as a result, there's an Eb I have to hit, where I don't want to do a weird octave jump.

Anyway, when we got on stage, we didn't know what to expect from the crowd. Evan was very transparent while we were downstairs; he basically said they've been slow some nights and wouldn't be upset if we didn't draw well. He was cool about it, said we were guaranteed the $$ and just wanted us to have fun.

It's not like we had hundreds of people there. In fact, it was probably closer to 50-60, but after a few songs, they got into it and we had dancers for the second half of the first set, and then the entire second set. Mike and Amy were there, Marci's co-worker Tim, and then Bryan from work and his partner, Brenda. We had some SG regulars come (Allison and some others). The crowd was appreciative and had fun.

I had a good IEM mix at first. Loud on my own vox, bass sounded good. As the night wore on, and after I switched at break to the L1k, the mix got weird or my ears got tired. No clue. I could barely hear Dennis or Dusty's vocals, which is OK so I don't sing their notes, but I like to hear them for the most part. The L1k was quiet as well, so I had the sound guy bump that up.

We played decent. We started the first three songs super fast. Dusty counts them in and then commences playing faster than he counted in. We need to figure that out. I played decent. My vocals were decent. I still have a mental block on "Baby Come Back" for whatever reason. It's the starting note under the main vocal in the chorus. I can hit it by myself, but I have a hard time in the moment, even at rehearsal. Once I get past that part, I can sing the rest of the phrases, as well as the second "Baby come back," and the bridge. It's weird.

We played a few new songs, "Tide Is High" and "What a Fool Believes." Both were good, but WFB has such challenging vocals. As I couldn't hear Dusty & Dennis (I don't sing on that song), I don't know how it went, but my guess is that it still needs tightening up.

On "Ride Like the Wind," I had something weird happen with my right hand. It wasn't a cramp and I wasn't playing particularly hard or anything; maybe it was a stamina issue. But my middle finger wasn't working right. It felt like something was locking up (no pain) in my forearm, which kept me from being able to move my middle finger. Luckily I could do most of the playing with my index and ring fingers for a bit, and then my middle finger unlocked. I thought maybe it was because I was wearing a wristband on my forearm to keep from sticking to my bass. Come to think of it, something like that has happened before, but why do I think it was on my left hand?

Overall, it was a good night. Evan was very pleased with the turnout and our performance. He said we'd definitely be back. I think the Kings Hall has a lot of potential. It really is a cool venue and if they can get some great acts up there, I think more bands will want to play there. I hope he can keep growing it for us and the area.

Oh, last thing I forgot to mention. I've been having drama with someone about a free amp I got. I had BR try to repair it. It's been about 1.5 years now and I've written it off. Someone reached out to me and offered a free Peavey MiniMax 600 amp. He lived in Everett and met me at the venue to hand it to me. I played it a bit today and it is loud and will be a great addition to the amp fam. Thanks SharpCat!

Playing the Buttercream in the bands

I finally had the opportunity to play the butter bass at band rehearsals this past week. With my indie rock power trio, I plugged through my pedal board, which features a compressor as well as a Tone Hammer 500 (AGS off). That all fed into an Orange Terror Bass v2, which powered a 2x10 + 1x15 stack. I wear earplugs when I play, so any audio I got was filtered through that as well.

Overall, compared to my usual basses, G&L L-1000s, both with rosewood boards, I felt the butter bass with its maple board sounded fuller on the upper registers. I don't spend a lot of time up there, as I always feel like my basses just lose a little body and vibrance when I do so, but the butter bass didn't seem to do that. Call it honeymoon phase or whatever, the butter P felt stout and strong when I played up high. The notes felt like they were singing; I can't really explain it.

I play with a pick in that band and everything felt and sounded great. I would flick the tone down on some of the more mellow tunes, and then dime it when going hard. The butter bass performed admirably.

Fast forward to last night, with yacht rock band rehearsal. We use IEMs and one guy does use a monitor speaker. I play through a Zoom B2Four multi-effects pedal and call up whatever patch I need for whatever song we do.

Much the same as with my indie rock band, the butter bass was wonderful to play. Everything sounded full and clear in my IEMs, and also sounded super tasty when I noodled around with them out (listening via my mate's monitor speaker). The bass sounded great in nearly all the songs we played, except for the brief (yikes) slapping I do in the song "Somebody's Baby." I may need to choose a different patch or hit a boost button or something. I felt like all the bottom end dropped out when I slapped.

