All Activity

On a different tangent but definitely linked; think of one of your favourite classic bass lines that sounds great, iconic even, in the recording mix. Then Google to see if there's a recording of that bass line in isolation. For me, they are rarely a tone that I would use at home whilst practicing, they often have much more essential mid content.

it's a yes from me too JMJ Mustang

Small portable combo? My CMD121P hasn't missed a beat in six years.

As we now have an active PA subsection too, a PA section in the Marketplace would be good.

The Hamer got gigged last night. Two songs. It’s a 3-piece (guitar, 12-string bass, drums) and was unrehearsed, we’d never played with the drummer before but he learned the songs for the night (Budokan versions, obvs 🤓) . The guitarist is a friend I’ve played with for years but this was the first time we’d been on a stage together for a long time. This was also the first time I’ve played without a rig. I used my HX Stomp with bi-amping patches DI’d to FoH and we just had sound through the fold-backs on stage. Not once did it feel weird, in fact I didn’t even think about it, which was a revelation. The guitar is going through the big Hotone Ampero II Stage modelling unit with DI to FoH too. This has to be my favourite bass ever, it’s an absolute weapon of a thing. I Want You to Want Me - [email protected] Surrender - [email protected]

Agreed. Before doing anything else the OP should get a decent straight edge and check: 1. The fingerboard. With the stings off it should be either flat or have a slight back bow. 2. the top of the neck extension between the end of the finger board and where the bridge attaches. This should be perfectly flat 3. The back of the same from big to heel. This should be perfectly flat 4. The pocket that the neck extension fits into. This should be perfectly flat. This could be the problem if the others are all correct and bolting the neck in place is imposing a curvature on it.

Welcome. Leave two strings at the door and find true fulfilment.

The one musician I know who makes a full time living wage and has been at it for years, has established audiences and booking agents tends to get around 250 to 300 max under their own steam so if the venue takes a punt on unknowns to fill that number it must be a very successful venue with a top notch team.

simples YES the very fact you're asking, means you want one I have 4 My wife has 2 It's the law

Possibly a slight tangent, but one of the things that is happening in pubs and clubs is that, because of cot of living concerns, footfall over the summer is way down. Prompting many to book semi-pro Karaoke singers. In this area they earn upwards of £125 per night. Easier to cover than the £250plus a band would charge. However, they are backed by the "empty orchestra", Karaoke means that in Japanese. From the venue and audience perspective, the "band" are always note perfect and well-balanced, as well as easy to control volume wise. The session musicians that make the backing tracks could be the first to feel the real heat here as AI could do a passable job of the backing track presumably.

How so? In this day and age, has you've noted in this thread, bands can use technology to gain fans without the need from labels.

You Got Nothing I Want - Cold Chisel

I’m in the same quandary. My plan is to bully my whole family into contributing at Christmas.

You don't even need post-processing. Find a decent-sized room, through a couple of duvets on a clothes horse and you have enough acoustic treatment for recording great-sounding vocals.

Local unsigned artists playing 300-500 capacity? Wow that is pretty incredible.

I still think Yamaha has never made a bad bass. I managed to try a John Myung bass (not my thing really) and it was amazing.

Normally those playing at venues within 30 minutes of where I'm located. This is playing at dedicated music venues so 300-500 capacity.

So how do you decide which gigs to go to? This is not an attack, as someone who has been an avid gig goer and seeker of new music for the past 45 years I am genuinely interested. I told you my method in the post you quoted. I still get to see loads of bands live although these days it is mostly bands who happen to be playing on the same bill as mine.

When sampling first hit I was studying an HND in Electronic Music Technology. We had one of the first Fairlights in the UK, in fact I think we had ours ahead of Trevor Horne (who was based just around the corner at the time). What did we use that powerful new technology for, playing the national anthem in harmonised dog barks was one of the extraordinarily creative outputs I remember. The first wave of any new technology can be pretty awful, AI will settle down as did sampling

Highlighted in bold. This was discussed yesterday.

Quick q for anyone who has had this done... I am considering buying a very beaten up vintage bass. At some point in the past someone has done a very bad defret. I think the board is unusable and would want it removing and replacing with a nice slab of unlined ebony or wenge. How much would I be spending on an operation like that, ballpark, please? And are there any recommendations? I have emailed Shuker but expect he's a very busy chap, any other recommendations gratefully received. Thank you

I'm sure there are loads of 'it depends if...' there, but very interesting observation 👍

Please show me a comment I've made telling someone they're "wrong".