I did raise the saddles a tiny bit prior to practice. Mainly because I'm a super heavy striker and I found I was getting a lot of noise. Even though I do play lighter with IEMs, eventually, I will go for it, so having a little more clearance works for me. I thought it played great, even better than the last rehearsal.

In between rehearsals, I did some more light recording. I took an old song that I played a '93 G&L SB-2 on, used fadr.com to create stems, imported it all into Audacity, and then used my Trace-Elliot GP12 Series 6 to feed my Scarlett Focusrite. Using the line out from the TE into the input jack of the Focusrite was a bit of a revelation. I turned OFF the "instrument" button on the Focusrite, thereby removing the boost it would otherwise give to the instrument's signal. This gave me room to increase the input gain on the Focusrite without blowing out my signal.

Overall, the TE performed great and feeding the butter bass signal into my PC was a lot of fun. I did compare the butter bass (Mojotone 70's clone PUPs) with my black bass (62 Custom Shop PUPs) again, and the reality is, they sound very similar to my untrained ears. The signal coming off the butter bass is hotter for sure, but adjusting my input when playing the black bass seemed to address that.

When I adjusted each bass track I recorded in the confines of the song, either one sounded really awesome, even with my super limited engineering skills. Both basses have rounds on them and both were full, aggressive and a pleasure to listen to.

Ultimately, it seems that it took me approximately $900 to realize that I already had a $400 P bass that would be really great for me. I was already starting to fall for the black bass, yes. But the butter bass had some upgrades, as well as that maple neck, that pushed it over the edge for me. I have no regrets in buying it. It is really making me appreciate the black bass though.

NBD: 2020 Fender Player Precision bass, buttercream flavor

I've been saving up gig money since December and had about $800 or so ready to go. I'd had my eye on a Nate Mendel P bass that was in Bellingham. I was planning on going with that but started looking on Reverb at other P's in a lower price range.

I happened upon a P bass in the Player model range. Those went for $699 to $799 or so, depending on finish and/or where you got it. I can't tell you the specs or what constitutes a Player, other than certain colors. A few weeks ago, I played an Ocean Turquoise one for a few minutes at Guitar Center and was pretty impressed with it. There was one on Reverb with some upgrades that I liked and may have pulled on the trigger on, but it was gone when I checked it later that day.

In April, I was asked to play on 4 sub gigs and as a result, got a quick $400 that went into my bass fund. So, rather than waiting for more $$ to get that Nate bass, I switched my target to one of the Player basses. They offer a bunch of color and neck combos. Traditionally, I've been a rosewood neck guy; I just prefer how the darker wood looks on a neck.

But since I already have my 99 P with a rosewood neck, I figured I'd pursue the maple neck route. The turquoise one had a maple neck and I liked the color enough. However, I am too vain; I saw another local dude playing one and that was that, no go for me on the turquoise.

I kept looking at Reverb but took a quick tour on the TalkBass classifieds. It was there that I saw a guy selling a buttercream Player P. The stock version comes with a white pickguard, but that didn't do much for me. However, this one, the previous owner had put on a black pickguard, which just hits differently.

Seller's picture

He had also upgraded the stock bridge with a Hipshot vintage one, as well as pickups from stock to Mojotone 70s clone. The pots were also upgraded, for what benefit, I don't know; I'm no bass tech. Anyway, I liked the value-adds to this bass. He was also selling the pictured case, but since I have a bunch of cases, I reached out and asked if he'd be willing to lower the price if he didn't include the case. He said yes, so after a few more gigs, I agreed to buy that bass.

Shipping was relatively quick and I was able to pick it up at UPS last week. The bass was quite pretty in person and when I got it home and plugged it in, I liked how it sounded, but it was very zingy, with what felt like fairly new strings on it. I did a comparison with my 99 P and initially, I liked that sound better.

(dumb thumbnail, whatever)

Both basses sound pretty similar, and to the regular listener, there may be no discernable difference. But to someone with refined ears like mine (yeah, right), there was a slight difference. Whatever the differences, I do like both in the non-band setting.

Now, fast forward a few days. I had to pick Riley up from school and drive home for a few days. I did an actual DAW recording to eliminate outside sounds from the phone microphone. And confirmed again that the tones are very similar between both basses. The butter bass is a little hotter and fuller sounding (maybe the combo of the pups and the pots?) and the maple neck seems to make the notes sing a little prouder. The black bass gives up a little on the bottom end, but has a nice growl to it still.

(dumb thumbnail, whatever)

I may do another video with picking, who knows. I am excited to play it in practice this week, PITO should be getting together, and then SGs on Sunday as we prep for our June shows. In the meantime, here are a few pics of this beautiful bass.

4/26/2024 Greg Hoy and the Boys at the Blue Moon Tavern

Gig 2 of 5 in 3 weeks is done.

Last night's venue was the legendary Blue Moon on 45th. It is old, it is grungy, but it is friendly and it is a really great sounding place. No stage pix, but some flavor shots of the venue.

uncomfortable booth with no view of stage

back hall to reach restrooms

stage on other side of that door, men's room to the left

some dork in the mirror

No food pics because I ate at home (take out Thai). Commute to the Blue Moon was 20 minutes longer than usual thanks to a big ass backup on I-90 on Mercer Island. Whatever.

I brought the same gear as the night before, the P and my pedals. Easy enough load in.

Roster of bands was the same as at the NFL, but we traded Matt and the Monsters for Dave's project, the Greenwood Music Collective. Kelly was there, all dressed up like the frontwoman she is. Looked great, sounded great!

First up was Roman Angelos. He says his stage last name with a hard "G," as in "An-Gelos," if that makes sense. Dave, Greg, Kelly and I debated if it should be pronounced with a soft "G," as in "Los Angeles." Who knows?

Greg Hoy and the Boys followed and I had a great time. Highly entertaining, better than the night before. Felt a bit more cohesive and totally pleased with it being only the 3rd time we'd played together. The small crowd liked it enough. I really enjoyed playing through the Ampeg BA-115. It sounded full and round and paired great with my P bass. Totally competent and dare I start looking at one?? Yikes.

these dorks

Speaking of that P bass; something about it is starting to click. I've been playing it more at rehearsals and at these last two shows with Greg. Maybe it's the flats, maybe it's the pickups, maybe it's the amp? I'm not sure, but it just sounds good to me. I've been saving up for a Nate Mendel P, but maybe this P is enough for me? Or maybe I get another less expensive one to have rounds on it. Whatever the case, I have options now.

After we finished, Kelly jumped on stage and just murdered a couple of her own songs on acoustic guitar. She has such a beautiful voice. Power, tone, personality, it's all there. Really love it. AND she plays guitar. Of course I asked about her and yacht rock and she said she'd be interested in the summer, when she's not teaching.

Michela Miller, so good

Kelly did her two songs and then me, Dave and Greg jumped up there. Greg had only played through the songs with us one time on Wednesday, so he was all eyes and ears on stage. We started with a pretty basic song of Kelly's, with 4 chords on repeat. Then it was songs that I knew and had to guide Greg through.

Dave jumped on keys for a few songs and those were a bit more challenging for me as he's still working out the kinks of the song structures. He's also fairly new to playing keys so with the singing, keys and remembering how his songs go, it was tough to follow what he was doing. Luckily we didn't have any train wrecks and got through it fairly unscathed.

We did a quick and fast rendition of "Dreams," which I play in Sunset Grooves, but way slower and true to the recording. With GMC, we sped through and skipped the little middle part. It worked out fine, and we finished with another Kelly original, and then called it a night.

Hotels jumped on stage and they were great. I guess they've had some time to hone their act over the last two years and it's pretty clear. They're good at what they do. The bassist, Blake, played a Fender P/J into a Fender Rumble 500 and that sucker sounded so good. No pedals, just plugged directly into his amp. He's a great player and that sound was something else.

Hotels and the tasty sounding P/J

Good times playing 2 shows in 2 nights. Now it's onto learning about 8-10 songs for Del Vox next Friday again at the Blue Moon, but not before the Sunset Grooves play at the High Dive.

4/25/24 Greg Hoy and the Boys at the New Frontier Lounge

Gig 1 of 5 in 3 weeks is done.

After meeting Greg Hoy on Wednesday and playing through his songs once, we took our act to Tacoma, where the New Frontier Lounge awaited on Thursday night. My old mate from high school, Dave, was driving through horrid rush hour traffic to pick me up to go an additional 30 miles to the City of Destiny.

For about 5-6 years, I made the trek to Tacoma to play with the Lund Bros. 80 miles round trip about once a week. And these days I complain about a 36 mile rounder on Sunday nights. I'm a big baby.

We got to the NFL and basically sat around and waited as we were the 4th band out of 4 acts to take the stage. It was fine to hang out; Greg is a really cool dude and one of Dave's old friends, Kord, came by and we had a nice chatty crew to talk to.

Greg, it turns out, is from the Bay Area now, but Western PA originally. He has been doing the DIY tours for 5-6 years now, funding them from tech money he made and is making. I don't think he's doing it by calling old friends last minute for places to stay like last year's experience with Forest Ray. Greg has money and is spending it on hotels and food and the like.

In terms of food, he bought us all dinner, and for once, I took a picture.

A hot dog and a whole bunch of tots. Good eatin'

Greg is traveling with another musician, who is a multi-instrumentalist playing to tracks on a laptop. That guy, Rich, opened for us, though he had a different stage name. He is from Brooklyn and did some cool loungey numbers to get the night started.

Rich from Brooklyn. Not a great picture, admittedly

Once Rich finished up, a duo called Hotels got up there. Guy on bass, woman on vocals. More computer loops, but it was overall a more engaging experience than Rich. The bass sounded great and the player was very adept at what he did. He made his complicated playing sound quite simple and elegant. Very nice.

Hotels

Following Hotels was a youngish band, college age, maybe? They were a four piece and they had a nice cohesive sound. Their musicianship was top shelf, but their performance was a little bit low energy. Not much stage presence or movement. They sounded a little Coldplay-ish to me and they did it well. They also brought a good amount of people for a Thursday night. Also, I don't remember their name and I'm too lazy to look it up. Something like Matt and the Monsters. I have no idea.

Matt and the Monsters? Who knows?

Rounding it up was Greg Hoy and the Boys, featuring me and Dave as the Boys. What little I know about Greg is what I wrote above. However, what I didn't know was how funny and charismatic he was. He is super friendly and accommodating as well. I think he's quite grateful that Dave and I are playing with him and I have enjoyed hanging with him the past two nights.

The sound guy had my vocals dialed in pretty well so I did my best to sing along. I played my P (which I'm sort of starting to fall for...) through Dave's Ampeg combo. I did have a compressor and preamp pedal engaged and was approached by two members of Matt and the Monsters, who told me my bass sounded huge. Then again, the sound guy did have that room dialed in nice; all the basses sounded great!

P purchased in Tacoma, playing a gig in Tacoma

Nice little Ampeg 15" combo

It was interesting playing with Dave. I had not played with him or heard him play since high school. He cut his chops in a local band called Inflatable Soule in the 90's, that had a nice following. He branched out to NYC after that, where he met Greg. He's bounced around in other bands and got into jazz and less rock type bands.

Greg's music is power pop/indie pop and the songs are pretty basic but quite catchy. Usually a verse and a chorus and an occasional bridge. As a trio, when Greg soloed, I'd try to make some noise to fill in the space and hoped Dave would do the same, but he had really dull "studio" cymbals, so some of that additional noise was not there. He also played with a light touch, but overall, we played well and it was a lot of fun.

We do it all again tonight, but I am double dipping, sitting in with Dave's band, the Greenwood Music Collective. One of the members I rehearsed with, Jack, is out due to a family emergency, so we scrapped his songs and will add a few covers with Michela (Kelly), the other member of GMC. She has a gorgeous singing voice and it will be fun to play with her on stage.

For those that do the Facebook thing, the Blue Moon does stream their performances, so you can watch here: Livestream

Gig report: 1/3/24 Planets in the Ocean at the Tractor Tavern

David from Pop Cycle booked this show, asking us to play on a Wednesday, but at the venerable Tractor Tavern. The other band, Royal Blunder, I knew nothing about, other than a few songs on the internet that were pretty lo-fi and chill.

I last played the Tractor in September of 2022 with Kathy Moore, on a Monday, of all nights. She was supporting a traveling singer/songwriter from Atlanta, which means you play when they are in town. It was sparsely attended, but it was the debut of my $100 212 Avatar cabinet, which I was excited about.

As far as my own project at the Tractor, it was with Stereo Embers on New Year's Eve going into 2019, where we opened for Ayron Jones (who is now opening tours for bands like the Rolling Stones and GnR!!). I also saw one of my heroines, Juliana Hatfield, in Feb 2020 before covid shut us all down.

In other words, the Tractor is a pretty big deal in these parts, and for Planets, it was great to get there. We negotiated the opening slot on the weeknight and were a little nervous at maybe a light draw. We haven't drawn super great since revamping and we're trying to build it up.

I left at 5pm for a 6-ish soundcheck, starting my night in the hole and paying $60 for gas right off the bat.

the pain, $5.09/gallon for supreme.

After not even getting a full tank for $60, I headed towards Ballard. I hit something coming off the freeway, seeing it too late in the dark and rain. I thought it was a piece of cardboard or something, but then I heard the grinding of something underneath the car. After pulling over to check, turns out it was a headrest from someone's car. I pulled that ish out and kicked it aside, then made my way to the club.

Jim from Pop Cycle was kind enough to share his incredible Verellen rig. They were about to soundcheck when I arrived. He has a really nice P bass as well, and they sounded great when they did their quick check of things.

I would hate to haul this around, but I sure like playing through it.

As far as basses go, I brought my P and my gold L-1000, with the intent of playing the P. I have flats on it and I've been a little concerned with the action on it. It seems a little low, but I can't seem to get it higher, either with the saddles or truss rod adjusted. I may just take it somewhere and have someone set it up for me.

We did our soundcheck and I thought the bass sounded good. I had earplugs in and was about 10' or so in front of the amp and could hear it well enough. I had Jacob, the sound guy, put my bass in the monitors and was pretty happy with it. I've had thoughts that it can sound kind of twangy and plinky, especially since I'm using a pick, but I try to tame it with generous use of the tone knob.

After soundcheck, it was over to Hattie's Hat for a quick dinner, where Cass and I chatted before being joined by Robb and our friend Ted, who always shoots some vids and pix of us. It was nice to get caught up with him and my bros, and then we headed back next door to play some tunes.

Getting back to the Tractor!

We got on stage and Robb didn't have setlists printed. No big deal, he just called out the songs and off we went. Keeps things interesting. We were pleasantly surprised at the crowd. Based on the payment sheet at the end of the night, there were 60 paid attendees. I don't know how the Tractor felt about that, but we were pretty happy with the turnout. Lots of familiar faces and always some that hadn't seen us but were excited after doing so.

As we played, I felt pretty good about how the bass sounded, but thought it was a little quiet. I didn't want to turn up my stage volume, so I had Jacob put some more bass in the monitors, which helped, but the sound I was getting wasn't great. Again, plinky and twangy and I didn't care for it too much. My buddy Steve, who is a P bass afficionado, told me afterwards it sounded fine, but a little low in the overall room mix. At that point in the gig, not much I could do with it, so I just played through.

Overall, I felt pretty good about the performance. Cass was solid, as always; Robb's vocals were on fire and his guitar playing was nice as well. My vocals were louder than usual and I was told that my bass could have been louder in the mix out front. Lots of compliments on the vocals, though, which I love.

We got off the stage and were followed by the Pop Cycle. They're a quartet, with two singers/guitarists, a bassist and a drummer. I had played with both guitarists in separate projects, then together as yet another project. Both those guys, David and Brett, write great pop rock songs and sing like birds; put 'em together and it's really a great combo. Paul on drums is frenetic and drives the bus; he looks like he's playing on a 60's tv show with his energy and physicality. And Jim plays a solid bass while also singing lead on one X cover (I had to be told it was a cover, that's how up to date I am on X tunes). They played a nice, melodic set and then gave way to Royal Blunder.

Pop Cycle at soundcheck.

Crowd was bigger earlier, but still nice.

As I mentioned earlier, Royal Blunder sounded pretty chill based on what I had heard online. In talking to the dudes before the show, they indicated that this was their third gig together. The guys were a little older than us, except for Danny, the lead guitarist, so I knew it wasn't their first rodeo. They jumped onstage and were quite a bit livelier than I expected. Definitely a rock band; the flyer described them as "psych post punk," and I'll admit, I don't even know what that means.

Anyway, they had good bones and I think more practices and gigs will only make them better. Rob, the singer, looked great on stage and sounded pretty good as well. He had a really high voice, which reminded me of an old singer of mine, Chris, from the Lund Bros. They also did a cover of "I Am the Walrus," which he nailed thanks to that high voice. Bruce on bass played a Rick and it sounded a little thick and muddy; I'm not sure what was happening to the sound in that room, but it seemed weird once I got off stage.

Royal Blunder

Overall, a really nice night at the Tractor. We got paid and after splitting it three ways, I didn't cover my gas and meal ($15 including tip), but as mentioned before, that's not why I do it. The positive vibes, the reconnecting with old friends and making new friends was all good. Hoping to continue growing this band, recording some more songs, putting out a vinyl and playing some bigger shows as we move through 2024.